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Mr. Gitz

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  1. I listened to the pieces released today and like I assumed would happen it’s as if they think “All we need is lots of choral work & boom! It’s Lord of the Rings”. There are two things I associate with Lord of the Rings on screen. 1 is Howard Shore’s music & the other is New Zealand. I remember when Peter Jackson took over the Hobbit after GDT quit the project & feeling unsure if Shore would return after the falling out between the two on King Kong. I honestly thought Shore & Jackson would be the new power couple in the director/composer realm after LOTR. But then whatever happened on Kong happened & Jackson turned to Brian Eno, of all people, to score his next film. I know some were disappointed with The Hobbits score but I thought they were terrific. The problem is how Jackson utilized the score by chopping it up & requiring odd themes in odd places. I’m still not sure why the Nazgûl theme was used when Thorin descended down the tree on fire. But this? I could care less. The project doesn’t excite me, the score doesn’t excite me. I’m sure I’ll watch, but the little anticipation I did have has evaporated.
  2. Well I do believe you’ll have your “thumbs up” Mr Nick1Ø66 What’s this about Cameron excluding the best theme from the score in the movie? I’ve never heard of this. Which theme are you referring to?
  3. As the creator of the thread, no it was not a joke. And no one is “bashing” anything. You need to lighten up a bit. It’s just peoples opinions. I think it’s rather interesting to see how people can have different tastes. Frankly, I find your post off putting & borderline offensive. People should feel free to discuss what they like and do not like and when it comes to scores that are considered “great” many might be embarrassed or timid to admit they don’t like something so many consider “great”. I consider myself as someone who has pretty good taste in film music & yet when I’ve discussed my particular dislike of Vangelis & his Blade Runner score I’m treated as some sort of ignorant rube(not here mind you). Your post has that sort of condescending tone with lines like “People use to have better tastes”. You shouldn’t be trying to shame or make people feel “other” for simply not enjoying the same thing as you. No one is trying to hurt anyones feelings. It’s a simple thread meant to inspire debate and discussion about differing tastes and aesthetics. We can’t go around assuming everyone loves all the stereotypical “great” scores. Seeing scores like Lord of the Rings and Hook shocked me. But then perhaps my dislike of Vangelis shocked others in the same way. it’s fascinating to me that some of us can recognize the brilliance and genius in the same scores but then disagree on something like Blade Runner, which is a score I dislike so much it almost ruins the film for me. I dislike the 1980s synth aesthetic. Immensely. It dates films in a way orchestras do not. I really enjoyed the Social Network score but I’ve wondered, in 20 years will that score feel dated the way Blade Runner or Terminator or Scarface do? Whose to say,
  4. Ghostbusters is an interesting one. I think the score works well in the film(Dana’s theme is beautiful). BUT Somewhere in an alternate universe Ivan Reitman(RiP) decided to utilize Elmer’s terrible, awful, disco/funk theme for the Ghostbusters rather than the needle drops and it ruined the movie. But as it exists in the movie now? It’s quite effective. That theremin sounding but-not-a-theremin- effect? The pounding organ’s, Venkman’s theme is a bit Curb Your Enthusiasm sounding but it works for the movie, not so much as a listening experience. Seriously though, it’s amazing how that movie was saved in the edit. Instead of using most of Elmer’s score, which included that terrible funk/disco GB theme, Ivan used the Bus Boys “Cleaning Up The Town” which works wonderfully. Same with “Saving the Day”. As a kid when I watched Ghostbusters I would get so freakin pumped up when “Saving the Day” starts. Just once while stopped at an intersection with traffic lights I wanna yell “Come on let’s run some red lights” and then blast “Saving the Day” at full volume. It’s on the bucket list. Apparently Elmer was so insulted at the treatment of his score, he and Ivan had a falling out. Ghostbusters 2 is another weird score. I kinda love it as it exists in the film, but the recently(& much belated)released score album isn’t much to write home about. I do love that big heroic theme Edelman wrote. It’s quite the juxtaposition - this big Superman-esq theme for these schlubby Ecto exterminators.
