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Tom Guernsey

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  1. As much as anything, it was more the number of people required to write fairly simplistic music that amazed me. Maybe the director/producers were super demanding and kept wanting something else that Richter/Balfe couldn't provide but still...
  2. Shock horror ;-) I've been on a bit of a Goldsmith kick recently, but that's probably for another thread...
  3. I'm not really disputing that point although I'd say the melodic content was pretty simplistic, but it was undoubtedly effective in the film. But yeah haha... I don't really get it at all. I'd definitely much rather listen to Star Trek: TMP (or anything else by Jerry Goldsmith) any day.
  4. OK, yeah, I get what you mean... my point was rather that it took so many people to write a technically undemanding soundscape (effective though it was)compared to what (for example) Jerry Goldsmith could accomplish on his own. I just find that kinda depressing, especially given that Max Richter seems to be quite famous/popular.
  5. Not sure if that was directed at me... but in any event, it wasn't clear who did what in the film, but I'm sure it's obvious on album if you read the credits.
  6. Late to the party, but having randomly watched it the other night, I actually quite enjoyed the film itself, nonsense though a lot of it was, especially when trying to be scientifically accurate. One of those rare films where I never got the score, not really having any great affinity for Max Richter or Lorne Balfe (His Dark Materials being about the only thing by him I actually like and even the fine thematic material there is let down by the clumsy arrangement). I actually enjoyed the music in the film, working effectively with the overall atmosphere, even if it reinforced by feeling that I'
  7. After the JW scores for Spielberg films which hit decade anniversaries, thought I'd do the same for some other composers, so since I had Restless (2011) come up for Danny Elfman, decided to start with him. Although he was hitting his stride in the early 90s, he didn't actually have any releases in 1991 (Batman the year before, Batman Returns the year after). For 2001, he did the ill-fated Planet of the Apes reboot. I always enjoyed most of Elfman's score for this, although the LLL expanded edition does feel a little long by the end (it is almost 2 hours). Still, some enjoyable sci-fi scoring a
  8. Finally getting around to watching The Pacific (having bought the Blu-Ray in the HMV closing down sale and watched the first episode months ago) and quite enjoying it so far, but definitely don't feel as attached to the characters as with Band of Brothers. The music is fine, but Kamen's is miles better. My other half noted that none of the main actors in The Pacific is now famous - you'd expect by the law of averages that one of them might have done especially when the most famous person in it is kid who played Tim from Jurassic Park (good though his is). They are certainly pretty good in thei
  9. Children of Dune (Brian Tyler) - think this was one of the first things but Tyler I ever bought. Kinda enjoyable, in a epic, slightly nondescript 90s ethnic way. The Cowboy (JW) - Love the complete Varese release of this, especially with the incredible sound quality (and double improvement as I had the release with the channels swapped). Such a fun Williams score. The Book Thief (JW) - Quite a lovely effort, although maybe a bit too warm at times. Plus I still can't quite get over the feeling that it sounds like offcuts from other scores, a bit of AI here, bit of Memoirs of a Geisha
  10. One of the JW Facebook groups did a retrospective of his Spielberg scores for each decade from 40 to 10 years ago. From oldest to newest you get Raiders, Hook, AI, then War Horse and Tintin most recently. Ironically, this’ll be the first XXX1 decade without a new Williams score for Spielberg. Each of these is a pretty great example of his writing during each period of his career; the epic late 70s/early 80s style as he hit his stride in Raiders, the latter part of his bustling mid-80s/early 90s style with Hook, then more contemplative, less busy writing for AI and War Horse; these
  11. Oh of course. I have that but forgot it was Slatkin on the old varese album too. The Naxos recordings being much more recent. I found the violin concerto somewhat hard work as I recall. Will have to revisit that and Treesong.
  12. That would be great. I think there’s a couple he’s yet to record, the flute concerto and Treesong, his more recent violin concerto (I think).
  13. Have you tried the Naxos recording of Five Sacred Trees? I found the soloist to be every bit as good and the orchestral performance is better and recording are much clearer.
  14. That's the one! I had originally typed "A New Life" for some reason but managed to at least avoid that epic JW fail lol.
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