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Posts posted by Hlao-roo
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Bernard Herrmann is well-represented in the Top 20. John Williams is not.
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Really enjoying this: https://www.varesesarabande.com/products/the-music-of-patrick-doyle-solo-piano
Marian will be disappointed that the "best love theme ever" is not included, but I'm pleased that the largely unheralded Into the West makes an appearance.
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Why can't they have these things in Houston?
http://www.houstonsymphony.org/tickets/production/detail?id=6803
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Because it's too new and lacks big fanfaric themes and the nostalgia factor that so many are ruled by, so it's a popular choice for hipster JWFans who want a villain for their percieved victimization of scores like Superman and Hook.
"Hipster"?
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In a world of Wordpress domination, I love that Filmtracks, even in its latest design iteration, remains steeped in the aesthetic of the late nineties, early naughtsparticularly with the ScoreBoard still running an amped-up version of Darryl Burgdorf's WebBBS. Broxton and Southall can write circles around Clemmensen, but there's a time capsule element to Filmtracks' idiosyncracies that I continue to appreciate.
Yeah...thats like....yeah...
Not to mention the periodic satisfaction we get from lobbing tomatoes at his featured reviews.
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I'm willing to postpone the closing of the polls, but it's up to the hoi polloi. What do you guys think? Should we give this another couple of weeks, or has everyone who wants to vote already submitted their choices?
Delaying the results by a few months will only make people complain when they disagree with the final results, look at their own rankings and find that they're completely different from what they'd pick now and can't even remember what made them choose the list they posted.
You make it sound like film score fans are fickle or something.
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Hey I didn't mind Marge Gunderson in the movie.
The only new shows I've been watching are 12 Monkeys, Gotham, The Flash and Dallas.
12 Monkeys can be hard to follow, but the characters are likable.
Given your affinity for Buffy (and Columbo), I'm surprised iZombie hasn't found favor with you.
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In a world of Wordpress domination, I love that Filmtracks, even in its latest design iteration, remains steeped in the aesthetic of the late nineties, early naughts—particularly with the ScoreBoard still running an amped-up version of Darryl Burgdorf's WebBBS. Broxton and Southall can write circles around Clemmensen, but there's a time capsule element to Filmtracks' idiosyncracies that I continue to appreciate.
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Question for you Jerry Goldsmith fans. How is the score to Psycho 2? Does it compare to Bernard Hermann's original?
A sampling of opinions here: http://www.filmscoremonthly.com/board/posts.cfm?forumID=1&pageID=1&threadID=1918&archive=1
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But was the story of Williams muscling out Doyle nothing but a rumor? As I understand it Doyle was undergoing treatment for cancer at that time and was unable to score that film.
"Doyle was recovering from leukemia when he scored this film about a woman dying of cancer and they still threw out his music, claiming he wasn't available to make changes. Isn't that what music editors are for?"
(http://www.filmscoremonthly.com/articles/2002/25_Apr---Missing_Rejected.asp)
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Jason Leblanc has OCD.
Probably more OCPD.
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John Williams is better.
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Attack of the Clones is underrated as a score, but I guess the concensus seems to be that it isn't as much a 'Star Wars' score.
What consensus? Jeff Bond raved about it (and he was hardly the only one):
For me, the dissatisfaction with Episode One extended to John Williams' score. Sure, it sounded like a Star Wars movie score, but despite a few memorable set pieces there seemed to be no there there. The score was largely ambient, failing to drive or anticipate the action, seemingly as aware as the critics were that there was no drama onscreen. It was a movie that seemed to lack a protagonist and a definable plot, and that seemed to make things tough for Williams to sink his teeth into the score. I haven't seen Episode Two: Attack of the Clones yet, and for all I know I might dislike it as much as I disliked Episode One -- but something in its story certainly inspired John Williams this time. From the opening post-crawl moments of the score it's clear that something's actually happening in this movie -- Williams' score is motivic, driven by shifting, rhythmic patterns and some impressive new themes (as well as more-than-welcome reprises of many of the old ones). It's sweeping, gorgeous, romantic and exciting as hell. I've seen a few gripes that this score isn't "thematic" enough -- don't you believe it. The themes are there to be found, and part of the fun is seeing how they emerge out of dauntingly complex passages or suggest themselves before their full-blown orchestral statements appear. This is the kind of writing I like best from Williams: rich and thoughtful, clearly fully-engaged by the movie in front of him.
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The John Williams subforum has turned any news regarding this composer into a niche event, safely tucked away so people wont be distracted by it.
Williams became a niche composer long before the creation of the subforum.
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NP: The Librarians (LoDuca)
And how is it?
Just started, actually. But fun in an undemanding sort of way, as LoDuca's TV scores tend to be.
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NP: The Librarians (LoDuca)
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Re Emmys, glad to see Maslany's work on Orphan Black finally recognized, but disappointed The Americans got shafted again (except for a nonsensical Martindale nod).
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I listened to First Knight this morning
You should listen to Lionheart after.
And then A Kid in King Arthur's Court (Redford).
NP: Extreme Justice (Frank)
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What about Morlock?
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I haven't paid attention to the Oscars since 2014.
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NP: Born to Be Wild (Snow)
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Street Fighter (Revell)
Elektra (Beck)
The 100 greatest American films
in General Discussion
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