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Yavar Moradi

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Everything posted by Yavar Moradi

  1. Well, the android character is quite Data-like at times, and Bortus in terms of personality seems very Worf-like, even if his race's culture isn't quite a match for Klingons (but they seem a little more Klingon-like than STD's Klingons, IMO!) but aside from those two, I agree that these are very different characters in a TNG-like setting. Glad you liked the fourth episode as much as I did! I had a little trouble with the outright Vger music steal, although it was undeniably effective. I really loved the final cue, which was obviously the result of a temp track from either Insurrect
  2. Yeah I too have heard he's working on some concert works, so he seems to be in Don Davis land right now...but hey Davis came back with a new score this year (Tokyo Ghoul) so maybe Eidelman will be back eventually as well... What prompted me to start this thread was seeing the one on David Arnold, another good composer who came out of the gate with a big sci-fi score...whose career has sadly somewhat petered out. If Arnold deserves a Top 5 thread then Eidelman does too! I'm excited to hear his concert works; hopefully they'll be released. He wrote an amazing concert piec
  3. In terms of quantity of scores, yes. He didn't have the career he should have had after scoring a big Trek film. But I see his best scores as: potential fulfilled! Yavar
  4. I may as well join in the fun, with (IMO) an under appreciated composer. This shouldn't be as hard to do as some top 5 lists, because he hasn't been too prolific and hasn't even written a new film score since 2012: 1. Star Trek VI: The Undiscovered Country (an awesome dark turn for the franchise with an incredible End Credits suite; for a time it was my favorite Star Trek score before Goldsmith's Final Frontier just barely passed it) 2. Christopher Columbus: The Discovery (my love of Star Trek aside, this has got to be considered his magnum opus, his longest, most complex, and
  5. 1. Godzilla (by far my favorite of his Emmerich scores...I do like Stargate and I do think Independence Day is good but I mainly like it for one theme -- "The Day We Fight Back") 2. Casino Royale (my favorite Bond film and score) 3. The Chronicles of Narnia: The Voyage of the Dawn Treader (I must however note that Reepicheep's theme was taken from his Godzilla...but he did pick the best theme of the score to lift and develop further! Would love an expanded version of this one and I hope if one ever comes his third usage of Harry Gregson-Williams's Narnia theme is included.) 4. A
  6. Yup, that too. I get the feeling Ol' Seth temped this series with his sci-fi soundtrack collection... Yavar
  7. Exactly. For a score to make my top 5 it has to have a lot more in it than just one really good theme. Otherwise Wanted would be on my list! Main theme is catchy as hell but the rest is a big "meh" from me: Yavar
  8. That's good, because I think there's going to be a looooot more of it! The Goldsmith was almost a direct copy from TMP. Worked great though!
  9. And me, now. And the great James Southall, until recently. But he's come around to your side now: http://www.movie-wave.net/back-to-the-future/ But notice the reply by Erik Woods referring his previous low opinion of the score...and there's a later commenter, Howard Hand, who "agrees more with the original 3 star review". Yavar
  10. I do like Men in Black (all three) and Pee Wee (both) but not quite top 5 level, IMHO. Another one like that is Edward Scissorhands, which used to be an absolute favorite (and is still an iconic Elfman score) but I found it didn't quite have the staying power with me over the years as other gorgeous works of his (Black Beauty and Sommersby) did. Easier to get burnt out on that score, for me. Haven't tried the expanded Intrada yet, though. His Fifty Shades scores are also unexpectedly good work. I pretend they are music for movies that don't exist... Yavar
  11. I actually liked episode 4 so much that it went by too fast! I think there was enough material in there for a two parter... Be warned that there are some major temp track lifts from Jerry Goldsmith and John Williams, Jay...though Joel McNeely does some lovely original stuff too. Yavar
  12. John Williams (and Jerry Goldsmith if he were still alive) might be flattered, but they'd think you were crazy for saying they were "head and shoulders above" the likes of Bernard Herrmann, Alfred Newman, or Miklos Rozsa. Yeah I do have a pretty big collection...and it would be about five times the size if I hadn't gotten married almost 10 years ago! Let's see...I'm pretty much a Jerry Goldsmith, Basil Poledouris, and Miklos Rozsa completist (and Cliff Eidelman, but that's a lot easier of course). Probably 95% of each of their output on CD. Got the vast majori
  13. Wait until you see episode 4; it's the best so far and I now officially am a fan of this show. (I didn't hate the pilot exactly but it also didn't really fill me with much confidence for the show to come.) Yavar
  14. Fair enough, but I try to rate the music independently on its own as a composition, irrespective of nostalgia for the films. Otherwise I wouldn't rate even the first Conan very highly because I actually don't like that movie! I've got no nostalgia for CutThroat Island, the movie, either...but the score is amazing and I've loved it for over 20 years now! Yavar
