Erik Woods

Yeah, he personally attacked Erik Woods, and it's far from the first personal attack he's posted on these forums.  And yeah, it was just 48 hours.  He's completely free to post again now - following the rules, just like the rest of us!
 
As the rules state, there's nothing wrong with posting negative opinions, but when 95% of a person's posts are negative, that IS against the rules.  That's the way it is!  Find positive things to say in this hobby we're all here to celebrate together, instead of only negative things!  And don't attack other members who feel differently about some music than you do!

Pretty sure he was mainly banned (actually a two day suspension, right?) for suggesting that another prominent user here was some kind of insincere shill. That's a personal attack, not just negativity.
 
Yavar

I wrote this in another thread on Facebook, so I'll just copy and paste it here.

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As another film music journalist pointed out in another film music group, the focus of the article should have been on “why it didn’t work” and not “this is wrong.”

Also, as long as you pay for the piece of music, you can do whatever you want with it. I mean, Tarantino, as an example, has perfectly demonstrated how to do it right, do it respectfully, and make sure his needle-drops support the narrative of his film(s).
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I also added later...

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I didn’t see any examples in the article as to why it (the cue in question) didn’t work. No specific scenes were talked about and there wasn’t an analysis as to why the piece didn’t work dramatically. All I got from the piece was “using pre-existing music is bad” Ok, it’s an opinion piece but shouldn’t it dig a little bit deeper into why it is bad to use pre-existing music? If you’re not a film or film music connoisseur and don’t recognize the piece being used, does it matter? All that matters is what’s good for the film. I mean, how many people can truly recognize the needle drops of Aliens and Man on Fire in Die Hard?
 
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For an opinion piece, Jon's article just barely scratches the surface of the issue (if there really is one). I think this could have been better handled as a longer piece with opinions from composers, music supervisors, directors, producers, film music fans, film music critics and general moviegoers about the pros and cons of music needle-drops in films, why it is done, when is the right or wrong time to add in pre-existing music and does the general movie-going public even care? Now, THAT's something I would read and find extremely interesting.
 
-Erik-

I wrote this in another thread on Facebook, so I'll just copy and paste it here.

-----

As another film music journalist pointed out in another film music group, the focus of the article should have been on “why it didn’t work” and not “this is wrong.”

Also, as long as you pay for the piece of music, you can do whatever you want with it. I mean, Tarantino, as an example, has perfectly demonstrated how to do it right, do it respectfully, and make sure his needle-drops support the narrative of his film(s).
-----

I also added later...

-----

I didn’t see any examples in the article as to why it (the cue in question) didn’t work. No specific scenes were talked about and there wasn’t an analysis as to why the piece didn’t work dramatically. All I got from the piece was “using pre-existing music is bad” Ok, it’s an opinion piece but shouldn’t it dig a little bit deeper into why it is bad to use pre-existing music? If you’re not a film or film music connoisseur and don’t recognize the piece being used, does it matter? All that matters is what’s good for the film. I mean, how many people can truly recognize the needle drops of Aliens and Man on Fire in Die Hard?
 
-----
 
For an opinion piece, Jon's article just barely scratches the surface of the issue (if there really is one). I think this could have been better handled as a longer piece with opinions from composers, music supervisors, directors, producers, film music fans, film music critics and general moviegoers about the pros and cons of music needle-drops in films, why it is done, when is the right or wrong time to add in pre-existing music and does the general movie-going public even care? Now, THAT's something I would read and find extremely interesting.
 
-Erik-

Scott also got HGW to compose a main theme (and the one or two cues in which it appears) for Prometheus, which was otherwise composed by Streitenfeld.
 
And I don't think the issue is so much a Hollywood composer being capable of writing the music, but whether the director found something pre-existing that they thought worked so well in the film that they didn't think it was necessary for their composer to write something.
 
 
It's only obvious to our community. No regular filmgoer will care or notice, and it's them for whom the director is making the film. Scott will put the music in that he thinks improves the scene. I think you just find this vastly more troubling than some of us others.

I wrote this in another thread on Facebook, so I'll just copy and paste it here.

