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  1. Here's a lengthy interview with Danny Elfman where he discusses his whole career http://www.buzzinemusic.com/interviews/music-interview-danny-elfman-tim-burton-25th-anniversary-music-box-grammy-museum-06122011 Note there's 3 pages
  2. I created this thread, because as my knowledge of film music in general is evolving, Patrick Doyle appears more and more as an essential and respected "living" composer. Any favourites of Patrick Doyle? Murder on The Orient Express, Henry V, Carlito's way, Much ado about nothing, Sense & Sensibility, Hamlet, Gosford Park, Harry Potter and the Goblet of Fire, Eragon, Rise of the planet of the apes?
  3. New Zimmer interview https://www.gq-magazine.co.uk/culture/article/hans-zimmer-interview-2020
  4. I was surprised to find out that there wasn't an official thread for this musical genius that (in my opinion) is just as good as Williams, if not slightly better... What are your opinions on this awesome composer and what are your favorite pieces? Personally, I'd like to start with something practically unknown from him. Not his best of course, but a truly funny piece!
  5. CINEMASCORE COMBINED HORNER ARTICLES http://jameshorner-filmmusic.com/cinemascore-combined-horner-articles/ We’d like to thank Randall D. Larson and Steven Simak in their seminal efforts to bring the insights and experiences of film composers to the small but dedicated public that appreciates film music. These early looks into the career of one of Hollywood’s best known and prolific composers are a treasure, and we are grateful they have allowed us to republish their works of yesteryear. COCOON (OR EMOTION) BY JAMES HORNER http://jameshorner-filmmusic.com/cocoon-or-emotion-by-james-horner/ In 2013 we have definitely been spoiled by Intrada, with three James Horner albums: after the vibrant and unpublished In Country, the valiant and percussive Clear and Present Danger, here is the emotional and sensitive Cocoon. This is the perfect opportunity to revisit this outstanding music composed at the beginning of the Maestro's career, and look at the new elements of this edition. VIENNA 2013: INTERNATIONAL FILM MUSIC SYMPOSIUM http://jameshorner-filmmusic.com/hollywood-vienna-2013-international-film-music-symposium/ For an hour and twenty minutes, before an audience of 200, the composer answered questions from Robert Townson and the public. The conference featured five video clips from the following films: A Beautiful Mind (Creating "Governing Dynamics"), Braveheart (A Gift of a Thistle), Legends of the Fall (The Ludlows), Avatar (Jake's First Flight), and finally Titanic (Rose). James Horner's emotion during each sequence, the precision of his answers and the proximity of the composer made this conference a special and unique moment. We are pleased to provide you our impressions, accompanied by three video excerpts.
  6. His name is Abel Korzeniowski. He is a polish composer, he has done a few well-received scores here and now he has been making his way in the US. So far he's been working on rather small-budget/independent movie, but his latest project, Tom Ford's A Single Man , mainly due to Colin Firth's award-winning role, may earn some recognition, and so may the music (it's already mentioned as a possible contender for the award season this fall). Korzeniowski's style is minimalistic when it comes to melodic lines, but at the same time he doesn't refrain from using rich orchestral palette. Here are some of the clips from his various scores (from his website - so they are legal): A Single Man - Sunset Battle of Terra - Journey through Space Confessions of a GoGo Girl - Especially You Fritz Lang's Metropolis - Symphony of Fear (trailer suite) If you like it, I recommend you to check out his web site. Under every project of his there are always cues to listen (often 5 or 6, which - in case of smaller movies - is perhaps the whole score).
  7. If you watched Battlestar Galactica or The Sarah Connor Chronicles, you might recognize this guy. I think he does a great job. Anyone else buy his albums for Battlestar Galactica? He also does an admirable theme for Sarah Connor Chronicles but that's unreleased.
