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Yavar Moradi

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Everything posted by Yavar Moradi

  1. Yes to the former. The latter was Larry Groupé. But Beltrami did score the excellent 3:10 to Yuma (2007) if you want to talk remakes. Yavar
  2. Or go full APES and include the Scheffer and Beltrami Omen scores complete-as-recorded too! Yavar
  3. Because Godzilla is my personal favorite David Arnold score, I guess. The LLL was a godsend. Yavar
  4. I could’ve sworn I’d heard for years that there were (at least) four cues still missing from The Final Conflict. What I had argued for years ago on the boards (before the original Omen was further expanded with the Anniversary Edition) was a full franchise release including definitive versions of all FIVE Omen scores — the two not by Goldsmith I believe Varese controls in perpetuity since they released the original albums: 1. The Omen (expanded to complete form, as basically happened on its own) 2. Damien: Omen II (remastered/restored with new technology which can
  5. While The Last Castle is far from the most original score to come from Goldsmith's pen (the main theme obviously owes a huge debt to Rambo III in particular), I don't think it's fair to call it a "guilty pleasure" or put down its artistic qualities. If you read this remembrance by Jerry's agent Richard Kraft, you'll discover that Jerry actually really cared about this project and certainly would not have tackled it "on auto-pilot": https://perspectiveforum.net/2017/01/22/true-confession-taking-giant-risk-jerry-goldsmith/ The music itself is not some surface level action thing like US Marsha
  6. Andre Previn was only 19 years old when his first Hollywood solo composing credit (The Sun Comes Up) happened. Somehow I doubt that's going to be topped anytime soon, though. Cliff Eidelman came close-ish during the late 80s, when he got Hollywood composing jobs in his early 20s. By the way that 19-year-old Previn wrote a pretty awesome score right out of the gate: http://www.filmscoremonthly.com/store/MP3/1320/4-01_Main_Title.mp3 Yavar
  7. I really like The Last Castle. For me it plays like a sequel to Rambo III, and that’s not a bad thing. Yavar
  8. 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
  9. 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
  10. Yes, just like Screen Archives (though SAE label releases have slowed to a trickle these past few years) and Music Box in France. Yavar
  11. 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
  12. 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
  13. 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
  14. 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
  15. Both awesome scores. If you really dislike Small Soldiers that much I’m sure someone will take it off your hands... Yavar
  16. 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://lalalandrecord
  17. 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
  18. FYI this wording is usually dictated by the studio or original album label. It's often not up to our dear specialty labels. Yavar
  19. 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 complet
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