Wesker

One good Robin Williams line deserves another. Joey- "It's not you're fault..."

If it's "melody" you're looking for, I've been listening to Sonata Arctica for awhile, and have always found them to be great in terms of effective verse, hook, ect. A bit one-dimensional, but the genre they operate in is somewhat restrictive at times. http://www.youtube.com/watch?v=fKKnrk-0POs...feature=related

Very good pick. Though, when one watches the film more and more, you begin to notice several little plot-holes and the semi-mishandeled twist at the end of the film. Still one of the best of 2006, though.

To a degree, i agree with what the guy in the video said. Most of the good game music over the years has come from various genres, but a great majority comes from the various RPG/Strategy Games/MMO games. For me, the "craft" peaked with the original playstation games- Scores like Suikoden 1 and 2, Castlevania SOTN, Resident Evil (Ueda=genius) Final Fantasy 7 and 8 along with Tactics, Star Ocean, Tomb Raider, Vagrant Story, Vandal Hearts, Metal Gear Solid, Chrono Cross, Grandia, Valkyrie Profile, ect. The list is huge with games like those, many of which were not only amazing games, but most of which had good, at times even great scores. Today, I don't really like the work of the film composers who tend to venture off into games, as I tend to think there is an excess of music, and, at times, a severe lack of creativity. Giacchino did some great work though, so he is an exception. Gregson-Williams does a serviceable job with the MGS series.

Revell's short but sweet string passages in The Crow. Ahhh, the sound of perfection...

I don't know, the more I look at the whole Pirates situation, the more i see similarities with it and the original Bond, Barry/Norman scenario. The little we know (and i guess we know Badelt was lying/covering for Hans, primarily in that FSM interview after Black Pearl was released) indicates that Zimmer wrote more of the thematic elements, but really didn't progress any further before handing the reigns over to his team. Badelt's contribution, however, is important in a sense- he arranged the version of "He's a Pirate" that connects the more mainstream audience to the series, musically. In a similar fashion to what Barry did for Norman, though on a smaller scale. Many people tend to confuse what a composer and arranger does, because it can be easy to do so, especially in odd circumstances such as these. However, Klaus did take what little Hans gave him, and arranged it in a more "coherent" manner, leaving out some of the overly audacious parts that Zimmer would later add to the films, but still keeping in direct trot with the general MV sound. Once again, this is based around what we have of the collection cd and interview(s), but one can make a strong case I think that this was the more logical sequence of events to the (somewhat) controversial outcome.

Garage sales. And I'm serious. There are some pretty good deals and decent boards if you bring them down low enough.

He should just use The Emperor's Theme... Yeah, true, but it would also sound funny with McCain. Simply because hearing a pasty old guy continuing to say "My Friends" over a 7-min loop of low chorus droning would remind me of Palpatine.

Interesting indeed. Let's see if John's music brings more luck to Obama than it did with Dukakis. Actually- Forget that. John could have written the equivalent of Star Wars for that man and it wouldn't have saved him...

Just watched Perfume: The Story of a Murderer. Wow, Tykwer is an impressive director. I'm hoping his Clive Owen flick coming up will be good, though I'm not a big fan of Owen. Also picked up It's Always Sunny In Philadelphia seasons 1 and 2. Great show, bested only by FOtC.

Heh, yeah- Especially if what Goldsmith's daughter said was true. What was it? She said they were on a date and all Horner could think/talk about was film music? And also that he was a big fan of Jerry as well. I'm tryin' to remember if I read somewhere that Joel said something confirming that all of that was true. I think he also mentioned that he recalled seeing Horner at their house. Small world.

Of course Clovey was a good movie. Only an idiot would argue otherwise based upon the merits of the hand-held camera. Unless that guy can argue otherwise. Which, based upon past discussions, I highly doubt.

Really? I found Pitt to be quite good, actually. More specifically, his form in nearly all the fight scenes was exceptional- miles above and beyond what most actors have done in similar circumstances, in terms of the technical aspects of swordplay and such. It's one of those flicks that didn't sink in as being anything other than mediocre at first, but the more I watch it, the more i think it was actually well executed. Bana really helped it, but Bloom brought it done a few notches. A respectable film.

Not really all that exceptionally surprising, though, Bryant. Legions of women lined up in the theaters with their guilt-trip ridden boyfriends or husbands at their sides forced to watch that train wreck of a film. The more I think I about, the more it makes sense that it performed well. It was a disaster that only needed one gender to come out in full force to really work, with all the damned lines like, "You made me see Cloverfield earlier this year, so you have to see Sex and the City." Yeah, whatever. Least Clovey was was a good flick. bich.

