Stark

Now... now eventually you do plan to have TALES OF THE EMPIRE in your Tales of the Empire thread?

I think G2014 and Skull Island are modern masterpieces and KOTM is rather close, while GvK is a terrible movie (even if beautiful)... so this time I clearly do not agree with the audience at all.

and you know what?  I still get hyped every time because I know Godzilla is gonna be limited on screen.
 
ok hot take,
 
i loved his character of Ford. 
 
He allows Cranston to shine (and i never minded Cranston's way too early death) because the movie is about Godzilla at that point, not Cranston.
 
Ford is the every day, generic guy, played to perfection.
 
And honestly, i think if Edwards chose a guy like Hiddleston, who i love....he would have felt obligated to give him more of a story or needless lines because it's a popular actor.  Ford was just along for the ride.

Godzilla 2014 is the best Godzilla movie ever made (excluding the original)

Critical and audience reception for every Monsterverse movie:
 

Brian Eno couldn't play any instrument let alone read!

I know this is an old post but I think it needs to be brought up how composing works.

Most composers make a mockup which is essentially the full music created in the computer using a DAW and various plugins to recreate whatever sounds are necessary. These mockups will vary in quality as these sample libraries often have "full strings" patches which represent the full string section, or they also have patches for the individual string sections and you can program first violins, 2nd violins, etc. to get a more realistic sound. If you use full strings, as you play chords the number of string players tends to vary which is why to our brains it does not sound realistic. If you keep the same voicing then sometimes it sounds alright at best.

Technically in that sense, if a composer makes a realistic mockup with a patch for every string instrument, woodwind, brass, etc. they are doing more orchestration and writing a more complete score than john williams is, even if they are not notating anything. 

This is also likely why woodwinds are not prominent in modern film music. It's just easier to do strings and brass. Because we have "full strings" and "full brass" patches, but often not "full woodwinds." And modern composers don't know how to orchestrate woodwinds, so what they do if they use woodwindws at all is mostly for solo lines, rather than any ensemble uses.
 
Composers are effectively music producers and are varying levels of tech savvy. Big composers have assistants which help with tasks too. They also have an orchestrator which translates it to be recorded.

TV and video game composers who never record live music effectively never use sheet music at all.

This has been done since the 90s and john williams is one of the few composers doing it the "wrong" way as no one can hear his music until it is recorded.

Because of this I would not be surprised if plenty of famous composers are quite bad at reading music because they haven't done it for 30 years. Elton John, for example is a classically trained pianist but he said he is bad at reading music because it's been too long since he's done it.

In the same vain, danny elfman likely cannot read or write music more than simply having an understanding of how to read music, but no technical practice to do it at a decent speed to be useful. In the same way my dad is a non-musician but knows how to read music only because he learned what the notes on the page are, what the rhythms represent, etc.

Back in the old days, you would use multiple computers with each computer running one instrument since PC hardware was much slower. You can do multi-computer setups in a lot of Audio software, but these days computers are so fast that you can now load projects with all the instruments on one computer.

As far as modern composers, I would not be surprised if many of them are not particularly good musicians and therefore do not read or write music very well, even if they have the knowledge. Hans zimmer as a pianist would not even be able to play that "Thinking out Loud" ed sheeran piece as it is beyond his playing abilities. If you look at some videos of Ramin Djawadi playing the westworld theme, he honestly wasn't very good.

I would not be surprised if the multi-oscar winning Ludwig Goransson does not really read or write music at a high level despite having studied music and majoring in composing.

just look at how many modern composers no longer conduct their music. 
 

But at the end of the day, none of this has any bearing on whether someone can write good film music or not. Danny elfman is gifted in his own way and writes music in his own style.

It's called representation Yavar.
 
Cal Kestis was a godsend for us Gingers.
 
 
😉

Something tells me you didn't watch Tales of the Jedi
 
Glad we got more animated Star Wars (the best kind of Star Wars) and I hope a new series is soon to be revealed on May 4.
 
