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Tom Guernsey

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  1. Thank you! And yes, it's a good book. Second time of reading it, but not for a while. I rather think that Ross may have warmed to film music a bit more in recent years as I seem to remember him being one of the "film music is crap" brigade. However, I'm willing to put that aside as his insights into classical music are worth reading. Which is more than can be said for some of the snobbier online commentators!
  2. Like Wagner... great moments, but boring quarter hours. OK... not quite, but it didn't quite live up to its initial promise, fun though it is. I thought the main theme was very old fashioned (in a good way), somewhere between Steiner, Waxman or maybe Tiomkin. Probably worth investing some more time to get to know it better though.
  3. One thing that seems quite likely with fans who dismiss JW etc. is that they probably don't actually know his music beyond the well known concert arrangements and famous themes, but have no appreciation of the rest of each score. The ability to write such complex, musically satisfying, thematically engaging music which both satisfies/reflects/emphasises/whatever the emotional thrust of the scene while also matching the picture is quite an achievement in itself. It would be churlish to watch a sequence such as the Asteroid Field from Empire and not conclude that it's a terrific orchestral scher
  4. I think I've finally reached a place of contentment (a "who gives a fuck?" type place) about what other people think about music I like (or don't like). However, I do find the those snarky classical music fans who turn their noses up at film music are kinda tedious and generally rave about music that almost nobody outside their niche enjoys. OK, so hard core film music fans are a relatively minority, but I have colleagues who have film music ring tones... OK, it's Hans Zimmer, but hey, nobody's perfect ;-) I actually love a huge range of classical music (over 2,000 albums worth acc
  5. That sums is up in a nutshell. Before the Star Trek, Jurassic World era of his career, his writing was considerably less bombastic and much more interesting. Whenever I think I'm cooling on his music, I only have to head back to Ratatouille, The Incredibles or Up to remind myself that he actually could do subtle and, as you say, playful, but also emotionally engaging. Inevitably, for the purpose of the poll, I went for Powell, but had you run this poll every 3 to 5 years for the last 20 years I think it could have bounced between all three depending on the stage of their careers, b
  6. Agh, keep remembering little details... was struck by the fact that the last chord of the end credits doesn't resolve, it leaves you hanging. Made me wonder if that was a deliberate way of suggesting that further adventures were to come given the original plan to turn it into an ongoing series. Still, a neat touch.
  7. Maybe, but the big, brassy moments don't have the impact in Conan (at times, at least) that they should, but I agree that his scoring of the quieter moments is equally effective. However, it's certainly noticeable how much less impact the more aggressive parts are than they really should. Entirely agree. It's sincere and reverent, but without being ponderous or having everyone speak in some kind of weird cod-ye olde speak. I know it's perhaps not a direct comparison, but I tried watching Clash of the Titans, made the same year and couldn't get through more than about 20 m
  8. Conan the Barbarian (Basil Poledouris) - Contains very mild spoilers for the film. Like many here, I have only seen a fraction of the films for which I own soundtracks and I genuinely don't recall if I've seen Conan previously but felt this was one of those films worth watching given how much the score carries the narrative so I put it on the Blu-Ray rental list to appreciate Basil's classic score in its proper context. I have to admit that the film was massively better than I imagined it would be. While I think it's pretty well regarded, many movies of the genre are stilted and aw
  9. OK so 2005 was a pretty good year... I decided to be the only person (so far, at least) to vote for Wallace and Gromit: Curse of the Were-Rabbit. Man I love this score. Julian Nott is a national treasure and in any sane world he'd be scoring movies all over. However, I could happily vote for any of the others on the list, except Brokeback Mountain which is the guitar equivalent of Spock's harp playing in Star Trek V (before he learns to play Row, Row, Row Your Boat).
  10. Having a Jerry day to commemorate his passing 17 years ago with a (fairly random) choice from each decade: 1960s: The Flim Flam Man - the recent LLL release sounds amazing for the age and it's a delightfully charming effort, with plenty of hints at better known later scores. 1970s: The Swarm - again, LLL did wonders with the original tapes and it sounds heaps better than the original Prometheus release. While the movie is probably worse than most of the disaster epics that JW scored, I find Jerry's score much more entertaining and fun. You can really hear it looking forward to
  11. I enjoyed it at that time and the acting and production were fine but it didn’t feel more than the sum of its parts. I did enjoy the music though. A little eclectic at times but think I’ll invest in the albums (which are pleasingly not every single note but seem to be curated albums). I think too many years of time travel and end of the universe Doctor Who stories means that such an apocalyptic setup seems a bit meh. I mean. The universe will be saved. Eventually.
  12. Yeah, exactly that. I kinda feel there must be one somewhere, but I can't really think of one offhand, but he's an accomplished pastiche composer and agreed, those are fine scores (although I'd have to revisit The Scorpion King as I don't remember getting much out of it originally).
  13. Yeah pretty much that! It’s got some lovely moments and I have the expanded version but it’s not the most interesting score ever. Is there a score by Debney that could be deemed to be in his own style or does he just not have one? Not being too unkind but I can’t think of one where it doesn’t sound like someone else. Although often it works like gangbusters. His score for Predators obviously heavily leans on Alan Silvestri but is terrific for all that. As an aside, I always find it weird that James Horner borrowed so much but yet always seemed to sound like Jame
  14. Half of my listening is down to what people mention on these threads so glad to return the favour! Hope you enjoyed Flesh + Blood as much as I did! Will have to give WW84 another spin... the first few tracks are especially great but I did kinda lose interest later on as it got a bit more actiony and less fun, but still a surprisingly decent effort. Currently on Powder - perhaps surprisingly for Jerry, the score never quite lives up to the promise of it's memorable main theme (which I always thought sounded a bit like an upbeat version of the theme from The Edge). Nice enough, but n
  15. Flesh + Blood (Basil Poledouris) - In my haste to jump straight to Starship Troopers, I think I forget how great this score is. When it comes down to his sword and sorcery efforts, I think it possibly ranks above Conan for me. Its less sophisticated than Conan and has less variety but I find it utterly thrilling and the action music is some of his best. Whatever your views on the music, the performance by the LSO is sensational. A shame there wasn’t the budget for a top rate orchestra on Conan really. Even though the re-recording is pretty great, there are few that can match the po
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