HunterTech

The artist is not the best judge of their own art. It it completely irrelevant to me that they dismiss a cue because it was particularly hard to come up with/record, I can listen to it all for myself and judge it, it might be my favourite one that affects me the most. It's like claiming that complete ballet/opera recordings don't matter, only the Suites that have maybe 6 pieces from them. Some of this definitely has the air of the old "film music is not real music" to me, that only by listening to hacked up programs misrepresenting the score and having a lot worse structure and ignoring half the written score including colossal highlights and pretending that it's something it was never intended to be does one escape that lowliness and join the snooty pantheon of "real music" listeners. Forget all those imaginary restraints and just take it all in as what it is! And then modify it to your heart's content to make it perfect for you.

This was the first episode of the podcast I've ever listened to. I really enjoyed it!
I think I'm gonna go back and listen to all the other episodes over the coming months, I've been looking for a new podcast to listen to while driving anyway

So glad Amistad was given attention, Jay was a nice surprise! Great episode!

I was just casually looking through label backlogs trying to find new scores that are still in stock, and came across Cocoon, which I've never heard. The samples were promising, I really liked the movie, and an OST listen convinced me I'd like it so I bought it and it did not disappoint. While I may not be able to hum the entire theme yet, elements of it have been stuck in my head since I've watched the movie, and I love the whole structure of the complete score. Also I'm happy to report that I seem to be officially 100% over the line of not caring about Horner's lifting/self-lifting - I can just take it as a quirk and enjoy it all as it is.

Same with the Dr. Seuss characters singing the Bourne theme he jokingly mocked up while working on either Lorax or Horton.

I just saw the movie in an IMAX screening, and while the music was certainly near omnipresent I cant say it was particularly loud (except for key moments of course)
Maybe mixing was just worse in some places?
 

Don't forget Superman!

1. Very few directors are as skilled as Tarantino at effectively using existing music in a film
2. I imagine very few of those who are have Tarantino's love for and knowledge of film scores
3. Of those who fit both of the previous criteria, Tarantino may be the only one who doesn't prefer to simply have an original score in the first place

Shipped!

Shipped!

The big issue I have with the Gia Bat theme outside of a lack of overt variance and concrete development is that it pretty much is the only thing he has going for him, given that the two note motif in the Nolan trilogy is only the central idea for Batman, as HZ (and to a lesser extent JNH) actually uses a bunch of different motifs to represent the character over the course of the movies. You could argue it was an intentional choice to highlight him not being properly developed as a hero, but even BB has more going for him than even the original hero theme that Yavar mentioned (which still ends up having relevance in the sequels despite no longer occupying its initially conceived function).

I kind of thought that was the point once I saw the film, especially given it appeared in some of the trailers (plus it fits the more "emo" Bruce Wayne we get in-film). Hell, combine it with Ave Maria being tweaked for The Riddler, and a lot about the score suddenly makes more sense. It does make me wonder if Catwoman had a similar song to inspire her theme.

I think this thread has shown one thing that we can all agree on:

It's not about the size, but how you use it 

There's only so much complaining about the common banality of RCP music can do before you might as well start actually calling the audience completely braindead idiots for eating it up. I would point to this being the film equivalent of going from classical to pop music, but then someone much smarter than me would tell me that there was much more sophisticated work in even the novelty songs of the 60s than what we hear now. Makes it a bit hard for me to know how to argue, other than my initial tastes in music making it easier for me to appreciate the dumb fun sound.
 
(Also, you could probably blame the suits for wanting everything to be so homogenized, especially with composers that we know can tackle various sounds. I really don't know why that's so hard to reconcile.)
 
(Also also, given how much people have been concerned about the potential loss of hired musicians for projects like these, are we actually pissed off that the guy who could easily work without them is still keeping them employed?)

I like to point specifically to Batman Begins, Inception and Powell's Bourne trilogy as the scores who turned Hollywood from the John Williams orchestral style into something more, say, Zimmer-ized. The seeds to those types of scores were already being planted since the 80s/90s with Black Rain, The Rock, etc, but it took Christopher Nolan to actually initiate the "RCP revolution".
 
That said, we should all keep in mind that this is not Zimmer's or Powell's fault, they were doing what they thought was the best for their movies. The problem is with stupid Hollywood producers who want that kind of sound in every blockbuster.

I am of the opinion that neither Mission: Impossible scores are Balfe's best work. I enjoy them a lot, but Balfe has scores that are much much better.
 
My favorites of his are Black Widow, His Dark Materials (the Anthology albums), Lego Batman, Home & Tetris

I like music. The feelings it gives me are nice.

I like music. The feelings it gives me are nice.

I like music. The feelings it gives me are nice.

I unfortunately couldn't find any scans on a database, so I'd have to check my copy of the CD when I get home

I'm a little surprised this didn't lead into a discussion about how the DR1 booklet quote is further proof that McQ was very unhappy with how RN went, since he absolutely didn't use these words there despite arguably being more fitting.

Now calm down here, I never actually said that…

Honestly, I would've much rather preferred being directly called stupid for my tastes than this transpiring to begin with

Honestly, I would've much rather preferred being directly called stupid for my tastes than this transpiring to begin with

Honestly, I would've much rather preferred being directly called stupid for my tastes than this transpiring to begin with