It will also fit quite nicely after the Bad Batch finale, continuing with the Empire

Ironically, the 2CD version prior to BSX (with even less tracks) was released by LLL!

I had never bothered to pick up Godzilla, so I just ordered from BSX.  I’ll be the lab rat to see if those tracks are really on there.  You’ll find out in a week or twelve, depending on when BSX gets it to me.

I went for a walk the other day and put on Call of the Wild. This score gets better every time I listen to it. It's very coherent and has a massive soaring heart. It's almost like a HTTYD but with banjos. I didn't exactly love it when it first came out but that has certainly changed.
 
Karol

Be sure to pick up Titanic if you haven't yet - It's a wonderful release, an iconic Horner score, and I can't imagine how insanely high the price will skyrocket once it's out of print.

Nope. It's the same artwork as on the website, which meant whoever submitted them to whatever database Stark used had to make up titles for them.

So me and @Stark have been discussing this anomaly, and discovered that if you purchased the score around at least February 2021, then chances are: you already have these tracks! And they're pretty much exactly what the titles say they are, so I guess we'll find out soon if this is another A.I. situation or not.
 
Given I would've recently gotten the "original tracklist" version from one of Lukas Kendall's several collector sales, I am a bit peeved that this now another BSX release where I bought it before a slightly more expanded release popped up (or at least was made aware of this being something that has happened).

Liner notes writer Jeff Bond had some cool stuff to share about these two new releases, on Facebook:
 
”Okay, this was fun. Several years ago I wrote liner notes for Oliver Nelson’s tremendous score for the oddball missing link movie Skullduggery. This is a real find in great sound from an incredibly underrated and underrepresented composer. Skullduggery sat around for several years until LLL positioned it as the back end of a double album, so now we get another terrific score for a grim little western with Richard Widmark, Death of a Gunfighter. Bonus: Oliver Nelson is best known for working himself to death writing music for The Six Million Dollar Man, and you actually get some Six Million Dollar Man music here as Nelson reused some of his main title music as the opening to one SMDM episode.

I also had the pleasure of talking to Sylvester Levay, one of the major 80s synth score composers and the artist behind the 70s hit “Fly, Robin Fly” about his score for the ridiculous but refreshingly analog action thriller Navy Seals—music that made Jim Abrams laugh so much he hired Levay to score his takeoff of military action films Hot Shots! Thanks to Michael V. Gerhard and Mike Matessino for these wonderful gigs.”
 
 
The Oliver Nelson release is actually HUGE, guys. He's not a minor figure in music; in fact he was very prolific in the world of jazz through the 60s and early 70s until his untimely death at age 42:
https://en.wikipedia.org/wiki/Oliver_Nelson_discography
 
He's only relatively unknown as a film/TV composer because his career was cut very short by his early death, with his highest profile work being the beloved series The Six Million Dollar Man, which a lot of 70s film music fans pine after. He became a favorite of mine as a kid because he wrote my #1 favorite Columbo score, "The Greenhouse Jungle":
 
(I'm far from the only fan of this score; on YouTube I found covers of the theme including one guy in Russia playing it on his Casio!)
 
The only film score of his ever released on album (until tomorrow) was Zigzag, which FSM premiered on CD many years ago, adding the previously-unreleased film recording alongside the unique LP recording. Death of a Gunfighter (I'm a sucker for 60s western scores too) and Skullduggery were his *only* two other scores written for theatrically released feature films! So yeah...despite his discography being mainly non-film music, his film music on album has now just TRIPLED with this amazing premiere twofer. I highly encourage folks to check out the sound samples when released, if you like 70s stuff at all. It's pretty friggin' awesome.
 
This is the release of the YEAR so far, for me.
 
Yavar

https://www.facebook.com/share/p/HLwnigqpi7SG9k3S/?mibextid=WaXdOe
 

Morricone has probably written a couple dozens scores for each of these genres.
 

