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Yavar Moradi

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Everything posted by Yavar Moradi

  1. My wife got it for me for my birthday. It was lovely but kinda went in one ear and out the other the one time I listened. But I definitely recommend it to her fans. Yavar
  2. It’s an opera, and it’s one of her greatest works. My favorite Portman film score is easily Never Let Me Go, which has quite a bit more depth compared with her other (usually perfectly charming) work for film. Yavar
  3. Yes, just like Screen Archives (though SAE label releases have slowed to a trickle these past few years) and Music Box in France. Yavar
  4. I’ve seen you obsessively correct other people all the time on things at least this minor. No offense meant but really it looks like you just can’t take a dose of your own medicine and admit either your wording was wrong or you accidentally omitted some stuff Mike produced from your (impressive) list. Yavar
  5. It’s not your list itself (or approach to it — making a list of how many Williams scores Mike has worked on is perfectly sensible) which I take issue with, but your clearly-not-factual statement about how many Williams releases Mike M has worked on in the past 15 years, overlooking some which he no doubt put a great deal of work into even if they were supplanted later. It’s just an objectively incorrect claim, and I was trying to be helpful and correct the record. Yavar
  6. But you wrote, “I think this is his 37th Williams score expansion/premiere in the past 15 years!” If you are counting Williams score releases of Mike’s in the past 15 years., you should include the Blue Box, even if it got improved upon later. Yavar
  7. Agreed, and also House on Sorority Row (check out the samples)!
  8. Does the Blue Box not count for some reason? Even if the original Superman was later perfected even further, it was a huge project for Mike in 2008. And Superman IV, considering it featured three original Williams themes (and I think he even conducted the “concert versions”), should count too shouldn’t it? You’re counting Chamber of Secrets... Yavar
  9. Both awesome scores. If you really dislike Small Soldiers that much I’m sure someone will take it off your hands... Yavar
  10. Nevada Smith full stereo album recording (but with a reduced orchestra, and alas not yet released legally on CD, existing CDs are unlicensed and mastered from LP copies): LLL premiered the complete original film recording (bigger and better original orchestrations/performance, albeit in mono) in their awesome Paramount Westerns box set this past Black Friday, and they have a few dozen copies still available (check out the sound samples; there are a lot of other good scores in the set including a favorite David Raksin score of mine, Will Penny): https://lalalandrecords.com/nevada-smith-the-paramount-westerns-collection-limited-edition-4-cd-set/ Someone seems to have put up the entire Broken Arrow score on YouTube six months ago (you can buy the album from Screen Archives): Note: one highlight cue of the score was written by Alfred Newman, who also conducted the entire thing. Lemme know what you think! Yavar
  11. It's a solid score from Newman and Friedhofer... with a totally awesome theme. That said there are other westerns by each of them I love a lot more (Nevada Smith, Broken Arrow...) Yavar
  12. FYI this wording is usually dictated by the studio or original album label. It's often not up to our dear specialty labels. Yavar
  13. I personally wouldn’t call Jane Eyre “early”...it was five years before Jaws (is Jaws “early”?) and over ten years after Williams’s first feature score, Daddy-O, in the late 50s. I might at least consider Jane Eyre the first score in his greatest period 70s-80s; it *sounds* like it comes from that period (actually it has a lot of music which looks even more forward, to stuff like Prisoner of Azkaban). This is my favorite Williams score that I’d consider “early” (ten years before Jaws, six years after he started scoring theatrical features): There’s a great complete (Mattesino) release of the score on FSM. Yavar
  14. The Cowboys is a masterpiece; on my Williams Top 10. But you need to go a few years earlier and discover my #1 favorite Williams score... Yavar
  15. Nope. It was re-recorded by Elmer Bernstein for his own Film Music Collection series in the '70s (released complete as a box set by Film Score Monthly, but a few of the recordings premiered on CD earlier, including this one, on Varese -- they sub-licensed the recording just as FSM later did). Yavar
  16. Do you know that for sure? Hell, if Saving Private Ryan can get an expansion then anything is possible. Yavar
  17. Presumably because it's the very last unexpanded Williams score that Varese controls in perpetuity. Yavar
  18. Oh yeah. John Carter was a particular victim of terrible trailers. Yes, it’s a feminist movie, not in the sense of "men are evil" but rather in the original sense of, “women are just as intelligent as men and deserve equal rights”. If that’s somehow too “woke” or controversial for you, then I’d say it’s time you joined the 21st century. Initially the Marques is a bit of a male damsel in distress, yes, but I don’t think that’s depicted so much because of his gender, but because of his rather spoiled upbringing. He has his own surprises though and comes into his own quite thoroughly by the end of the movie. And Enola, while intelligent, resourceful, and quite capable, is certainly not a “Mary Sue” type character by any means. She is young and unwise in the ways of the world, makes mistakes and misjudgments, and grows over the course of the story. I just wish they hadn’t picked on poor Mycroft Holmes to represent the traditional patriarchy. As a Mycroft fan I felt that wasn’t true to his character, though I guess it was done because he’s the one who works for the government. Yavar
  19. No particular reason Sneakers would come from Varese, but I do hope they can make Brainstorm happen someday. Yavar
  20. Not at all CutThroat Island level, but here are a couple other good 90s pirate scores to represent: https://youtu.be/v-pz17PBs_s And this for my money is far superior pirate music from Zimmer than most of his Pirates of the Caribbean work (Up Is Down maybe being an exception but I heard one of his assistant composers wrote that): Yavar
  21. no idea how that happened. Was meant for the pirate music thread, obviously
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