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Gustavo Joseph

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Everything posted by Gustavo Joseph

  1. Works so well in the movie, will dive in the CD now.
  2. No Time To Die - liked the movie, liked all things Bond-related and didn´t care about Blofeld or Remi Malek. My Craig ranking goes: Casino Royale > Skyfall > No Time To Die >>>> Spectre >>>>>>> Quantum of Solace
  3. Great topic! I remember in the 90's / early 2000's most of trailers used music from other movies, like Randy Edelman's scores from Come see the paradise, Dragon: The Bruce Lee Story and Dragonheart featured prominently in a lot of them, or Bishop's countdown from Aliens, a champ on action movies trailers. These days I don't watch a lot of trailers, not a spoiler fan, but my perception is that they use much more original music made specially for the previews. Is there's some cue or score used a lot in trailers these days? And a great original trailer music is Jerry Goldsmith's Extreme Prejudice.
  4. Old (M. Night Shyamalan) I'm a fan, except for Last Airbender, Another Earth and Glass, and found this one OK. Some nice moments in between, but the conclusion, although clever, isn't well executed IMHO
  5. John Williams is probably the composer most associated with the Olympic Games, with three themes comissioned for the 1984, 1996 e 2002 events, plus a great piece made for NBC in 1988. However, many other composers had works comissioned for the Olympics. I'm going to list here the ones I'm aware of, and I would very much like your contribution to make this list as complete as possible. 1896 - Athens Spyridon Samaras - Olympic Anthem (declared the official Olympics Anthem since 1958) 1964 - Innsbruck Bugler's dream (Leo Arnaud for the album Charge! in 1958) - not composed for Olympics, featured in telecasts since 1964 1968 - Grenoble (Winter) - Chant Olympique - Francis Lai (link?) 1980 - Moscou - Moscow Fanfare - A. Golovin - Waltz from the movie A Hunting Accident (Eugen Doga) - used at the opening cerimony (also at 2004 Sochi Winter Games) 1981 - Leonard Bernstein - Olympic Hymn (for the COI Congress) 1984 - Los Angeles - Olympic Fanfare - John Williams - Power (music for the weightlifters) - Bill Conti - Reach out (music for track athletes) - Giorgio Moroder and Paul Engelmann) - Grace (gymnastics theme) - Quincy Jones - Junku (field theme) - Herbie Hancock - The Olympian (closing theme) - Philip Glass 1988 - Calgary (Winter) - Winter Games - David Foster 1988 - Seul - Hand in hand (official theme song) - Giorgio Moroder , Kim Moon-hwan (korean lyrics) and Tom Whitlock (english lyrics) - The Olympic spirit (for NBC) - John Williams 1992 - Barcelona - The Torch Theme (The Flaming Arrow) - Opening Olympic Fanfare - Angelo Badalamenti - Ryuichi Sakamoto - music director of opening cerimony - Canto olympico - Mikis Theodorakis - Amigos para siempre (song) - Andrew lloyd Webber and Don Black - Barcelona (song) - Freddie Mercury and Mark Moran 1996 - Atlanta - Summon the heroes - John Williams - The tradition of the games - Basil Poledouris - The power of the dream (song) - David Foster - Reach (song) - Diane Warren and Gloria Estefan - On wings of victory (with parts of Mr Holland's Opus's score) - Michael Kamen - Javelin (Michael Torke) - premiered in 1994 2000 - Sidney - The Flame - John Foreman - The man from Snowy River - olympic version based on the 1982 score (Bruce Rowland) - Eternity - David Hirschfelder 2002 - Salt Lake City (Winter) - Call of the champions (John Williams) 2004 - Athenas - musical director - John Psathas 2008 - Pequim - You and me (official song) - Chen Qigang - Closing cerimony composer- Klaus Badelt 2012 - London - Survival (official theme) - Muse - And I will kiss, Caliban's Dream (songs) - Rick Smith (from Underworld) - Parade of the athletes, Medal Ceremony and Spirit of the flame (David Arnold) 2016 - Rio de Janeiro - Alma e coração (official theme) - Leo da Baixada, Victor Reis and Rodrigo Marques - Brazilian fantasy, Countdown, Medal victory song and Vinicius o mascote - Alexandre de Faria - Opening ceremony featured Bachianas n.5 (Villa-lobos), Construção (Chico Buarque) and Antonio Pinto's score from Central Station 2021 - Toquio ???? Looking forward for your additions and corrections!
  6. Usually not a Marvel fan, but enjoying the series, and the score by Natalie Holt is very Dr. Whoesque, love it. One of the better Marvel scores, so far, IMHO. Hope she gets to the big MCU movies, they sure could use a little more personality in the scores. (exceptions are the Ant-man music by Beck and Giacchino's Doctor Strange).
  7. Thanks for mentioning the podcast, we really appreciate it.
  8. I think there's a lot of score, even some mickeymousing in the funny scenes. The main theme is very charming indeed, but i prefer the theme for Lucas's friend, Alberto, like in the second half of Take me gravity. This theme in particular is similar in style to his main Wendy and Beasts theme, for past scores.