  5. Did someone anoint you “deemer of what is & is not great”? Otherwise that is a rather arrogant thing to assume, isn’t it? I’ve seen Vangelis’s Blade Runner score on many a “greatest of all time” list. “Great” is open to a wide interpretation. It could mean in quality or popularity. I could have used the word “beloved”(Oh. I did). You’ll note I did not say “GREATEST OF ALL TIME”. Merely “Great”. “Great” could mean extremely well reviewed, or that it won major awards, has a meaningful standing in the score community, or lots of people seem to rave about it. However it seems an odd thing to get into semantics over. The title of the post is what it is. In the body of the post is where detail is detailed. I elaborated on said title. Regardless, someone’s “great” is another’s “great piece of junk”. Doug Adams read this post & shed a single tear from his eye as he gazed far off into the distance.
  6. i was kidding. I don’t care if one doesn’t like Hook or not. I mean…it’s an interesting choice and a score I consider to be great, but if someone else doesn’t like it, that’s their loss. In truth that’s exactly the type of response I was hoping for. But I figured it obvious my seriousness was less than maybe the surprise of seeing a personal favourite. I’m sure someone somewhere saw my “Blade Runner” selection & got an immediate case of the vapours.
  7. You don’t get not being able to experience John Williams music in an IMAX theatre with amazing sound? Because once he passes away, unless his scores are reused or the films rereleased, that’s it. No more. And yes, Morricone was still alive when QT was needle dropping his scores. But John Williams exerts far more control over his music than EM(the recent Obi Wan/Natalie Holt controversy highlights how protective he is). While he’s alive he may not allow his scores to be used like that. When he passes away that protection might no longer be a factor and so filmmakers can do as they wish so long as they pay the license fee.
  8. I went to high school during the early 2000s just as MP3 players & IPODS became standard devices kids brought to school. Often times kids would share ears buds while studying or what have you. But not me. I was so over protective of my IPod lest anyone find out the kind of music I truly loved. John Williams, Howard Shore, Danny Elfman, Ennio Morricone, Thomas Newman, Michael Kamen(my first soundtrack CD I ever bought was X-Men!). It sounds ridiculous to admit now. But I was truly embarrassed about loving film music and being a film geek. I didn’t fit in with that particular cohort or stereotype. I was athletic, fairly popularish and hid my true self from “friends”. I still remember my “coming out” as a film score and film buff during a trivia contest I won. I didn’t just win, I dominated. My pride got the better of my embarrassment. Friends knew I loved going to the movies but they didn’t know I was a true “nerd”. I still remember hurriedly hiding my Star Wars memorabilia in my room before my new girlfriend came over. Or making excuses when a friend would see what was on my IPod. “Oh my sister loves classical music and borrows my IPod”. I cringe when I think of how embarrassed I was. Was I alone in doing this? Did anyone else hide the fact that they didn’t just listen to “regular” music?
  9. The score is slow? I’m not sure I understand that criticism. Nor I do agree about Shore becoming more accustomed to using the full breadth of orchestra as the series went on. I think he was responding to how the movies themselves changed with different locations and characters requiring different textures and aesthetics. Gondor certainly filling that role. But when you say the score is slow, do you mean boring? Or that the movie is slow? Certainly there are tracks more deliberately paced than others but “slow”? That’s an interesting one. Hmm. My god. It’s hard to believe those scores are 20+ years old. How? How is that even possible? Time is a strange thing.
  10. One day John Williams will no longer be with us. There will be no new John Williams music. A sad that that will be. But I’ve often wondered, with film music moving away from certain aesthetic and nostalgia being the in thing, do you think we will see filmmakers use John Williams music the way Tarantino repurposes and reuses Ennio Morricone music? What would you think of that? honestly, I kind of wish more filmmakers would do what QT does. Not at the expense of having no composer work on the film but I’d love to hear Williams music in unexpected places. Especially some of his scores that went to lesser films. for example, Hook. Now I love that film. But I will admit it’s an entirely nostalgic thing since I grew up with it. But the score? My god. I’d love to hear someone really let that haunting choir bit in “Leaving Neverland” live again and shine. So, what say you? Are tracks like “Shark Cage Fugue” sacrosanct? Or shall they live again?
