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This is absolutely fantastic. A 90 minute talk with JNH that really goes in-depth. He really dives deep into his scoring process for Fantastic Beasts, and plays a lot of his themes on keyboard and sho

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  • 1 month later...
8 minutes ago, Richard Penna said:

I wondered what 'new arrangements of some of Howard’s classic, genre-defying scores' might mean. A fancy way of describing some re-recordings?

 

It means new arrangements... like maybe piano arrangements, or suites, or standalone concert pieces.

4 minutes ago, crumbs said:

 

Geez, can they just release expansions of his existing scores rather than re-record them? It's not rocket science.

Eh.... ^

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Who knows, maybe this will lead to the infamous unreleased Lady in the Water suites that were recorded but never leaked!

 

.... but I won't hold my breath! Not even the smaller labels can crack the MNS/JNH scores, for whatever reason.

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17 minutes ago, Marian Schedenig said:

 

giphy.gif

 

Weird timing but it came up in discussion a few days ago, on the Trading Board (I mistakenly bumped the wrong thread but @Richard Penna kindly answered regardless!)

 

Although Lady in the Water had a session leak of the film cues, a bunch of theme suites were recorded during the sessions that went unused (and didn't leak in the sessions nor were they included on the OST).

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  • 4 weeks later...
  • 5 months later...

It wasn't in print for very long, there are not a lot of copies in existence.  Same thing happened with Giacchino's John Carter and Tomorrowland

 

Heck, even Tintin by Williams is OOP on CD now

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The Village is truly an oddity amongst the JNH/M.Night scores. All of the others have excellent OSTs, with no major omissions that I can think of, but this one is treated far more as a concept album, with chronology all messed up and roughly 1/2 hour missing.

 

Signs is the only other M. Night score I'd like expanded - that's how good a job I think he's done with the albums.

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The fact that's it's 3 discs is really irrelevant, what matters is the main program (discs 1 and 2), which totals 2 hours, 6 minutes.  The old OST album was 1 hour so you get twice as long of time spent with the score.


The third disc is bonus tracks you don't have to listen to when the main program's done if you don't want to; The $30 price tag is equivalent to many of their other 2CD sets so think of it as a truly free bonus.

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2 hours ago, Edmilson said:

I listened the expansion last year, it played great in complete form. 

 

But, if you're not sure whether you gonna like it or not, I recommend listening to the OST first. If you like what you hear and want more of this, you buy the expansion.

 

I own the OST and like it very much.

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Strangely I didn't make a compilation yet!

 

Start with this list of awarded albums:

 

James Newton Howard

  • The Fugitive (AFI, Academy Award Nominee)
  • The Village (AFI, Academy Award Nominee)
  • Wyatt Earp (AFI)
  • The Dark Night (shared with Hans Zimmer) (Saturn Winner, Grammy Winner, BAFTA Nominee)
  • Defiance (Academy Award Nominees, Golden Globe Nominee)
  • The Prince of Tide (Academy Award Nominee)
  • My Best Friend's Wedding (Academy Award Nominee)
  • Michael Clayton (Academy Award Nominee)
  • Blood Diamond (Grammy Nominee)
  • King Kong (Golden Globe Nominee)
  • Batman Begins (shared with Hans Zimmer) (Saturn Nominee)
  • Dinosaur (Saturn Nominee)
  • Fantastic Beasts and Where To Find Them (Saturn Nominee)
  • Snow Falling on Cedars (Because!)

 

 

 

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Oh god, Bespin, all these super-famous composers you're exploring for the first time. It's like myself in the mid 90s. I envy you these (presumably) first encounters.

 

Anyways, JNH is one of my favs. I interviewed him a few years back, and I have an OK collection of his scores (about 30 titles). My favourite will always remain WATERWORLD, which is also on my top 10 of all time. Bunch of others, but I've no doubt mentioned them before in this thread.

 

Happy listening!

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I have a lot of JHN in my collection - I just never find the time to listen to it. And chances are, if I haven't heard of the film, I won't have heard the score. So for all I know I'm missing some great stuff just because it's for an obscure movie.

 

I'm finding these days I'm quite content with a playlist of highlights for each composer. So far I've got them for Williams, Powell, Giacchino, Desplat, Horner, T. Newman and Silvestri. (So Bespin, if you ever need help with any of those, drop me a message.) 

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Cool list. Glad you have something from A HIDDEN LIFE on there - his best score since THE VILLAGE. And four cues from SNOW FALLING ON CEDARS, which would probably be my second favourite of his. I disagree with some your other choices, but that's the name of the game.

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I'm currently listening to it, it's possible that some tracks don't survive! I'm sceptic about the Batman cues... (ZIMMER :pukeface: )... anyway....

 

EDIT: BTW how can we now, which part of the Batman scores were written by Zimmer and JNH? Is it documented clearly somewhere? Do they are considered as mostly Zimmer scores or JNH scores?

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1 hour ago, Bespin said:

BTW how can we now, which part of the Batman scores were written by Zimmer and JNH? Is it documented clearly somewhere? Do they are considered as mostly Zimmer scores or JNH scores?

 

That information used to all be located and easy to find at hans-zimmer.com, but a month or 2 ago they launched a completely new version of the website and all that information got wiped out

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3 minutes ago, Jay said:

 

That information used to all be located and easy to find at hans-zimmer.com, but a month or 2 ago they launched a completely new version of the website and all that information got wiped out

 

CENSORSHIP!

 

Honestly, I don't know the style of each composer enough to guess by myself, it's why I ask experts... What they think... are those scores were mostly written by Zimmer or JNH (and I know some additional music were written by a third composer sometimes).

 

Finally, who had the last editorial decision?

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On that movie, on Batman Begins, we truly did co-write every cue together with the exception of the most famous cue, which he wrote, which is the two-note thing. Which is fabulous.

 

So apparently that was a true collaboration, except for that one cue. Anyone know which one he means?

 

Quote

The Dark Knight was a little bit different. We did most of the writing in Los Angeles. His studio in L.A. is about 300 yards from my studio, it’s very close. We split up some of the assignments – he took The Joker and did such a crazy good job on that, I took Two-Face, and then we split up some of the action stuff. I did, predictably, maybe more the psychological stuff, but we went through it and it was great.

 

This one seems like you would need hans-zimmer.com for. Maybe archive.org can help?

 

https://collider.com/why-james-newton-howard-didnt-score-the-dark-knight-rises/

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For The Dark Knight, JNH did all the Harvey Dent's scenes, including the final confrontation between him, Batman and Gordon's family. Zimmer scored the Joker scenes, and apparently most of the action scenes. 

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