Carnifex

Ok this has nothing to do with Koraysavas' great lists, I was just curious if there really is some who like that guy.

Ok I admit I created this thread so that we can bash this insignificant cretin, to whom someone has given a name. I think it is good time for all of us to alleviate our minds from bitterness so that we will not commit something horrible in the future.

Even when I was a kid I sensed the aura of schmaltz around it. And that film was made for children!

She Dances Alone (1981) Amores perros (2000) 21 Grams (2003) Salinas grandes (2004) (TV) Motorcycle Diaries (2004) North Country (2005) 'Yes (2005) Brokeback Mountain (2005) Babel (2006) Ok film music freaks, I think this composer should have been introduced much earlier in this series of distinguished film composers. I know he does not have much films to list, but I think we all can list the best five nevertheless.

1. Sinbad: Legend of the Seven Seas 2. Kingdom of Heaven 3. Chicken Run 4. Antz 5. - Sinbad surprised me totally when I heard it for the first time. I thought nobody wants to write that kind of music anymore. One of the best scores at that year. Kingdom of Heaven is as mediaeval as it could possibly be, it captures me instantly when I watch that film. Only miserable factor in that film is Orlando Bloom who almost ruins the movie. That man simply cannot act (excluding an elf). Chicken Run and Antz are tongue-in-cheek made scores that I like so much.

Raiders it is. I am also one who dislikes E.T. I am afraid that the fact E.T. is a bad film affects my stance towards the score.

1. Bill Conti 2. John Williams 3. Vangelis 4. Randy Newman 5. Jerry Goldsmith 6. John Barry 7. James Horner 8. Harry Gregson-Williams 9. Thomas Newman 10. Michael Kamen 1. Masters of the Universe (Bill Conti) 2. Blade Runner (Vangelis) 3. Jurassic Park (John Williams) 4. Independence Day (David Arnold) 5. Krull (James Horner) 6. The Natural (Randy Newman) 7. Dances with Wolves (John Barry) 8. The Right Stuff (Bill Conti) 9. Rocketeer (James Horner) 10. Amistad (John Williams) John Williams not the number one?? Let the bashing begin!

Yes excluding his true masterpiece ID4 nothing much is left. The Last of the Dogmen is a wonderful exception, one of the rare moments when you can see the glimpse of light of his true potential. I think his biggest mistake was to abandon his Williamsian fire and gusto and descend to scoring for Bond-films. Great tragedy, he could have really been the next John Williams.

Why would you not come here, seeing live is always better than a picture. :-)

Honestly our national anthem is the best. Although I would like to hear Finlandia as our anthem.

I have tickets in Lahti. I did not know about that other concert.

I bought the tickets a long long time ago...

If you hadn't noticed, the Academy is flat-out retarded when it comes to film scores.Yes I have very bitterly. But judging from the body of his work no one ever notice him. Nominations are not my main argument but it sure tells something about the attention. They might be retarded but still. Yes I will elaborate. He would be my choice if I want something to be done without courage, a good filler. Usually his scores have maybe one nice track but everything else is safe and dull. He is like Goldsmith: he can make a score to any film genre but unlike Goldsmith he lacks the grandeur and ability to produce memorable themes (Back to the Future may be exeption).If that's what you want to think, you're free to do so. To a certain degree I think I see what you're saying in the "safe and dull" capacity--sustained notes particularly. But I find it ridiculous to call the vast majority of his work safe and dull. And to say that Silvestri lacks the ability to produce memorable themes aside from BTTF is absolutely nuts. Indy4 pointed out some themes. Have you listened to Who Framed Roger Rabbit? Eddie's Theme? And what about his family/romantic comedy scores, like Father of the Bride, The Parent Trap, Stuart Little? Possibly the primary thing Silvestri excels at is writing enjoyable and memorable themes.That may be so. Let us see if I can find something interesting someday. For now I stand behind my words.

Yes I will elaborate. He would be my choice if I want something to be done without courage, a good filler. Usually his scores have maybe one nice track but everything else is safe and dull. He is like Goldsmith: he can make a score to any film genre but unlike Goldsmith he lacks the grandeur and ability to produce memorable themes (Back to the Future may be exeption).

Read the entire first post and you'll see that a collaboration doesn't necessarily mean the composer has to be good. I am aware of your post, but the quality of the scores weights too when adding collaborators to the top five. If either of two cannot meet the standards required it is not a good collaboration. I have never said Silvestri is a bad composer, he knows the art of mediocrity and it is better than to be a bad composer. He has been nominated only once by The Academy, and that was because of the suction of the film itself in my opinion. That shows the appreciation of the members in the music business in Hollywood who nominate the candidates for the best original score. Almost 100 scores and he always fails to get recognized, I wonder why?

Are these smaller scores unknown to me available?

Yes you are right... but there are some scenes related to the War, so I thought I add it to my list. Now that I think I should have omitted that.

Oh my god. And that he is now rightfully a full blooded has-been his appeal is not what it was used to be right?.

What is this big urge to elevate Zemeckis-Silvestri brown connection to the top five? Being a mediocre composer does not get access to the much sought top five.

Gettysburg would be the best (and really, is pretty close) if only it didn't have so many synthesizers. The music is powerful, but it would be so much better if someone re-recorded it with no synths (except for the guitar I guess) I have been thinking exactly the same thing. Let us gather some money and haul Randy to the recording studio with The London Symphony Orchestra.

Glory is better than average, but the best? Horner did not meet the quality of the film. It lacks the strength I would have wanted for that film. Besides it reminds me of Braveheart.

Only piece of information we need to know is that he almost ruined the Gods & Generals soundtrack with his nasal approach.

I would not allow that to the list.

I know we all wait for Lincoln's score with sheer enthusiasm and the wait can be insurmountable because the film is only in a stage of pre-production. Anyway, we can discuss about the scores written for the films depicting American Civil War because to me they tend to be almost always prime examples of a good score. Here are some films, you can add other films not mentioned by me. Gettysburg by Randy Edelman North & South by Bill Conti Gods & Generals by Randy Edelman & John Frizzell Dances with Wolves by John Barry Glory by James Horner Gone with the Wind by Max Steiner Il buono, il brutto, il cattivo by Ennio Morricone Sommersby by Danny Elfman I must say Conti's North & South comes the first with Barry's best effort Dances with Wolves. Everything is almost perfect in these two. Edelman's Gettysburg is excellent if we ignore the fact that it is (at least partially) composed with synthesizers. It is still great score and I would have always wanted to hear it with full orchestra. That massive score is very suitable to the landscapes of Gettysburg. These three listed above are my favourites.

That is my wish. The film will be pure americana naturally.