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Yavar Moradi

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Everything posted by Yavar Moradi

  1. I wasn't a fan until The Orville either. Give it a try!
  2. If anyone is curious how a similar poll I created shook out on the FSM board: https://www.filmscoremonthly.com/board/posts.cfm?threadID=114138&forumID=1&archive=0 "The clear #1 winner: SMALL SOLDIERS, with 29 votes! I think Varese has gotten a loud and clear message about what score people want next.In solid 2nd place, AIR FORCE ONE with 23 votes. (Some people wanted Randy Newman's rejected score to be included and some people didn't care.)3rd place surprised me as I find it a fairly generic action effort and I had no idea it was so beloved, but I'm guessing the brevit
  3. I find Broughton's main theme to be a pretty memorable new melody, for what it's worth. (Very Galaxy Quest-eque though.) And I found the ending of And If the Stars Should Appear quite memorable too, though it is a clear Goldsmith homage. RE: Seth MacFarlane reducing his screen time -- I think he sees it as an ensemble show in the vein of TNG. Yes, some characters certainly got shortchanged in that show (anyone want to defend the character development of Beverly Crusher?) but it wasn't that rare that Captain Picard would largely sit an episode out (5 min or less) becaus
  4. See if this fine Complete Score Breakdown by DeputyRiley at FSM doesn't convince you this is a worthy upgrade -- note the comments by Bruce Kimmel of Kritzerland (aka haineshisway) as well; this score's original album was a terrible representation of the full work: http://filmscoremonthly.com/board/posts.cfm?threadID=110033&forumID=1&archive=0 "This was one of the worst assembled soundtrack albums EVER. I couldn't even get through it. Later, I found the complete score in score order and made a nice copy for myself - suddenly it was a real movie score and was terrific,
  5. The Small Soldiers boot is apparently not at all complete. The two Flint scores and The Other have good sounding isolated score tracks thanks to Twilight Time but those unfortunately do contain microedits in some cues. Rudy, L.A. Confidential, and Hollow Man received isolated scores (the latter with commentary) on DVD, but those are unfortunately in compressed audio so we really do still need DEs for them. Of the remaining unexpanded Varese-controlled titles... There is no boot at all (to my knowledge) for The Final Conflict, Leviathan, Love Field, Medicine Man, M
  6. Why would you leave out The Other? Twilight Time already did the restoration work on that one for their isolated score track...what's the holdup, Varese???!! and while they're at it they could remaster Mephisto Waltz and add the sweeteners missing from their otherwise complete release. Yavar
  7. Actually after the recent Stanley & Iris, I'm fairly sure there are still two left: Presumed Innocent and (the one I'm really dying to have complete) The Cowboys. But compared to all of the Jerry Goldsmith and Elmer Bernstein they control and no one else can expand, yeah that's not a bad number! I'm grateful they've been working their way through Basil Poledouris lately; I think there are only three or four left of his to expand that only they can do. Yavar
  8. Just finished the first season of The Good Place (with Ted Danson and Kristen Bell of Veronica Mars fame)...and it is fantastic. At first I thought it was a fun and quirky if disposable sitcom, but it really doesn't get stuck in a formula rut...at all. It kept surprising me and now it's one of my favorite modern shows. I hear the current season is even better and I'm having a hard time waiting to see it...may just splurge on a season pass! Yavar
  9. http://filmscoremonthly.com/board/posts.cfm?threadID=53394&forumID=1&archive=0 User Heath at FSM said in 2008, "There's a cue in that movie for Haysbert, Pfeiffer and the kid as they high-tail it out of the bus station that's a real joy for me. Playful, dancing pizzicato strings and staccato woodwinds, yet with a layer of menace and urgency. It's really lovely. Best cue in the movie and Goldsmith didn't put it on the album! I swear Goldsmith enjoyed messin' with our minds. " And then later whoismatthew gives a time estimate for that one cue and mentions others i
  10. 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
  11. 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
  12. 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
  13. 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
  14. 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
  15. Yup, that too. I get the feeling Ol' Seth temped this series with his sci-fi soundtrack collection... Yavar
  16. 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
  17. 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!
  18. 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
  19. 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
  20. 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
  21. 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
  22. 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
  23. 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
  24. 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
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