Tom Guernsey

Has anyone who did the kickstarter and has a copy read it yet? I read it voraciously over the last week and really enjoyed it. Don’t really know quite how much to write as I don’t want to spoil any of the interesting nuggets included (although not much I didn’t know already) for those who haven’t got a copy yet! Still overall a fascinating read and makes you want to listen to all of his scores again. 

I love how unabashedly and unashamedly everything in The Orville is so Star Trek like, right down to the books. What's next, The Orville Technical Manual? The Orville Blueprints? Now I really want an Orville universe show set on a space station called Deep Space Wilbur.
 
The Orville is Star Trek in everything but name and NuTrek is Star Trek in name only.

Arrived today:
 

 
Karol 

Another Orville book is coming out!
 

 
https://www.darkhorse.com/Books/3003-524/The-Guide-to-The-Orville-HC
 
 
 
Preview: https://screenrant.com/orville-dark-horse-guide-union/

I’ve been making my way through these recently so might have to shell out for the upgrade. Then again they sound pretty great as it is! Definitely worth the investment for anyone who doesn’t own them as they are a terrific summary of Waxman’s music and a perfect companion to the Gerhardt album.

Listened to some really great stuff this week.
 
Jerry Goldsmith - Bad Girls
 
A nice western score for a movie that, since it was made in 1994, combined Jerry's trademark action music from the 80s/90s with his typical western sound from older movies. A pretty nice discovery! That's the great thing about Goldsmith: he did so many movies that are pretty much forgotten these days so new(ish, lol) fans like myself will always have some great discoveries to make.
 
Christopher Young - Urban Legend
 
The "Youngassaince" continues! As far as I know, this score wasn't officially released so it only exists in a few promos that you can find online. It's pretty great! Young's challenging and dissonant horror music is always engaging to listen to. A nice companion to Beltrami's Scream music. Anyone remember in the 90s, when slashers used to have nice dissonant scores that were also fun? 
 
Christopher Young - Species
 
Another Young 90s classic. It does seem a bit derivative, particularly from Goldsmith's and Horner's Alien scores (the main theme really makes the temp track clear). But the action, suspense and horror music is, as usual, very engaging and entertaining.

I listened to Magdalene yesterday, and I found it a great score, although there are a couple of obvious "influences" from Mozart's Requiem.
Check it out if you haven't yet.
 

 
Pity that he has disappeared from the film music world!
(Although to tell you the truth, I've only listened to 3 scores in total by him)

"No, that's Orff!"
 
It isn't.

Yeah it’s something about Planet of the Apes being ripped off from Stravinsky which shows an astonishing lack of knowledge of Planet of the Apes and Stravinsky…

Yeah it’s something about Planet of the Apes being ripped off from Stravinsky which shows an astonishing lack of knowledge of Planet of the Apes and Stravinsky…

As much as I love Elfman, my feelings are often quite mixed regarding the expanded releases. I'm happy to have all the music, but I tend to find the original albums completely satisfying. The exceptions would be Batman Returns,  Darkman, Dolores Claiborne, Mission: Impossible, Spider-Man...and now Nightbreed. (I can get into the complete Planet of the Apes when I'm in the right mood.)
 
This has always been a Top 10 Elfman for me. It somehow manages to be quintessential Elfman and something really quite distinct in his filmography at the same time. This release is like hearing it for the first time. There's always something interesting going on; so many odd sounds that come and go that make me think 'What even was that?' The tribal percussion sounds excellent, and I love how it dances across my earphones.
 
The highlight of the unreleased music is absolutely 'Ohnaka Go Boom!' which reprises that jaunty, mysterious idea that plays during Carnival Underground and the End Credits. It's performance here is really quite devastating - a perfect fit for a scene that has always disturbed me.
 
Some of the horror stuff doesn't make for pleasant listening, but it's Elfman's only real foray into straight horror, so that gives it a novelty. 
 
Walker's cue is fascinating in how it starts off sounding like someone just aping Elfman's material, but by the end it sounds entirely like Walker. It fits in with the rest of the score while still feeling distinct.
 
A terrific release of a brilliant score. Such a shame the making of the film put Barker off directing. While his directorial skills could never live up to his imagination, we were surely robbed of some brilliant music if this and Hellraiser are anything to go by.
 
 
 

I don't think it's an implied general unacceptability, and Alsop's objection may be stronger than it "needs" to be. But as long as it is virtually the *only* film centred on a world-famous, female, lesbian conductor, it's arguably at this point that *every* film with such a character is portraying it as a villain - and I think that's what her phrasing implies ("To have an opportunity to portray a woman in that role and to make her an abuser", emphasis mine). So I do think she has a point, even if it isn't one that has to be shared by everyone. Rejecting it as entirely reprehensible seems about as extreme to me as generally rejecting the film because of her view on it.

OMG! A video of Seth directly confirming that more Orville is coming!
 
(start at 17:26, the play button should bring you right there)
 
Hopefully it's a season 4, and not a followup movie, but I'll take either!

Gorgeous score! Perfect blend of traditional orchestra with some oriental influences. Lovely and memorable main theme that gets developed extensively, alongside two other main themes, showcasing a strong and emotional narrative, that sounds more complex and mature than the film is scoring. Arturo Cardelús is a great composer and I hope this score allows him to be more recognized. If you enjoy this one, I also recommend his score for Buñuel en el Laberinto de las Tortugas, another fantastic score with a brilliant main theme!