  8. The title says it all. I was just going through some of my Powell collection, and I was taken by just how good so much of it is. Just about all of the scores of his I've heard retain their excitment and interest time and time again. I won't say his scores are perfect or perfectly consistant...but there's more interesting music in your average Powell album than just about any other composer working today. No one can touch him action-wise nowadays. The man actually uses strings, woodwinds, brass, percussion in ways that sound individually conceived. He can have 5 different interesting things going on at once. And he can still bring it all together for a splendid moment of the big theme. Along with Desplat and Giacchino, Powell's the most exciting voice to be introduced to film music in my life as a film-score collector. Just needed to say that yet again. Tangiers from The Bourne Ultimatum by John Powell (my favorite action cue of the past couple of year, hands down)
  9. He, if I need to keep my LOTR talk limited to one thread then ?-man can do all his Michael Giacchino praising in here, were I'm not bothered by it. Comments, complaints? indysolo@comcast.net Stefancos-
  10. Recent posts have shown me that there are people here who truly like his music. Even if it's not all of it. This thread is to discuss his music properly, rather than just arguments or mentions or small side discussions in different threads. Talk about your favorite scores, cues, or anything else. I think the main problem on this forum is that people criticize what they don't know. Hans has so much good music that no one discusses. It's always the bad, and rarely the good, sometimes the ugly His non-action scores are brilliant, and I think those barely get discussion here.
  11. Alright, I figure this guy needs his own thread. The one thread that is all about JNH and his music. We need a place that is centralized and not scattered throughout several threads. Case-in-point, the "What's the best JNH theme" thread is already starting to morph into something else, and I'm afraid we're going to lose a lot of great debate and study. This way, we can go off on a tangent, and everything is still in one place. So, hopefully we, as fans, can gather here and talk about his scores, in detailed analysis, and discuss upcoming pojects and their potential (like Lady in the Water, to name one) and whatever else floats your boat! Have Fun! Tim
  12. It surprises me there never was a Howard Shore thread...
  13. Thomas Newman has been confirmed to be scoring Pixar's 2014 movie "The Good Dinosaur", as confirmed by Film Music Reporter, which I am about to quote. But pay attention to the part I bolded http://filmmusicreporter.com/2013/03/15/thomas-newman-to-score-pixars-the-good-dinosaur/ What the heck is the other major film he is scoring this year?
  14. So, a friend gave me a copy of an old Intrada CD "Hider in the House" for my birthday... and it's breathtaking. After listening to it and doing a little forum-digging, I came to the realization that Young isn't really discussed much here. Anyway, without further ado, I'll do what I can to alleviate this deficiency. A clip from Hider in the House: "Birth of Sandman" from Spider-Man 3: "Concerto to Hell" from Drag Me to Hell:
  15. There's so many threads with Giacchino love and ZImmer love on this forum I thought it wouldn't be out of line to start a Desplat thread. The funny thing about Desplat is how his music has grown on me. When I first heard his stuff, it was while reviewing Hostage for FSM years back. I thought he had a good style but perhaps a little melodramatic for that film. I said at the time that his music would have fit a comic book film very well though. The Painted Veil was the next score I heard and I became more interested but, like a few here, I was left a little cold by his music- like I enjoyed it on a technical cerebral level but couldn't "feel" it. Then The Curious Case of Benjamin Button came out and I was instantly transfixed by it. All of the quirky elements that initially didn't resound with me did. I loved his use of the flute section (something I also enjoy on Birth), the long themes, the evolving harmonies that recall Satie, Debussy and Saint Saens, and the exquisite sense of orchestral coloration. Even his use of the rhythm from the opening motif from Rachmaninov's 1st Symphony (some would ascribe as Horner's "danger motif") wasn't stale or chliche'd because he had the sense to alter the intervalic relationships between notes. Then came New Moon which at first I didn't care for because the main theme was a little sappy and too basic, especially for a composer who had exhibited a high degree of musicality and breadth of styles up to then. But I kept listening and as the score unfolds, the latter cues especially give way to some amazing, energetic action writing, the likes I hadn't heard from Desplat, even on things like Largo Winch. I also really enjoy Lust Caution. The main theme for that is truly moving to me. Something about how he constructs his lines, balances them with their harmonies, and applies a clear sense of orchestration- he also uses countermelodies, something that I haven't heard in ages. I won't say that Desplat is the next John Williams. I have learned my lesson well about those kind of declarations. But, I will say this composer, above anyone else, has given me back that sense of joy, excitement, and expectation for his upcoming releases the way Williams did when he was actively composing. I cannot say that about any other composer out there...well, except for Yared, Chris Gordon and Jonny Greenwood. But that's another thread...