  11. Wow. Wow. Wow. Hook? I know I said give me your “Hot Takes” and to get controversial. But…”Hook”?? My god. What don’t you like about Hook? It has one poor bit and that’s the very odd, unWilliams sounding, sitcomesq cue when the kid is playing Baseball & Robin Williams doesn’t make it in time for the game. But besides that? The ethereal, haunting choir around the 2 minute mark of “Leaving Neverland” is perhaps my favourite piece of Williams music ever composed. It touches my soul. No…it IS my soul. then there’s “You are the Pan”. And “Childhood Remembered”. It’s one of Williams greatest scores. Wow. I wondered if there was someone in the world who didn’t like Shores LOTR scores. It’s amazing how we all have different tastes. I consider Fellowship of the Ring to be not only one of the greatest scores ever composed, but some of the best music ever composed. Yeah. I went there. But hey, everyone has different tastes. Now I do think Shore overscored some of the latter two films, especially in the extended editions, the Old Man Willow bit always comes to mind.
  12. This is a joke? Or are you serious? If so…wow. *any* Jerry Goldsmith score? I mean…Chinatown? Star Trek TMP? Rudy? The Mummy? Poltergeist?
  13. Game of Thrones might have a thing or two to say about that “most memorable TV theme of the decade” claim.
  14. Haha don’t judge. I can’t help what I dislike. I know it’ll ruffle some feathers and I honestly don’t like admitting sometimes that I dislike Blade Runner due to the score. I just don’t like it for whatever reason. It’s my secret shame that’s not so secret anymore.
  15. I have quite a few film scores that I hear film fans rave about, film scores that just do not do anything for me and in some cases actually prevent me from enjoying the film more. Be warned. This list may trigger some of you. I do not pretend to be a musical scholar or even know my treble from my clef. But I know what I like and what I do not. So without further ado… The first score that comes to mind is one I actively dislike so much it prevents my enjoyment of the film. Let me apologize in advance. This is a beloved score. I wish I felt the same, I wish I could understand how someone could enjoy it. But… Blade Runner by Vangelis I hate, hate, hate this score. I know, I’m sorry, it’s beloved and I wish I understood why. I can’t stand the synth, saxophone aesthetic…it’s a movie that’s suppose to be about the future but is dated instantly by the music. I do enjoy the pounding drums and vocal wailing but the other stuff? No thanks. I should say, I can’t name a single Vangelis score I enjoy. Synth, especially early synth, is not my forte The Untouchables Ennio Morricone. It’s another one that sounds very dated. The main title music, the synth, the harmonica. That awful music where we see how Al Capone lives in that hotel. Now some cues are terrific. When they go on their first raid? It’s wonderful. However, the movie is overscored. It’s comes off as soap opera cheese at times, especially when dealing with Elliot Ness and his home life. I know that’s a DePalma flourish but..it’s not for me. I also dislike the music in Scarface immensely, but I don’t think anyone would call that a great score. Beetlejuice: Danny Elfman. Ok let me explain. The main theme is wonderful. Inventive, fun, driving…it’s amazing. But then there is everything else. Those screeching fiddles? I can’t even describe the aesthetic. It’s grating and off putting(which may be the point but it’s still not pleasant to listen to). Man of Steel: Hans Zimmer. Boy I do not get the love for this score. The piano theme is so overused and the percussion amounts to just pounding noise. Oddly enough I really enjoyed the score for the sequel BvS. But this movie? Considering John Williams and Shirley Walker have given the world tremendous Superman themes and are memorable and stand the test of time, Zimmer goes for yet another rising tone theme not too dissimilar from his Batman work. The Batman Michael Giacchino. Oh Michael Giacchino. How I once held your name with such high promise. Coming out of the gate with The Incredibles, a utterly fantastic throw back John Barryesq superhero score, and then LOST? Man. I was a fan. Your Cloverfield suite for the end credits is still probably my favourite thing you’ve done and the best piece of music written in all of 2008. It’s a shame it went unused in an actual movie and was relegated to an Easter egg end credits suite. It was wonderful. But I digress..Now that you’ve agreed to score every other film ever made, oh boy, has your quality dipped. And no score disappointed me more than The Batman. I would hear fans hyping up your theme and when I finally heard it I was so let down. Yet more pounding percussion. This theme so resembles the Zimmer/JunkieXL BvS Batman theme in style it kinda shocks me. Give me more than some ascending/descending Dun, Dun Dun duns. Please! Then there’s the Riddler motif. Again, it’s been done before. An eerie female lullaby? Hmm. Where have I heard that before? So…what are some of your choices? Don’t be afraid to get controversial. Time to open up and let fly the “hot takes”(oh how I loath that term).
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