Tom Guernsey 2,280 Posted September 21, 2022 Share Posted September 21, 2022 Frozen Planet (George Fenton) & FP II (Hans & Co) - Fenton's score for the original Frozen Planet is a typically superb mixture of grandiose/sweeping, threatening and a couple of more humorous cues. Against this and the original Planet Earth, I think his score for Blue Planet is perhaps the best, particularly the Deep Blue reworked version (performed by the Berlin Phil years before JW got them on board...), but they are all superb. I don't really know why he is no longer involved in BBC/Attenborough documentaries but I have to admit that I quite like the Hans & Co scores (I can't bring myself to type out their horrible moniker, honestly, it's a terrible name) but the epic stuff is perhaps a bit OTT and the action starts sounding a bit Marvel-esque at times, but a lot of it is pretty good. Impressive how Fenton managed to write the original scores all himself but the new series needs a composing team to write something not quite as good... Parc Oceanic: Jacques Cousteau (John Scott) - Interesting mix of grandiose orchestral music, with some inspired writing for church organ that sets quite a different tone to the type of music that Fenton wrote for aquatic based documentaries. Some of it sounds a bit like Koyaanisqatsi by Philip Glass with the arpeggio sections, genuinely haunting stuff. The American President (Marc Shaiman) - Brilliant, instantly memorable main theme, crowns (pun, sorry) a wonderfully charming, sentimental but occasionally grandiose effort. I mean, I quite enjoy Shaiman's musicals, but I really wish he'd get back to film scoring, he was really terrific at it. LSH 1 Link to comment Share on other sites More sharing options...
Marian Schedenig 8,172 Posted September 21, 2022 Share Posted September 21, 2022 9 minutes ago, Tom Guernsey said: Frozen Planet (George Fenton) & FP II (Hans & Co) - Fenton's score for the original Frozen Planet is a typically superb mixture of grandiose/sweeping, threatening and a couple of more humorous cues. Against this and the original Planet Earth, I think his score for Blue Planet is perhaps the best, particularly the Deep Blue reworked version (performed by the Berlin Phil years before JW got them on board...), but they are all superb. I love both versions of Blue Planet, but I could never get into Planet Earth or Frozen Planet. Fenton was tremendously successful with scoring BP (and later 2009's Life, although he apparently was only the main composer on that) like an action drama (I've posted the avian dogfight sequence from Life here before), but the follow ups always seemed rather wallpaperish to me I'm afraid. Link to comment Share on other sites More sharing options...
Tom Guernsey 2,280 Posted September 22, 2022 Share Posted September 22, 2022 14 hours ago, Marian Schedenig said: I love both versions of Blue Planet, but I could never get into Planet Earth or Frozen Planet. Fenton was tremendously successful with scoring BP (and later 2009's Life, although he apparently was only the main composer on that) like an action drama (I've posted the avian dogfight sequence from Life here before), but the follow ups always seemed rather wallpaperish to me I'm afraid. I guess it must be challenging to score lots of vignettes with no overarching story whereby you can reuse melodies so almost by default some sections aren't going to be especially interesting and/or thematically a bit less interesting, but I do think both of his other efforts are worth revisiting, especially Planet Earth. If nothing else, the opening title theme which swells as the sun appears from behind the planet is spine tingling. However, as I said, totally agreed the Blue Planet/Deep Blue are his finest efforts for Attenborough documentaries. I know he did some earlier ones such as the Trials of Life, but I have a feeling they were predominantly synth, but can anyone confirm? I've not seen that series in ages (but I remember it being, as expected, amazing). Marian Schedenig 1 Link to comment Share on other sites More sharing options...
crocodile 7,983 Posted September 22, 2022 Share Posted September 22, 2022 Planet Earth has some amazing stuff in it, primarily in the first half. Karol Romão and Tom Guernsey 2 Link to comment Share on other sites More sharing options...