  15. I'm with Thor here -- I always found Danny Elfman to come off as a very nice, humble guy in interviews (most recently I saw and enjoyed his interview in the documentary The Score). I wonder what interview it was that you saw and were turned off by, Josh. My top 5: 1. The Nightmare Before Christmas -- his magnum opus, indisputably 2. Black Beauty -- for me this is practically tied with Nightmare; in fact I probably listen to it more because it is just. that. gorgeous. I'm amazed nobody else rates it as highly. The OST was OOP and rare for many years but luckily LLL expande
  16. Fixed that for you. Eh, but if you think BTTF is one of Silvestri's best, compositionally speaking, you might love Robocop. For me they are similarly overrated because of their respective films being nostalgic 80s classics. On the other hand his work on Conan (hell, even the sequel score which was a rush job) far transcends the films. Yavar
  17. I rather agree with you on this. I've by and large learned to deal with a lot of Horner's uncredited repurposing of concert hall pieces by other composers. But Troy is the exception I really just can't accept. For me the Shostakovich is just as offensive as the Britten though, because it is so blatant and central to the score. Yavar
  18. I enjoy the BTTF films, and the scores work fine in context. Some cues I do really like, but the theme itself is absolutely generic to me and the most disappointing thing about the score. I indeed think it's very telling that it was ever possible to confuse it with the Jurassic Park theme (which is a far superior theme of course). I think the only reason it's not generic to most people is because of the extreme nostalgia for the film. Watch it over and over enough times and of course that theme will be burned into your brain and you'll say it's not generic. But I'm telling you if the same them
  19. 1. Predator (might not be the most enjoyable on album, but as a film score it made the greatest contribution to the film of anything he ever wrote...Predator 2 is also very good) 2. Contact (perhaps his loveliest score...honorable mentions to Forrest Gump and Cast Away) 3. The Mummy Returns (his most exciting score -- get the boot or hold out for a legit complete release, some great highlights including the end of the film were left off the album because they weren't recorded in time...it doesn't have the incredible highlights of the Goldsmith score IMO but it's a ton of fun and the
  20. Nothing like either of those two scores, really. Very unsettling at times though -- that's what it has in common. But also sometimes lovely. Warning: you have to not mind harmonica, though. He uses it extensively to characterize the ventriloquist dummy. This is a great score but you may want to see the film first in order to really appreciate what Goldsmith was doing. And I'd get the more recent (and in print) LLL issue. It's only one short track longer but a definite improvement on the Varese in terms of packaging IMO (Jim Titus did the design). Yavar P.S.
  21. Nonsense. Each quote in Looney Tunes (and there are indeed a number of them besides the Gremlins theme) was a deliberate in-joke and not a result of lazy recycling at all. I suspect he knew this was his last score and that played into it, but I'd also point out that it was a score for Joe Dante, a big fan of his who often encouraged him to quote iconic earlier scores of his at appropriate times (for example Rambo in Gremlins 2, or Patton in The 'Burbs). Goldsmith not being in the best of shape did not affect the quality of his writing at all, but it did result in him having to let
  22. There are some other good "epic family entertainment" sort of things he did in the 90s, i.e. The Jungle Book, White Fang, Lassie...I doubt they'd make my top list but they're very very good. Maybe after Jungle Book and Lassie get complete releases down the line they will grow further in my estimation. Remember how Cherry 2000 was Poledouris channelling Morricone? Well Farewell the the King is Poledouris channelling Barry, with some cool ethnic touches...wouldn't make my top 10 though: But Amerika is a definite top 10 Poledouris score for me; I think it's even
  23. Both Blue Lagoon scores are quite good, but they frankly wouldn't make my top 5. The first might make my top 10 or 15, and it was important because it was the first album ever produced of his music. The recent Intrada complete release has far superior sound quality to all previous versions so make sure that's the one you get. (They also released the first official album of the sequel score, which is actually underrated and rather different from the original in style because it was written 11 years later when he was at a much different place in his career...the early 90s! In fact the sequel sco
  24. For me, The Hunt for Red October and Starship Troopers are two Poledouris scores which are amazing in their respective films (Red October may be Poledouris's best work, in film) but ones which suffer a little bit in complete form on album. Rare cases where I might prune a complete presentation of music by a favorite composer. In other words I think there is better stuff of his out there for you to hear on album, and you've got a lot of exploring to do! My personal favorite Poledouris score is Les Miserables, but I've found that some people have trouble connecting with it without se
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