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"Thomas Crown Affair 2" to be directed by...


robthehand

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Should be interesting. I liked McTiernen's (with that fantastic Conti score). Maybe Verhoven will make a film again, as opposed to a messy cinematic adventure. I hope to god he doesn't go with Anne Dudley again.

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Anne Dudley did an admirable job on BLACK BOOK. Expect more gratuitous sex and mainstream cartoon violence from the best export Holland's ever produced.

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Nah, I don't see Verhoven going that way. I have many reservations about all of his films.....bad composer choices has never been one of them until Zwartboek, and that is hardly going in an MV direction.

Morlock- who is still amazed that Dudley is the only person who's ever won an Oscar for Conti's Rocky theme (and Sexy Thing, of course)

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I really hope that Conti is with them. The score for the first film is excellent, just listen to that piano...

My comment from another thread:

"...Like Bill Conti's score for The Thomas Crown Affair, that I saw yesterday. How on earth could that guy ever win an oscar. I never before found myself looking for a radio playing low volume before realizing that I heard the soundtrack belonging to the movie."

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Heb je wel eens wat anders van hem gehoord?

Yes his rip-off score for that Bond movie and his Masters of the Universe. Bleh.

But his scoring is worse than his composing.

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The Thomas Crowne Affair had an excellent soundtrack, score and songs, and the boot of the score is one of the most enjoyable from the end of the 90's. I love me a real piano score.

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There is nothing wrong with his scoring. One of the most talented guys in Hollywood. Besides his arrangements are much sought after there. As far as his scores are concerned, I cannot stress more the excellency of the Masters of the Universe and simultaneously his smaller scores like Broadcast News. Very versatile composer.

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I, for one, was dissapointed by his score of The Right Stuff. Too much electronics, too much Holst. It basically came down to that one theme. How anyone can think that even comes near the greatness of Under Fire, I'll never know.

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The Right Stuff contains some of the greatest music he has composed. Yes it partly sounds like Holst and it is short, Conti had some weeks time to compose it. He has said it is an homage. Where do you hear this electronics? I hear in the beginning, but not much after it. Maybe I have misssed it.

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Heb je wel eens wat anders van hem gehoord?

Yes his rip-off score for that Bond movie and his Masters of the Universe. Bleh.

But his scoring is worse than his composing.

I sometimes wonder if I'm the only sensible Dutchie on this forum.

You should try his proper Bond score, For Your Eyes Only. Yes it's heavily influenced by 80's disco, but once you get past that you realise that it is superbly written. The brass work especially is great.

And of course Conti came up with the mother of all sports anthems.

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The Thomas Crowne Affair had an excellent soundtrack, score and songs, and the boot of the score is one of the most enjoyable from the end of the 90's. I love me a real piano score.
There is nothing wrong with his scoring. One of the most talented guys in Hollywood.

Please guys do me a favor and really watch the Thomas Crown Affair.

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The film is not bad, not my favourite but still.

The film is fine. The album is ok. Bill Conti might be a nice guy also. But listen what Conti did in scoring the film with his music. It's totally out of place in every scene. (Btw I didn't know it was Conti after I finished watching.) Please watch it again and see what I mean. People here around know at least some basic rules of film scoring and should hear this was amateur scoring.

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The Thomas Crowne Affair had an excellent soundtrack, score and songs, and the boot of the score is one of the most enjoyable from the end of the 90's. I love me a real piano score.

I appreciate the sentiment of posting my post again, but it really speaks for itself.

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Yes I might watch it again someday. Could you clarify some elements of amateur scoring in that film, some scenes?

The music makes action scenes look like 'laurel and harry' (e.g. the break in in the museum by the team). When there should be suspense, the music is simplistic and joyful (Thomas doing his tricks). When there should be no music (e.g. in neutral dialogue) there are some annoying repeating motivs constantly in the background. Pop songs pop out of nothing feeling very misplaced regarding the on-screen emotions (e.g. in the finale). There are examples like this throughout the movie. I really found myself asking: when does this music stop? at least every other scene.

And then there can be said a lot about the music itself too, but let's not.

Of course it's all IMO.

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Yes I might watch it again someday. Could you clarify some elements of amateur scoring in that film, some scenes?

The music makes action scenes look like 'laurel and harry' (e.g. the break in in the museum by the team). When there should be suspense, the music is simplistic and joyful (Thomas doing his tricks). When there should be no music (e.g. in neutral dialogue) there are some annoying repeating motivs constantly in the background. Pop songs pop out of nothing feeling very misplaced regarding the on-screen emotions (e.g. in the finale). There are examples like this throughout the movie. I really found myself asking: when does this music stop? at least every other scene.

And then there can be said a lot about the music itself too, but let's not.

Of course it's all IMO.

That cool attitude is exactly what they wanted for that film. Conti said that Thomas Crown is slick guy who needs that laid-back music and I am sure they agreed about that with McTiernan. One example of using cool style explained by Conti is that tap dancing. I must watch the film before commenting further.

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Yes I might watch it again someday. Could you clarify some elements of amateur scoring in that film, some scenes?

The music makes action scenes look like 'laurel and harry' (e.g. the break in in the museum by the team). When there should be suspense, the music is simplistic and joyful (Thomas doing his tricks). When there should be no music (e.g. in neutral dialogue) there are some annoying repeating motivs constantly in the background. Pop songs pop out of nothing feeling very misplaced regarding the on-screen emotions (e.g. in the finale). There are examples like this throughout the movie. I really found myself asking: when does this music stop? at least every other scene.

And then there can be said a lot about the music itself too, but let's not.

Of course it's all IMO.

That cool attitude is exactly what they wanted for that film. Conti said that Thomas Crown is slick guy who needs that laid-back music and I am sure they agreed about that with McTiernan. One example of using cool style explained by Conti is that tap dancing. I must watch the film before commenting further.

I figured the style was deliberate. Only it just doesn't feel really cool or laid-back. It feels uncomfortable. They should have used real cool music, like Frank Sinatra or so.

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Yes let's be predictable...

That's beside my point, but I'd prefer predictable film scoring over unappropriate scoring, by far.

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Your lack of knowledge about Conti is what is inappropriate.

You know to little to be dissing him.

I'm sorry? We are discussing Thomas Crown Affair here. Tell me Steef, did you actually see that movie?

Btw, I know what I need to know about him.

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That is like saying you know jw is overrated and you only ever heard fitzwily, Heartbeeps and Guide For the Married Man.

I happen to like those scores... :angry:

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The only Conti I've really paid attention to was Thomas Crown, and I loved it! He uses such unusual sounds - the tap dancing, sure, but also the extreme high register of the piano. You don't usually hear that outside of cartoons (when a character walks on tiptoes or something), and I think the fact that he used such unexpected devices for such a "suave and debonair" film reflects well on him. Plus I just plain liked it.

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Indeed. I am not terribly well-versed in Conti, but I do know that Enter The Dragon is a friggin' great score.

Do you mean Lalo Schifrin's Enter the Dragon?

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Obviously.

Morlock- who doesn't feel there's anything more than can be said in the face of such colossal blundering.

Morlock 2- who has the tendency of confusing Schifrin and Conti

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