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Mr. Gitz

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  1. So I’m a bit confused. The tracks that were re recorded, are they the exact compositions he composed in 1989 & just re recorded exactly as how they originally sounded? Or did he add in things and make changes? like the Instrumental Ghostbusters theme, was that something he just did for this album? Or was it an idea that just wasn’t used in the final film?
  2. So I feel like I should probably add my two cents in here. I think the music might be in such messy shape because the post production on Ghostbusters 2 was….insane. The movie came out in June ‘89 and they were still adding major sequences in reshoots in April. There were sequences, with complete ILM VFX, that were cut out at the last minute. These include Rick Moranis’s character having multiple encounters and trying to catch Slimer. Eugene Levy had a cameo as Rick Moranis’s characters cousin that breaks the GBs out of the mental asylum. So I’m thinking some of the unused tracks might come from these scenes. The title of one of these cues, Rooftop Broom Kidnap, is very curious. It doesn’t correspond to anything that happens in the movie. Very odd. So what I think happened here is, just like Elmer Bernstein before him on GB1, Randy’s score was chopped up into pieces and used in scenes they maybe weren’t originally meant for. What’s funny is, as much as I love Elmer’s GB1 score, boy oh boy did Ivan Reitman make the right call by putting in the Bus Boys “Cleaning Up The Town” and Parker Jr’s “Ghostbusters” theme rather than using the truly awful GB theme Elmer Bernstein came up with. Elmer wrote this hilariously dated funk/disco theme that probably would’ve ruined the movie for audiences today. Wow. Sometimes I just don’t understand some human beings. You don’t like Ghostbusters? Or the score? How could anyone not like Ghostbusters? It’s so great. It actually shocks me how many people dislike the sequel. I think the sequel is extremely underrated. Peter MacNicol steals every scene he’s in. Plus I’ve never understood how some people say it’s more kid friendly. No way. There may be less swearing but that subway sequence with the decapitated heads on spikes? Wow. Or Vigo? The second film is far scarier.
  3. Because in the past they have given us some of the greatest scores of all time. Raiders of the Lost Ark, Star Wars, Lord of the Rings, Elfman’s Batman, Jaws, Star Trek The Motion Picture. Those are the scores that resonate. They are a listening experience in and of themselves. I mean come on. Do I want 30-45 minutes of minimalist orchestration or do I want a full on sweeping score full of memorable motifs & the odd March?(whatever happened to “the march” why did that go out of style?). No one is saying Shore turned into a hack. Merely that it is surprising he hasn’t landed more larger gigs considering some of the projects he’s chosen(Twilight).
  4. That’s interesting but I don’t really buy it. I mean...he’s scored movies like “The Last Mimzy”? Or the 3rd Twilight movie? Those projects interested him? Those filmmakers interested him? Bob Shaye? Come on. I was really looking forward to his “Pete’s Dragon” score. What happened there? He was attached forever and I maybe heard somewhere he had started work on it. But he’s replaced? I’d still love to hear his King Kong score or what was written/recorded anyways. I remember Doug Adams saying it was some of his best work. Sometimes you wonder about the working relationships filmmakers have. Take David Fincher & Martin Scorsese. They both use Howard Shore multiple times. Fincher moves on to Alexander Desplat for Benjamin Button and then Reznor/Ross for Social Network & everything after. Then Marty makes 3-4 films in a row with Shore, the last being one of the best and we’ve had squat since. I was hoping we’d see them reunite on the Irishman but... Film music has become such a sorry state. I was watching “The Mask of Zorro” the other day and man James Horner knocked that one out of the park. But you don’t hear scores like that anymore. When was the last time you left the theatre humming the score on your way out? Now everything is all percussion & synth smaple strings & anvil pounding and bwaaaahhhhhssss. Remember when Michael Giacchino represented the hope that things were maybe changing? Man. Now it seems he scores on auto pilot like Elfman does. I didn’t cry when my father past away but when John Williams goes? Oh my. I’ll be a wreck. I dread it sometimes, I do. Thinking that there will be no new notes ever composed by that musical god in flesh form. Man...
  5. Apologies if this has been posted before but one of the biggest composing disappointments, maybe “disappointment” is the wrong word, ok “mysteries”, is the post LOTR career of Howard Shore. I mean, the man writes 3 of the greatest scores EVER back to friggin back and A) He isn’t immediately hired on every major project and B) The industry stays the “Hans Zimmer FOR EVERYONE” course. What? How? Everyone else heard the music in those movies, right? They have ears? Now of course he’s had some great scores post Rings. But how many Superhero movies have we had in the last 20 years? Not 1, not a single god darn 1, has had a Howard Shore score? He scored a Twilight movie for Christ sakes! I want my Howard Shore superhero theme damn it! So whats the deal? Is it his preference to just work on whatever project strikes his fancy? Is his composer fee astronomically high? Is he a pompous ass that people don’t like to work with?(he seems nice enough. He’s Canadian for Christ sakes!). I don’t think there’s been another example of a composer writing huge, massive blockbuster hits like LOTR and The Hobbit and then working on small indie projects, the odd Martin Scorsese project, a Twilight movie and a partridge in a David Cronenberg. I’m a selfish ass. I want big, massive Howard Shore blockbuster scores! Enough of these small indie projects. Marvel! DC! Umm...Pixar! Hire this man! Please! Howard Shore. The world needs you. It needs your thematic beauty and intelligence. And Douglas Adams needs another book project(probably?).
  6. With no composer announced so far & the early marketing leaning heavily into Elmer Bernstein’s GB1 music, who do you think/want as the composer? Any rumours out there for people in the know? My out of left field pick would be...Howard Shore. Remember when he use to score comedies? Christ, remember when he use to score *movies*? My only hope is that Jason Reitman doesn’t use Rolfe Kent. I have a feeling most people will say: Michael Giacchino or Danny Elfman. I wouldn’t be surprised if it was the former. Just please, God, don’t use a Zimmer clone. Please. So.. Any theories? Rumours? Speculation? Gossip?
  7. So I’ve always been curious how much composers for the big blockbuster movies make. I mean... imagine being John Williams in his heyday? Almost every film you score becomes a monster hit, and the score albums themselves sell like hot cakes? So if Williams weren’t semi retired right now & I wanted him to score my film, what kind of fee are we talking about? Let’s be honest here, Star Wars without John Williams doesn’t become the major phenomenon it becomes. Same with Jaws. What’s that potential worth? Then we have guys who are always in demand like Hans Zimmer. Zimmer & his composer factory. What do you think he’s pulling down? Howard Shore is a composer I think about often. Where did he go? He only does these small indie films. All these crazy superhero movies getting made & not one person has thought “Hey, let’s get the guy who did the music for Lord of the Rings”. Who else would love a Shore superhero theme? So does anyone have any idea what these guys make for the big budget tentpole style scores? How much is a John Williams score worth to a producer?
  8. Any word on who is scoring this? Or if anyone is scoring it? Can never tell with Scorsese if it'll be needle drops or Howard Shore or both. There was a spell there from Gangs of New York to Hugo where Marty was using Howard on every film. Then on Silence he went with a Japense composer. Hopefully Howard Shore gets the call. I just don't understand why that man doesn't get more work. I mean, no blockbusters at all? No Marvel movies? Nothing? Just little indie dramas. Is he difficult to work with? Or does he cost too much? I just don't get it. I thought after LOTR he would become HUGE. But come on? A Twilight sequel? That's all? I'd kill to hear a Howard Shore superhero theme.
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