Carnifex

Sibelius scoring for a western? As a Finnish it is an impossible equation. Much more suitable would be a war movie on the Winter War for example.

But we have one genuine classical composer Robert Schumann, but he rarely compose to films. Last I know is the 80's film Willow.

When Horner is ripping himself or other composer he is to be bashed, but Silvestri is given an absolution in form of reminiscent. He is too damn good.

I am not sure if I understand your statement. Do you imply that participating in one of the most popular and beloved series (James Bond series) and stepping in shoes of the great John Barry is a step down in composers career? Not that I don't miss his spectacular scores, but Arnold's "Tomorrow Never Dies" is one of the best soundtracks in the franchise and one of the best action scores of the 90s in general. His other 00-projects (The World is Not Enough and Casino Royale) were also very effective and enjoyable. Only "Die Another Day" can be considered as a flop, but still it cointains of a great deal of decent cues. It's definitelly not a Bond franchise which can be considered a let-down in Arnold's career, but rather what he does or does not except it. Instead of major pictures, he keeps scoring small and often insignificant projects, some of which happen to be a terrible movies. Since he lives and works back home in England, I don't expect many blockbuster directors and producers hire him, when they have people like Jablonsky available next door (sad but true). While I highly enjoy (the music from) "Stepford Wives", "Amazing Grace", "Four Brothers", "Baby Boy" and so forth, I cannot say these movies were important enough to elevate him back to the place he shared or was about to share in the 90s. But then again, he is still quite young composer. Soon there will be another Bond movie (which meas BIG score for a BIG and IMPORTANT picture), later he will score 3rd Narnia film (one of my most anticipated scores so far), so I (quite optimistically) expect him to be back with A BANG in the near future . Yes well we have a different opinion about the value of the Bond scores, to me he could have aimed his energy to better projects. I regard the films sometimes entertainable to watch, but music is something I have to bear whilst watching. After Tomorrow Never Dies he has composed to classic gems like Shaft, Zoolander, Stoned, and of course other Bond films. To this day his period of renaissance is focused on the triad of the mid 90's mentioned in my original post. I wait for 3rd Narnia too, let us see what he will form from material of fantastic qualities. I really look forward to hear.

1. Independence Day 2. Last of the Dogmen 3. Stargate ID4 is one of the biggest scores on the 90's. I consider it one of the best. Arnold was about to become a new John Williams but he chose to ruin his career by accepting Bond franchise. One of the great tragedies amongst the film composers in Hollywood. It was a miserable sight to see David Arnold in some Bond event playing themes of Bond with acoustic guitar (or was it electric?). I felt really low for him.

Alan Silvestri one vote!

The Hall is even prettier inside, all those wooden structures visible. If you visit Finland be sure to have Sibelius in your MP3-player, not the Rasmus. You should also witness the lake region in our country and Lapland too.

I could not agree more, I am glad there are other people too who thinks like that. There are some schmaltzy qualities in it.

Jurassic Park easily, my first Williamsian moment.

Dead Men Don't Wear Plaid. I laughed so much. A valuable add to my collection. Miklós had pretty dramatic stuff.

There shall be opposed words none.

I stumble before the witty remarks of yours. Criswell predicts that Lalo's Enter the Dragon is full of garbage. Do not speak about him next to Conti.

Do you mean Lalo Schifrin's Enter the Dragon?

The music makes action scenes look like 'laurel and harry' (e.g. the break in in the museum by the team). When there should be suspense, the music is simplistic and joyful (Thomas doing his tricks). When there should be no music (e.g. in neutral dialogue) there are some annoying repeating motivs constantly in the background. Pop songs pop out of nothing feeling very misplaced regarding the on-screen emotions (e.g. in the finale). There are examples like this throughout the movie. I really found myself asking: when does this music stop? at least every other scene. And then there can be said a lot about the music itself too, but let's not. Of course it's all IMO. That cool attitude is exactly what they wanted for that film. Conti said that Thomas Crown is slick guy who needs that laid-back music and I am sure they agreed about that with McTiernan. One example of using cool style explained by Conti is that tap dancing. I must watch the film before commenting further.