  16. I was recently re-visiting the score for Ori and the Will of the Wisps and I realized again how a great score it is! It takes everything that made the first one great and improves it with some really memorable secondary themes. Recently, the main theme from Wayfinder caught my ear, and I've also been listening quite a lot to The Mageseeker score, and what all these have in common is that the man behind the scores i Gareth Coker, so I though I might start a thread to discuss his works. What are your favorite scores by him? I would definitely recommend both Ori scores if you want to hear the composer at the top of his game, but I also recommend the score for The Mageseeker from this year. I'll leave below some sample pieces from the mentioned scores as a showcase of his range and versatility! This is a small suite of the main theme from the first Ori game, which also appears in the second game: The most prominent new theme from the second Ori game is Ku's theme, and my favorite statement is in this track: The Mageseeker has some great themes and epic action cues, and my favorite is probably this one with Wisteria and Sylas' themes fighting each other: But I also really like the use of vocals in many places, like with Morgana's ethereal and mystic theme: And I also really liked the main theme from a new videogame called Wayfinder: And this is just a small example of his abilities. I also really like his scores for The Ruined King a lot:
  17. What do you think? and recommend? I have "It Could Happen to You" but sadly only has 2 cues of the score... I also like "Conspiracy Theory" and "Being John Malkovich" ... Those descending arpeggios (such as the opening of track #2 on CT ) are delightful.
  18. Anyone heard/like his score the Oscar nominated drama Never Look Away? I think a lot of people here might like it. It is your old fashioned stirring biopic epics - unspools at over 3 hours with a mediation on history and art and love. Enlivened by Richter's score which gets to shine in many sequences bereft of Sound FX or dialog as the lead character paints. This climatic cue has been haunting me today - The beginning reminds me of Man of Steel of all things. But what follows is pretty simple and new age-y but nevertheless quite stirring when you are the mood for it. I think it literally scores the lead character standing still and having an epiphany for 4 minutes as the camera swirls around him.
  19. Well it's definitely been a busy last few years for Mr. Silvestri! I addition to scoring new films Captain America, The Avengers, Flight, The Croods, and Red 2, there have also been a lot of re-issues, expansions, and world premieres of some of his older scores: On 2011-09-20, 1990's Young Guns II had its world premiere on Intrada Records. On 2011-11-02, 1987's Overboard had its world premiere on Music Box Records On 2012-03-06, 1987's Predator was finally given the definitive, unlimited treatment from Intrada Records. On 2012-05-14, 1986's Clan Of The Cave Bear was re-issued by Varese on their ENCORE line. On 2012-10-09, 1992's The Bodyguard had its world premiere on La-La Land Records. On 2013-06-25, 1985's Fandango had its world premiere on Intrada Records. On 2013-07-16, 1994's Clean Slate and 1995's The Perez Family had their world premieres on Music Box Records. Phew! And it's not stopping! According to an FSM poster: http://filmscoremonthly.com/board/posts.cfm?threadID=98085&forumID=1&archive=0 It's a good time to be a Silvestri fan!
  20. Since we have threads for many of the new generation composers I thought why not start one for an old school film composer. After a quick search I could not find a thread dedicated to Elmer Bernstein so here is one. Discussion on his music, the man and his life and possible new releases of his music is the purpose of this thread even though it is not labeled Official. Appreciation and insights, analysis and memories are more than welcome. And if by a chance I missed a possible official thread, would some of the moderators move this one in it. Elmer Bernstein was a long time just a name at the periphery of my film music hobby among many other composers. But over the years after reading and coming across high praise for his work and even listening to some music on compilations came across one score that turned me into a Bernstein fan. This score was To Kill a Mockingbird which has remained a firm favourite ever since. This music exhibited timeless lyricism and deep understanding of the wonderful film based on an equally wonderful novel and showed film composer's subtle mastery at its best. After this I began to explore Bernstein's catalogue a bit more widely and found time and time again classic scores for classic films of the yesteryear that were brazenly dramatic and inventively melodic. I had been only familiar with the comedy scores of the 1970's and 1980's period of his career and even though they were iconic and famous, and in all honesty they had never been my favourites. So it was a joy to find his different sides as it were beyond comedy, which he often scored very straight faced which lended them that clever coat of humor. And digging deeper I found brilliant and touching scores like Birdman of Alcatraz and Far from Heaven, jazzy noirish scores of 1960's like the Sweet Smell of Success and Man with the Golden Arm and his bigger spectacles like Ten Commandments and the trend setting Western score of The Magnificent Seven. And so my exploration still continues and I am always happy to find a new Bernstein score, full of his indelible sound and style. He is a composer that should be remembered among the greats of his generation even though the later phases of his career did not make him widely famous to cinema goers in the late 90's. He was also a strong advocate of film music in general and did a lot of work for the prestige and recognition of the art form, not only by being outspoken but by releasing recordings and being part of series of re-recordings to make classic film music available for a wider audience to listen to and appreciate.