The initial shot of the Tydirium flying over the camera is underscored brilliantly.
The whole sequence is fantastic.

One of those legendary ELF scores with all his trademarks - completely underappreciated. The film is amazing as well - do ignore the Morgan Creek one that is the 98 min version. The Barker cut is truly amazing, one of the first honestly big budget LGTBQ films ever. Very innovative and challenging in its politics that I am very happy that Elfman amplified extensively!
 
It does not make sense to have Cronenberg play his role in the MC cut - the longer cut, you know why he accepted the role. 

Wow. Is this great or what? Young is blasting out career-best work left and right.
 
Movement 1 is brilliant, truly capturing Young's melodic skills and detail in orchestration and, especially, his ability to play with horror tropes - but then the last 4 minutes from 8:00 are a brilliantly dark fable with children's choir and all the best Young orchestral tropes at full display. I love the fact that he ends the movements with that crazy blast of mayhem!
 
Movement 2 is another encapsulation of a magnificent career that keeps escalating into stratospheres - the detour at 4:10 is touching and epic. Makes me wonder what Young would have done with The Lord of the Rings.
 
Movement 3 is very impressive, very much Young exploring horror tropes and going very Goldenthal at times.
 
It is now wonder he has had such a fan resurgence recently. We all know what he does so well. It is fantastic to see producers funding him to do this. I mean, The Empty Man is a great film but it was a massive flop. The Young score, again, is fantastic.
 
So happy I supported the Nosferatu incentive!
 
 
 

So is early TNG, at times!

 
Rob Bowman in particular did a lot of cool angles and dramatic lighting, as director.
 
Oftentimes the writing in early TNG is very hit-or-miss, but the directing was actually far more interesting/striking than when the show "got good" (it become more homogenous and didn't swing for the fences directorially, as much).
 
Yavar

That’s the name I’m gonna give my French restaurant… 
 
But yes Patton is a terrific score although as a listening experience, I favour the original album re-recording. To me it’s performed and sounds better than the original film tracks and has a bit more edge than the RSNO version although I find much to enjoy in that recording. His lack of an Oscar is astonishing if not actually surprising. The plebs love a hit song and a doomed love story…
 
I’m currently devouring the JG book and his Oscar losses are carefully noted. Some are against fine competition where you can’t really fault the winner but several are clearly travesties. Patton, Chinatown and Papillon from that period of his career are film music milestones for highly respected movies. His judicious approach to spotting, artistry and depth is something some contemporary film makers and composers could do with taking on board. When the music appears in those films it’s meaningful but when it’s slathered over every scene like slurry on a field it just becomes wallpaper. I don’t mean to shit on Ludwig Goransson too much but his music in Oppenheimer barely says anything about anything. It just plays incessantly in almost every scene in a droning, vaguely doom laden way. Now he has more Oscars than Jerry, Elmer, Ennio, Alex North…  etc.

It’s kinda Psycho with a full orchestra. If it is What Lies Beneath I’ll get it because it’s Alan Silvestri but I have to admit that the excellent 6 minute end credits suite covers all the best material in a fine concert arrangement. 

I do. All you need is some Howard Hanson and the last movement of Mahler’s 9th Symphony and JW didn’t need to write anything else 😜.

Le petit Garçon -Philippe Sarde 

 
That is a beautiful score. Impressionistic three piece chamber ensemble (piano, violin, clarinet) accompanied by the London Symphony Orchestra. Lovely and never boring. 

It's definitely an acquired taste. I certainty had trouble listening to it back when we only had the bootlegged "film stem" set, but then I got into it a bit more after I'd grabbed an edit someone did (once it became apparent there were gaps in the final edit of the score).
 
It's far more cohesive and thematic than I think people give it credit for, but there's no beating around some of the more abrasive sounds that Kamen likely threw in out of frustration. I certainly have trouble imagining what the more Superman inspired version of this sounded like, because it fits in very well with the other Kamen stuff I've heard (a theme here is straight up taken from Robin Hood!). The action material definitely isn't as cohesive as people might like it to be, but it's got enough energy and personality to it that I honestly don't mind. Really, the highlights are in the dramatic and emotional moments. Very few superhero movies have captured the feelings Death Camp and Logan and Rogue leave me with. They arguably are quite odd for a cape flick, but that's what makes them appealing! You simply will not find anything else with the personality of this, for better or worse.
 
The OST is on streaming if you want a sampler, since it's decently representative of the score (despite some mixes being tailored for the album). The LLL certainly gives a much fuller picture on what Kamen managed to achieve, but I think that'll just depend on if you like any of it beforehand.

I can't believe I only discovered this thread now. Liam Neeson as Frank Drebin?? Color me curious -- and cautiously optimistic!
 
I have fond memories of the Naked Gun movies. Along with the Hot Shots and Airplane movies, they made up the bulk of an entirely distinct category of comedy whose existence was like an island in the long timeline of Hollywood movies. The main reason the absurdist humor worked, of course, was that Leslie Neilsen played the role completely straight but also tongue in cheek. That's probably damn harder than it looks, and I hope Neeson gives a performance that can compare. He has to play the role like he knows the world he's in is ridiculous and absurd but still takes it dead seriously. 
 
More than that, though, the NG movies worked because everyone played their roles straight. There was no winking at the audience. I hope the script treats the audience like adults and doesn't stoop to Deadpool-style pandering.
 
Also, I hope during the opening credits they do something like put up Leslie Neilsen's name and then awkwardly/frantically try to replace it with Liam Neeson's. That would make me laugh.