-----

As another film music journalist pointed out in another film music group, the focus of the article should have been on “why it didn’t work” and not “this is wrong.”

Also, as long as you pay for the piece of music, you can do whatever you want with it. I mean, Tarantino, as an example, has perfectly demonstrated how to do it right, do it respectfully, and make sure his needle-drops support the narrative of his film(s).
-----

I also added later...

-----

I didn’t see any examples in the article as to why it (the cue in question) didn’t work. No specific scenes were talked about and there wasn’t an analysis as to why the piece didn’t work dramatically. All I got from the piece was “using pre-existing music is bad” Ok, it’s an opinion piece but shouldn’t it dig a little bit deeper into why it is bad to use pre-existing music? If you’re not a film or film music connoisseur and don’t recognize the piece being used, does it matter? All that matters is what’s good for the film. I mean, how many people can truly recognize the needle drops of Aliens and Man on Fire in Die Hard?
 
-----
 
For an opinion piece, Jon's article just barely scratches the surface of the issue (if there really is one). I think this could have been better handled as a longer piece with opinions from composers, music supervisors, directors, producers, film music fans, film music critics and general moviegoers about the pros and cons of music needle-drops in films, why it is done, when is the right or wrong time to add in pre-existing music and does the general movie-going public even care? Now, THAT's something I would read and find extremely interesting.
 
-Erik-

I wrote this in another thread on Facebook, so I'll just copy and paste it here.

-----

As another film music journalist pointed out in another film music group, the focus of the article should have been on “why it didn’t work” and not “this is wrong.”

Also, as long as you pay for the piece of music, you can do whatever you want with it. I mean, Tarantino, as an example, has perfectly demonstrated how to do it right, do it respectfully, and make sure his needle-drops support the narrative of his film(s).
-----

I also added later...

-----

I didn’t see any examples in the article as to why it (the cue in question) didn’t work. No specific scenes were talked about and there wasn’t an analysis as to why the piece didn’t work dramatically. All I got from the piece was “using pre-existing music is bad” Ok, it’s an opinion piece but shouldn’t it dig a little bit deeper into why it is bad to use pre-existing music? If you’re not a film or film music connoisseur and don’t recognize the piece being used, does it matter? All that matters is what’s good for the film. I mean, how many people can truly recognize the needle drops of Aliens and Man on Fire in Die Hard?
 
-----
 
For an opinion piece, Jon's article just barely scratches the surface of the issue (if there really is one). I think this could have been better handled as a longer piece with opinions from composers, music supervisors, directors, producers, film music fans, film music critics and general moviegoers about the pros and cons of music needle-drops in films, why it is done, when is the right or wrong time to add in pre-existing music and does the general movie-going public even care? Now, THAT's something I would read and find extremely interesting.
 
-Erik-

Indeed. That would've been a really great and in-depth article, worthy of Burlingame's name and career as one of the most respected film music especialists in the world.
 
What we got was something that seemed like something a newcomer would write for shit clickbait-y sites like ScreenRant or whatever.

I wrote this in another thread on Facebook, so I'll just copy and paste it here.

-----

As another film music journalist pointed out in another film music group, the focus of the article should have been on “why it didn’t work” and not “this is wrong.”

Also, as long as you pay for the piece of music, you can do whatever you want with it. I mean, Tarantino, as an example, has perfectly demonstrated how to do it right, do it respectfully, and make sure his needle-drops support the narrative of his film(s).
-----

I also added later...

-----

I didn’t see any examples in the article as to why it (the cue in question) didn’t work. No specific scenes were talked about and there wasn’t an analysis as to why the piece didn’t work dramatically. All I got from the piece was “using pre-existing music is bad” Ok, it’s an opinion piece but shouldn’t it dig a little bit deeper into why it is bad to use pre-existing music? If you’re not a film or film music connoisseur and don’t recognize the piece being used, does it matter? All that matters is what’s good for the film. I mean, how many people can truly recognize the needle drops of Aliens and Man on Fire in Die Hard?
 