  21. He didn't have an official thread and I wanted to post this fairly recent video interview with Burlingame. I'll probably be the only one to ever bump this thread, haha. Me and @Marian Schedenig appear to be the biggest fans of his on the board. Randy Newman Interviewed by Jon Burlingame from Patrick Russ on Vimeo.
  22. What an amazing composer. I just got Moby Dick and it's fantastic. I also own Salem's Lot and it's also great. What a great sense of orchestration, theme and rhythm this gent has. Wish he'd get more A list projects. He's amazing.
  23. Welcome to the Official Miklos Rozsa Thread! Here, we can appreciate the beauty and craft of one of the 20th Century's great composers. Perhaps the the music theory experts among us can increase our understanding of the intricacies of Rozsa's concert and film works. To start things off, here is a recording of Elmer Bernstein conducting Rozsa's suite from "Plymouth Adventure." The piece starts off with a rather rousing rendition of a period hymn, before transitioning into a romantic sequence, based on first a heartfelt, passionate melody (one of Rozsa's best, I think), and then followed by a lovely, lighter passage. This segues into an upbeat dance-like episode, which is followed by some very energetic and salty adventure-type music that builds up to a restatement of the hymn melody in fanfare form. The chorus comes back in for the climax, and the very conclusion, I think, is rather Williams-esque. Anyway, here it is:
  24. Emile Mosseri is an exciting up-and-coming composer with an entirely unique and well-developed voice of his own, combining influences from Morricone, Glass, Nyman, and Elfman (he's cited Edward Scissorhands as a favourite in this interview) with a background in indie rock to not only fashion fascinating soundscapes, but also to employ pared-down ensembles and traditional instrumentation in a way that is both cognizant of prior methods and yet still very fresh. He's the latest in a line of composers whose varied musical experiences have allowed them to form their own synthesis between tried and true foundations and current techniques, with other notable examples being Ludwig Goransson and Nicholas Britell (both composers who I admire very much, coincidentally ). Mosseri's filmography consists of a number of indie and arthouse projects, including The Last Black Man in San Fransisco, Kajillionaire and Minari, in addition to HBO's Random Acts of Flyness and the second season of Amazon's Homecoming . His next project is Jesse Eisenberg's upcoming directorial debut titled When You Finish Saving the World, and with his recent Oscar nomination for Minari, he's sure to have plenty of other upcoming opportunities to explore and expand his sound in the next few years. There's something very refreshing about his music, which ranges anywhere from whacky, synth-infused pop to gorgeous lyrical piano and vocal duos. I have some thoughts about each of his scores, and because I've embedded a number of YouTube links I've decided to keep them in spoiler brackets so as not to cripple the webpages of any mobile users, as they often slow things down for me. Fortunately, his score for Random Acts of Flyness is available to stream on SoundCloud, although I don't have anything to say about it presently. In any case, let's take a look at some highlight tracks from the rest of his work thus far: Kajillionaire (2020) Homecoming: Season Two (2020) Minari (2020) The Last Black Man in San Francisco (2019) Each of Mosseri's albums feature fairly simple presentations, but they always offer a new pallet of completely cohesive sounds and instruments grounded in his quickly forming style and surrounded by his usual furnishings. It's extremely encouraging work to say the least, and I for one find myself very much anticipating his future projects as I play these four scores on repeat. Feel free to use this thread to post about announcements, new releases, interviews, general praise and any other insightful comments. Looking forward to what comes next!
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