Yes I might watch it again someday. Could you clarify some elements of amateur scoring in that film, some scenes?

The film is not bad, not my favourite but still.

The Right Stuff contains some of the greatest music he has composed. Yes it partly sounds like Holst and it is short, Conti had some weeks time to compose it. He has said it is an homage. Where do you hear this electronics? I hear in the beginning, but not much after it. Maybe I have misssed it.

There is nothing wrong with his scoring. One of the most talented guys in Hollywood. Besides his arrangements are much sought after there. As far as his scores are concerned, I cannot stress more the excellency of the Masters of the Universe and simultaneously his smaller scores like Broadcast News. Very versatile composer.

Maybe it is time to introduce Ryan Shore to Hollywood.

I really hope that Conti is with them. The score for the first film is excellent, just listen to that piano...

I concur it was an excellent concert. I hope we will hear more film music soon. Perhaps The Lord of the Rings- symphony?

Blade Runner, I cannot imagine anything else surpassing it.

The concert in Lahti was exquisite, absolutely fantastic! The Sibelius Hall there has been ranked amongst the best concert halls in the world concerning acoustics. The difference was enormous comparing to the concert hall in Turku and so was the skill possessed by the musicians. I was sitting in the first row seat in front of the violins so they were emphasized slightly. You can see the programme in the previous post. The concert did not begin with premium quality as the players had some difficulty with the beginning of the Superman March, but soon they managed to raise the level fast. The Suite from Far and Away was sheer display of talent and emotion, absolutely perfect. It could have been Mr. Williams on the podium instead of Jaakko Kuusisto. Too bad uillean pipe or bodhrán was not produced, but it was not that important. No bad word for this. Three pieces from Schindler's List, was a mixed experience. The violin soloist was not Itzhak Perlman obviously, so there was some wavering and one clear error made. But that was only in the Theme, other two were played quite nicely. The Suite from Phantom Menace was loud as was exepcted. The orchestra played flawlessly with great gusto. That was the first piece, in which the chorus, Lahden Bach-kuoro (The Bach Chorus of Lahti), partook. In a review by Hornist is revealed that the chorus was not good at all in Hämeenlinna, but I must say it was absolutely perfect in Lahti, one complain might be that it should have been twice as larger in order to match the volume required for the Duel of the Fates and because of the proximity of violins it tended to merge into them. They sang without flaws, I think their performance might have been worse than in Lahti, which is completely natural as they have had more time to rehearse. Nemo nascitur artifex. Raiders March was great! :-) The Suite from JFK was one of the high moments of the concert. Having previously heard the trumpeter crawling before the solo in Turku I had prepared for the worst, but my anxiety vanished as I heard the limpid sound of trumpet after snare. I thought I was in heaven, no breaking sounds at all. I was happy to hear it as it was composed. The same I can tell about the strings which was required there furious. And then the moment I have been waiting for the most: Hymn to the Fallen. Again Lahden Bach-kuoro participated, and sang with perfection. The only act for me to do was to close my eyes and hear the celestial singing and playing. No bad word. And as a finale, the compulsory Star Wars Suite. I had heard this twice already but this was the best of these three. I have some complains nevertheless. As Jaakko Kuusisto decided to tone down some pieces I found The Imperial March and The Throne Room and End Title too reserved. I expect them to be played with full intensity. But the level orchestra played was high, no errors there. I must say this was the best film music experience I have had. Jaakko Kuusisto and the Lahti Symphony Orchestra made quite a performance to us and I would be glad to hear more film music from them in the near future.

I wouldn't say it's horrible, but I agree with Petersen's reasoning for rejecting it - that it was just mocking the visuals. I join here also to defend Randy's score. It was great piece of music and I think it would have been great in the film. Even American viewers cannot argue against the fact that Air Force One was not made with serious mind. I think Mr. Petersen was one of the few who thought against by rejecting Randy's score.

Steamboy and Twister. Steamboy is like Rocketeer's little brother.