Horner- For writing some very timeless melodies, and, eventually creating a body of work that I respect. I really wish "Hyperspace and Resolution" was used on Aliens after hearing it again today. Also- many of Horner's second tier scores (Searching For Bobby Fischer, Sneakers, The Rocketeer) absolutely stand their ground, and even at times surpass Zimmer's first tier scores (Though this is obviously subjective as to what score fits in what tier, obviously). Zimmer is only becoming more of a force, however, and Horner slowly fading away. And Hans has written some very good music, even within the last few years, so I think he's slowly closing the gap. Here's to hoping JH writes a kickass score to Avatar. Hopefully Cameron pushes him to the max.

Tim Roth in Rob Roy as Archibald Cunningham. Takes so much away from Neeson, and yet when he is killed in the final duel (Some brilliant fencing there as well) it feels great. It was his his small stature, arrogance, and pure disregard for humanity to get what he wanted that made him so great. Pretty cool movie, as well.

The last fifteen minutes or so of Glory are remarkable. The beginning to nearly the final segment of the assault on Fort Wagner are all actually fairly poorly directed, but the final act is incredible. The Last Samurai was good as well, but I have different issues with that one. Yeah, he's a pretty good director. Not close to great, but he delivers from time to time.

WotW a masterpiece? It doesn't suck at all, but what's with this film and the extremists- it's not that special. At all. Who cares what the "serious" critics think. I would enjoy reading a somewhat thorough essay that attempts to outline why the film should even vaguely be placed in such a lofty regard. Or, just hear from someone as to why people would view it as such. In a different regard, I'd also like to read one that outlines why it is some terrible film. It has mediocrity written all over it. WotW is a pretty good example of Spielgy on auto pilot though, and his ability to still rake in the big bucks. Munich comes far closer to deserving the title of masterpiece than WotW. And even that particular masterpiece would be a flawed one. Saw In Bruges. Funny movie. Good script. The ending was "meh", but...

Tropic Thunder's gonna be great. It should do well at the box office as well. I hope Mummy 3 does well just for sentimentality's sake, but I don't know if I'd go to the theater to see it. Did that with The first one, and was pleasantly surprised. With the second, very disappointed....

You would be surprised by how many guys in the business don't even have a BA. Especially as you move into VG music. Whoa. About a quarter of those guys these days can't read almost any music. Or atleast not beyond a very elementary level. Basically, one of the ways you do it is to become friends or a strong contact with a Producer/Director. These days, that's becoming more of a mainstay, actually. If you're in say, RCP, then you wait for Grandmaster Zimmer (the title he prefers) to give the thumbs up, and toss you a few projects. No two people really enter the same exact way. Well, sort of. Anyway, I think you should just try and rough it and learn all you can with the money you can reasonably spare, and really try and make your own first film. A lot of this also has to do with your level of passion- Do you just really like movies, and think you would enjoy making one? Or, is there a feeling within that tells you that you must be making film, or else you begin to feel depressed, almost as though you're wasting time. Unless it's the later, I would seriously question just how much you want to put into film.

Damn right. Atleast someone else here has it at the top of their list.

This is to all the "Nay Sayers" out there See....James Horner CAN write good music! People who would doubt his ability to do so are either ignorant of his body of work, or simply loathe his style. What moron (Insert Vizzini yell) thinks this guy hasn't written good music. I would like to hear some of these "Nay Sayers" come forth saying that ST II is the only good thing he's done.

Storm of the Century was a damn well crafted film, indeed. I get this Jonestown-study vibe about the whole thing- King himself said he studied how people act in groups when writing the piece. I wouldn't be surprised if that event was one he researched. Love the Roanoke bit as well. Kubrick's take on The Shining was well....Kubrick's take on The Shining. He made a film that stuck in the minds of the vast majority that watched it, and there is something very creepy about the mere pacing of the film. This just adds so much to the experience, imo.

I really agree with this statement. Musically, Zimmer was very timid to really develop anything thematic in the film- perhaps out of valid reasons, I don't know. But yeah- All he really does to add to the picture is insert the 2-note horn swell about every three minutes, throw some aggressive short bow strings in, and mix it all together. The siren-like Joker idea was probably the best thing he contributed to the film. JNH could have done more thematically, I assume, even if pressed to rely upon Zimmer's sound. That's where all of this is going, anyway. Zimmer created a very formulaic sound, along with a few other guys, and it's one that isn't difficult to pick up. And because it is currently desired, other composers will eventually emerge with their own spin on the sound, but will also create more, and perhaps, stronger themes. It's already happening, but on a smaller scale.

The rejection of Yared's score signaled to me a demise of that type of scoring approach to a more modern day epic such as Troy. It would appear as if test audiences perhaps were expecting taiko crashes and repetitive, over-blown horn sections accompanied by occasional synths. Who knows. Apparently not Petersen. Anyway, that does not make me dislike Horner's score any the less, as I think it still worked well. Pity that it's so evident that the B section of that love theme hardly appears in the film at all- one can tell Horner probably devised it closer to the airing of the Groban song. Yared's effort get's a 4.5, Horner's a 3.5.