-----
 
For an opinion piece, Jon's article just barely scratches the surface of the issue (if there really is one). I think this could have been better handled as a longer piece with opinions from composers, music supervisors, directors, producers, film music fans, film music critics and general moviegoers about the pros and cons of music needle-drops in films, why it is done, when is the right or wrong time to add in pre-existing music and does the general movie-going public even care? Now, THAT's something I would read and find extremely interesting.
 
-Erik-

I wrote this in another thread on Facebook, so I'll just copy and paste it here.

-----

As another film music journalist pointed out in another film music group, the focus of the article should have been on “why it didn’t work” and not “this is wrong.”

Also, as long as you pay for the piece of music, you can do whatever you want with it. I mean, Tarantino, as an example, has perfectly demonstrated how to do it right, do it respectfully, and make sure his needle-drops support the narrative of his film(s).
-----

I also added later...

-----

I didn’t see any examples in the article as to why it (the cue in question) didn’t work. No specific scenes were talked about and there wasn’t an analysis as to why the piece didn’t work dramatically. All I got from the piece was “using pre-existing music is bad” Ok, it’s an opinion piece but shouldn’t it dig a little bit deeper into why it is bad to use pre-existing music? If you’re not a film or film music connoisseur and don’t recognize the piece being used, does it matter? All that matters is what’s good for the film. I mean, how many people can truly recognize the needle drops of Aliens and Man on Fire in Die Hard?
 
-----
 
For an opinion piece, Jon's article just barely scratches the surface of the issue (if there really is one). I think this could have been better handled as a longer piece with opinions from composers, music supervisors, directors, producers, film music fans, film music critics and general moviegoers about the pros and cons of music needle-drops in films, why it is done, when is the right or wrong time to add in pre-existing music and does the general movie-going public even care? Now, THAT's something I would read and find extremely interesting.
 
-Erik-

What a bizarre, oldfashioned sentiment from Burlingame. I love the variations of Legrand's THE GO-BETWEEN in MAY DECEMBER (although I had to disqualify it for my own best of list as there's not enough original Zavros material), and see no reason for why existing film music pieces shouldn't and couldn't be used in new films, for new effects - just as you can pop music and classical music. They can often be used for humourous effect (like the use of the JURASSIC PARK theme when they see the marihuana field in TED), or for mood (like the many instances in Sam Esmail productions) or for creating unique audiovisual tableaux (like any given Tarantino movie, as Geratewohl says). Etc. etc.

Burlingame should never watch a Tarantino movie. He would be totally confused and put into old spagetti westerns and kung-fu movies. Tarantino repurposed a lot of Morricone film music and other stuff.

I like Burlingame but this is a lame take 

Hands down one of the greatest scores ever written and I'm so happy that it's back in stock for all of those who missed out on LLL brilliant presentation of the score!
 
-Erik-

Hands down one of the greatest scores ever written and I'm so happy that it's back in stock for all of those who missed out on LLL brilliant presentation of the score!
 
-Erik-

The championship game was played in Houston, TX, hence the NASA reference.  

There's definitely more than 35 minutes of goodness in there.
I'd say it's pretty much never a dull moment all the way through.

Hands down one of the greatest scores ever written and I'm so happy that it's back in stock for all of those who missed out on LLL brilliant presentation of the score!
 
-Erik-

Hands down one of the greatest scores ever written and I'm so happy that it's back in stock for all of those who missed out on LLL brilliant presentation of the score!
 
-Erik-

Peter Boyer
 
 
 
 
 
 
 
 

Jermaine Stegall
 
 

More Verta... he even worked in some Superman into this piece.
 
 

Hands down one of the greatest scores ever written and I'm so happy that it's back in stock for all of those who missed out on LLL brilliant presentation of the score!
 
-Erik-

Hands down one of the greatest scores ever written and I'm so happy that it's back in stock for all of those who missed out on LLL brilliant presentation of the score!
 
-Erik-

Hands down one of the greatest scores ever written and I'm so happy that it's back in stock for all of those who missed out on LLL brilliant presentation of the score!
 
-Erik-

If you don't like the first track you don't have a pulse you aren't going to like any of it.