  9. I listened to the score a few times, very good use of electric guitars and female voice in a few tracks, must be great with the movie, set in 1970's London, but not a very enjoyable listening experience isolated. Of course this can change after actually watch the movie.
  10. I understand that Prince Philip visited Boston in 1992 and Williams was commissioned to write this piece.
  11. Great idea for a thread! Besides the great Godzilla theme by Ifukube, the main titles for the 1960s Toho Godzilla vs King Kong is a favorite. The requiem Ifukube composed for his last score, Godzilla vs Destoroyah is beautiful. The new Honkelborg score is so-so, but found it a little better than his usual output, which I tend to dislike. There's a few electronics in the lenghty Tasman Sea that sounded cool, but that's it. Godzilla's new theme is hammered down in the same format all the time, Kong's theme is very unmemorable to me, and couldn't find any really good material. We could only dream how awesome McCreary's score would have been.
  12. I liked both movie and score, it's a very smart approach to slowly reveal the Captain theme through the movie, and not overplay it. In the album, JNH altered the order of some tracks, probably to have this theme spread through it. I very much prefer to hear There is no time for stories in front of Kidd visits Maria. Hope he gets an Oscar nod for this.
  13. The movie is very weak, and Clooney insists on trying to create false actions scenes, and poor Desplat tries to make dream sequences and alarm beeps sound exciting and dangerous. The main theme is pretty good and sounds like a requiem, and the child theme is beautiful. The cues The Midnight Sky and Iris in the Stars represent them very well.
  14. I liked the score a lot too, finally Zimmer delivered a great upbeat superhero soundtrack. The truth theme is amazing. His music for Batman and Superman certainly fitted the vision of Nolan and Snyder, but his work for the Spiderman / Electro film was so bland.
  15. Just listened to Enola Holmes (Daniel Pemberton), a charming score with a very good main theme. A pleasant listen.
  16. I'm having a great time reading this new book by Paul Hirsch, the master editor of Carrie, Ferris Bueller's Day Out and, of course, Episodes IV and V. Hirsch tells terrific stories about each film of his career, from the beginnings with Brian De Palma (which he calls his true mentor), and almost always has something to say about the composers. He tells things I wasn't aware of, like producer George Litto (which he clearly dislikes) wanting a pre-Jaws John Williams to score Obsession (1976), promprty refused by De Palma, who was very keen on hiring Bernard Herrmann. The Herrmann stories are great, and very sad at the end, with the composer dying during a new peak of his career. Hirsch also liked Georges Delerue a lot (Black Stallion Returns and Steel Magnolias), was responsible for the choice of his friend Basil Poledouris to score Protocol (1984), and there's some inside stories about the rejection of the scores of David Shire's Steel Magnolias, Bernstein's I Love Trouble (a nightmarish production) and Silvestri's Mission Impossible (which was due to a literal lack of communication between the composer and De Palma). Highly recommended!
  17. hahahaha sorry about eventual english cacophony, it's not my first language, but I bet these "new"Amazing Stories plots felt unoriginal even for the original run of the Twilight Zone
  18. The directors like that sound, it has the sound of a much grittier NY than the one we have today. I think it fits the movie very well (great movie, by the way)
  19. Saw episodes 1 and 2, the plots felt so old. Even the new opening credits looks kind of odd with that great theme (one of my favorites).
  20. Just saw J'Accuse (2019), a very good Roman Polanski movie, his better since The ghost writer (2010). Terrific acting, great pacing. There's only 20 or so minutes of music in the 132 min movie, always tense and urgent. The album has a few more, including a good Dreyfus theme that doesn't appear in the film.
  21. Absolutely indeed, I love Mr Lawrence, great score! I know, it's a lot, but probably the ones you think were more important as storytelling and also became popular. The Terminator is a good exemple, I guess.
  22. Thanks for the link, it's cool that Lopatin admits que influence, the music works wonders in the scene, reflecting the feeling of pleasure/power Howard feels while taking stupid decisions, but the lack of a credit for Geinoh Yamashiroguni it's highly questionable. Enjoying the topic and preparing a podcast episode about Uncut Gems and electronic / synth scores, we're mentioning some favorites; a few of my personals are A Clockwork orange (Carlos), Halloween (Carpenter), Stalker (Artemiev) , Thief (Tangerine Dream), Blade Runner (1982), Hoosiers (Goldsmith) and Annihilation (Barrow & Salisbury). Any favorites of yours?
  23. I'm a fan of the Uncut Gems score too, great work. The track Windows is really (really!) reminiscent of Kaneda's theme from the Akira (1988) soundtrack.
  24. Just saw the movie, the score is good, helps the movie a lot. The obvious highlight is the Night Window scene indeed, with an almost Lord of the ringish, otherwordly colour. Not a big fan of the cue for the signature shot (the final run scene) though.
  25. I like that track a lot too, but it didn't made it to the movie, the director used Dvorak String Quartet 12 instead. The scene in question didn't worked very well, so they probably tried to change the only thing they could - the music. I'm actually pretty found of this score, after a few listens, it's too long but it has a good 30/40 minutes of pretty good stuff.
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