That's what I think. For Season One, Amazon tried - and largely succeeded - in roping-in a huge number of Lord of the Rings and Hobbit luminaries: Howe, Shore, Plan 9, Weta Workshop, WetaFX; the art director, Jules Cook, was from Lord of the Rings; we're told half of the people on the sound department worked on the films; the costume designer, Kate Hawley, was going to do the costumes for Del Toro's Hobbit; Caligrapher Daniel Reeve and dialect coach Leith McPherson, were all on the payroll, and alll them felt this issue: WetaFX had to redesign Durin's Bane and Weta Workshop had to make a new Narsil.
 
There was an interview of Sir Richard Taylor who said he wasn't personally involved in the show because he "felt I couldn't offer anything new to the television series," and I can only imagine this was motivated by the legal situation, because shortly afterwards in an interview for Rohirrim (which on the face of it offers less opportunities for "new" things than the show) he turned and said: "To be on this journey, making The Lord of the Rings: The War of the Rohirrim, feels a bit like coming home. There's so much that is familar - the landscapes et cetera - but so much that is fresh and exciting."
 
I can only imagine Shore felt the brunt of this issue, because you can feel from his opening titles sequence that he WANTS to harken Rivendell: beyond the contour, the orchestration and harmonic background bear it out. But he couldn't, so he changed the rhythm some and substituted the flat sixth for a tritone.

It looks like the only time anything weird happened, nobody’s money was taken, so I see no cause for worry.

It’s a very nice score, I recommend it.

I'm kinda glad it was Wallfisch and not Banos. EVIL DEAD was 11 years ago. If you listen to the majority of Banos' work in the last decade plus, it's like it's been eaten up by various boring, contemporary tropes. Including, and especially, in the thriller genre. The Banos of yesteryear, who played around with Herrmann beautifully, and who delivered one sophisticated orchestral score after the other (GOYA EN BURDEOS, SEGUNDA PIEL, LAS 13 ROSAS etc.) simply isn't around anymore. Or perhaps he is, and he would be awakened by an ALIEN project, who knows, but I feel like Wallfisch is a safer bet in this day and age.
 
By the way, when I posted the trailer in this thread, I only saw Jay's casting news ahead of me, didn't see NOF posting about it before me. Something wacked up happened there. In any case, can we PLEASE change the headline?

Its kind of important to have these trash film series.
 
We have such amazing and seminal film series...but they wouldn't be nearly as awesome were it not for having a kind of nexus in the form of patently trash film series as their counterparts.

Zimmer's BLACK RAIN! 

Another excerpt from Carrie Goldsmith‘s biography of his father “Deconstructing Dad: The Unfinished Life and Times of Jerry Goldsmith”:
“Did your parents always call you ‘Jerrald’?” I asked.
“Always.  But my father did call me ‘Jerry’ a couple times towards the end of his life; it sounded too weird.”
To his friends in school and later at work, he was always “Jerry.”  However, when he and my mother took his parents with them to the premiere of his first movie, 1956’s Black Patch, his mother was livid about the “Jerry” Goldsmith credit she saw on the screen.     
She complained so much about him using a shortened version of his name, that Dad tried to appease her by using “Jerrald” for his Dr. Kildarecredit.
“But people would come up to me and ask, ‘Are you really Jerrald?’” Dad said.  “And that was it.  That put an end to it.”
Dad paused and grinned caustically:  “Maybe I should have done the John Williams thing and stuck to changing my name from ‘Jerry’ to ‘Jerrald.’  He changed his name from ‘Johnny’ to ‘John’.”
“Maybe,” I said.
“And don’t forget your old boyfriend; he went from ‘Jamie’ to ‘James’, and look what that did for his career.”
  Dad was talking about composer James Horner, who I’d known in high school through a friend of mine he was dating…Dad loved to exaggerate my one outing with Jamie Horner into boyfriend proportions…“