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Yavar Moradi

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Everything posted by Yavar Moradi

  1. Movie Wave > Movie Music UK > > > > > Filmtracks. Filmtracks is the first film music reviews site I ever found online, and I was a fan for a while because it's all I knew and I got into the forum there. But over time I grew to realize that lots of Christian's opinions were crazy (two stars for Planet of the Apes??) and much of his writing was a mess. I FAR prefer reading the writings of James Southall, my favorite film music reviewer, at his site Movie Wave. Jon at MMUK is also very good, but perhaps a bit more serious (and occasionally long-winded like Christian) when
  2. I'm pretty sure they recorded that episode before Knives Out was released. But I was hoping they'd give it its own episode after. Have they ever made this argument? I know they overall didn't like the film (but I think they still respected it more than The Force Awakens, in some ways), but I don't think they've acted like Johnson is "some talentless hack". I agree. And The Last Jedi does have some major problems that taint my enjoyment of it. The Canto Bight sequence really doesn't hold up well on a second watch (though Del Toro is still always fun to wa
  3. Pretty sure they've talked about multiple films they really liked, this past year. I only wish they had reviewed Knives Out... Yavar
  4. Time to continue working back earlier in the 1970s (why stop at High Velocity in your list, Brundlefly? As awesome as that score is, it's not as if the awesomeness started there...) Ransom - Presumably the complete score is lost and the (sadly poor-sounding) LP tracks as released by Prometheus are all that's available. Not sure if there's a ton of interest in a complete re-recording of this one, but it IS a favorite of Luc's (@ Prometheus) and since he's funded three amazing Tadlow Goldsmith recordings (Hour of the Gun, The Salamander, and QBVII complete) it's possible we might see it some da
  5. Lots of the trailers and promotional material for this show made it look kinda trashy, but I watched the whole season and actually it's quite good! I would have hoped for a couple more episodes in the season because one character's journey in particular felt very rushed (while another's was very drawn out), but overall I thought it was very good setup for greater things to come. And I really liked the scoring, overall, recognizing multiple repeating themes and motifs and some powerful musical moments. Re: the "Toss a Coin to Your Witcher" song -- it works better in context, as just somethin
  6. I agree with you on all that, and I can understand your feelings. I already became a fan of Russo's work on Fargo (and had heard his work on Legion was good) before Star Trek: Discovery happened. So I was cautiously optimistic about his involvement...and let's just say I was disappointed. I used to hate Leonard Rosenman's score for Star Trek IV: The Voyage Home so much that it soured me on the rest of his output too. But now I've learned to appreciate him a bit more, and even grown to like certain scores of his like Cross Creek. So maybe one day you'll warm up to some of Russo's *other* work.
  7. I have his Fargo work on album and I would describe it as "very good". He does an excellent job of channelling Burwell's very fine film score, IMO. But either he was bad composer casting for Trek, or with all of the producer "cooks in the kitchen", he did exactly what he was instructed to do. I think there's at least some chance it's the latter, because while Star Trek VI: The Undiscovered Country is a fantastic score, the great Cliff Eidelman was invited to submit demos for Star Trek: Discovery that IMO turned out to sound as relatively drab and un-inspired as Russo's eventual work on the sho
  8. No, that still has to be produced, and I have faith that Lukas will do it. I too was excited for a new Ron Jones album and was disappointed he was replaced on the project. The final score isn't bad but I don't care as much about having a soundtrack album for it. That said, Lukas has said he's going to make sure the soundtrack release also includes a HQ copy of the film itself, now, to make up for the switch. Yavar
  9. Damn. Now I feel I need to hunt this down. Frank's theme has been virtually absent from the score releases. On the Vol. 1 release it only appeared in the big finale cue. Personally I wish each season of this show got a packed 2 CD set with 160 minutes of music, because I agree that a lot of great cues get omitted. Personally I can do without most of the source music cues and I'd rather get more score instead. (Except for most of the French harpsichord stuff...that worked fine in-show but I can do without it on album, lol...) Yavar
  10. Nothing about a return of Masters Film Music, alas... maybe if Robert doesn’t feel like tackling them himself he could/would license Lionheart and The Final Conflict our to others for new definitive editions to be produced... Yavar
  11. I think AFO is a rare Goldsmith score like Star Trek: Nemesis where neither the original album nor the complete score are ideal, but an excellent program can be edited out of the complete score. But I’m already on record for saying I don’t love AFO as much as everyone else seems to, and my favorite music in the score is mostly by Joel McNeely. Yavar
  12. @karelm @Fancyarcher @Brundlefly @Display Name @TownerFan @Disco Stu @Mr. Breathmask @Faleel J.M. @El Jefe @Modest Expectations @Laserschwert @publicist @BrotherSound @Modest Expectations @Jay @Stefancos @Jurassic Shark -- as promised we are starting off 2020 with a special "throwback" episode, where Clark takes a break and Jens joins us in his place, to discuss the beautiful score Jerry wrote in 1958 for "Tongues of Angels", a live filmed play in the Studio One series -- see above for the episode itself if you're inclined to watch it. Though it has been up on YouTube since before the podcast
  13. Blah. What I really want to know is: will they reinstate the Alfred Newman 20th Century Fox fanfare to the Star Wars films? Yavar
  14. Yes, that's *possible*, but I think the existing album release might complicate that some, because Warner Bros. Records (i.e. Warner Music Group) probably maintains rights to the original album on Elektra. So in order to be able to release the complete score of just 15 minutes, there would be still an extra added expense of having to pay an additional licensor. Maybe it'll happen some day but I'd be surprised if any label prioritized it, just to add one or two extra short cues. I guess we will see though! Eh, it seems like it will have to wait until the next Varese batch at
  15. I will say that the Varese expansion of Chain Reaction was terrific and hugely improved my opinion of that score (as is typical with Goldsmith expansions, to be honest...) Yavar
  16. I'm a bad, bad Goldsmith fan -- I too think Elfman's Dolores Claiborne is a superior score to Goldsmith's U.S. Marshals, though I have indeed been interested in re-assessing the latter score in complete form. At least we know it's still coming! Yavar
  17. “Trust me, lots of great Goldsmith releases still to come!” Yavar
  18. Hey guys I fully admit I’m obsessed. Yavar
  19. All correct, though it might also be helpful to add studio info -- for example, Varese would have to deal with Disney to expand things like The 13th Warrior and Medicine Man (being from the Disney-owned Touchstone Pictures and Hollywood Pictures, respectively), which might introduce complications. I think Varese themselves also hasn't expanded a Fox title in a while (LLL licensed Planet of the Apes this past year from both them and Fox). And most recently we have found out that Warner Bros. Pictures substantially increased their rates for licensing music from them (Warner Bros. Records is a se
  20. Neat! I dig it... I just may be offering a few corrections here and there. And I think you should go earlier than High Velocity! It's not like that was remotely the year his music started being awesome (as much as I frickin' love High Velocity...) Sooooooooooo goooood! Yavar
  21. so how did you choose what to include on your list? Yavar
  22. This is plenty! And there's even more great stuff pre-1976! A few notes though: High Velocity is one of my FAVORITE Goldsmith scores (though it's generally pretty overlooked), and I always thought from listening to the album that it sounded a bit disjointed, like there were missing cues/development in between. Well, I watched the film, and there was less than two minutes of unreleased music, all of it very low-key suspense music that was not among the best musically the score had to offer. I would still buy a complete release of course, but I found the existing album was improved greatly ju
  23. Probably not *quite* that far off, but it'll be several years from now, for sure. The full project as currently scheduled should take a decade and a half. We aren't leaving any stone uncovered, when it comes to Jerry's output. And discussing these forgotten gems is some of the most fun! Here's the Studio One episode we uncovered and will be releasing this "throwback" episode of the show about. It has an absolutely gorgeous Goldsmith score: I recommend you give it a watch and appreciate the score in context if you don't want to be spoiled by our imminent episode. Y
  24. I mean...SIGN ME UP, as a listener, should anyone want to tackle Bernstein's long, prolific, and varied output. In terms of Hollywood composers, IMO he's the only one who competes with Jerry when it comes to versatility, longevity, and how prolific he was. Which also means it's too big of a project for me to contemplate, considering I've already probably bitten off more than I can chew with The Goldsmith Odyssey. If I do a sequel podcast in 17 years or whenever when we finish this one, it'll probably be something a *little* less ambitious, like say The Poledouris Odyssey. Comparatively managea
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