Tom Guernsey 2,280 Posted September 22, 2022 Share Posted September 22, 2022 A Far Off Place (James Horner) - Very much one of those Horner scores that sounds a bit like various others of the same period (1993) but isn't quite as distinctive as any of them. It nicely straddles his 80s and 90s styles with busy action, a fine (if, by his standards, somewhat generic) main theme and a few bits of vaguely ethnic percussion and instrumentation. Raiders of the SoundtrArk 1 Link to comment Share on other sites More sharing options...
publicist 4,643 Posted September 22, 2022 Share Posted September 22, 2022 4 minutes ago, Tom Guernsey said: A Far Off Place (James Horner) - Very much one of those Horner scores that sounds a bit like various others of the same period (1993) but isn't quite as distinctive as any of them. Musically, it's quite ahead of them. What you call busy action is occasionally quite advanced Bartok, much more bold than Horner's monotonous Apollo 13-snare beats and the ethnic parts are also quite good, just listen to the distinctive parts that make up the main title (the lilting flute and percussion part leading into the brutal dissonance finally rising into the glorious swelling main theme by way of the hammered piano hits, i mean, that's really quite advanced wrting). Whoever wrote it out, i don't believe for a minute that it's a simple matter of ghostwriting-so-it-sounds-different. That's a much too simple explanation. It rather sounds as if Horner was told that he could go more wild on this one than was usually the case on his children's movies. Link to comment Share on other sites More sharing options...
Tom Guernsey 2,280 Posted September 22, 2022 Share Posted September 22, 2022 55 minutes ago, publicist said: Musically, it's quite ahead of them. What you call busy action is occasionally quite advanced Bartok, much more bold than Horner's monotonous Apollo 13-snare beats and the ethnic parts are also quite good, just listen to the distinctive parts that make up the main title (the lilting flute and percussion part leading into the brutal dissonance finally rising into the glorious swelling main theme by way of the hammered piano hits, i mean, that's really quite advanced wrting). Whoever wrote it out, i don't believe for a minute that it's a simple matter of ghostwriting-so-it-sounds-different. That's a much too simple explanation. It rather sounds as if Horner was told that he could go more wild on this one than was usually the case on his children's movies. I will clearly have to give it a bit more air time. It’s just one of those Horner scores that passes me by I think. My comments probably came across more negatively than I meant but as a fan of Bartok and James Horner that’s definitely a similarity I’ll have to root out! Link to comment Share on other sites More sharing options...
publicist 4,643 Posted September 22, 2022 Share Posted September 22, 2022 18 minutes ago, Tom Guernsey said: I will clearly have to give it a bit more air time. It’s just one of those Horner scores that passes me by I think. My comments probably came across more negatively than I meant but as a fan of Bartok and James Horner that’s definitely a similarity I’ll have to root out! If you have the longer Intrada edition, i would limit myself to cues 1, 5, 6, 12, 14, 16, 18, 19, 20, 21, 24, 25 and 28. The musical downgrade of the past 30 years makes Horner's simpler writing of the 90's, especially in regards to his even-metered action cues, appear better than it is, but this is actually one of the few of his post-Willow scores that has a remarkably dynamic interplay between the orchestral sections. Why that is beats me, but rumour has it because much of it was ghostwritten, which doesn't make much sense. Why take chances when you have little time (especially repetition-happy JH)? Maybe Mikael Salomon loves classical music, who knows. Be that as it may, this kind of sophisticated, orchestrally complex writing did go out of fashion at last with Williams' 'Revenge of the Sith' (which has similar, weirdly complex passages for instance in 'I am the Senate', where i thought 'Gee John, why bother?'). Tom Guernsey 1 Link to comment Share on other sites More sharing options...
Kasey Kockroach 2,343 Posted September 22, 2022 Share Posted September 22, 2022 On 19/09/2022 at 12:47 AM, publicist said: It remains what it always was: a 'sentimental favourite'. The repetitions of the main theme really grate on this 65 minute version. That’s what I said, and I was mildly shunned! Shunned, I tell you! Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted September 22, 2022 Share Posted September 22, 2022 2 minutes ago, Kasey Kockroach said: That’s what I said, and I was mildly shunned respectfully disagreed with! Link to comment Share on other sites More sharing options...
publicist 4,643 Posted September 22, 2022 Share Posted September 22, 2022 5 minutes ago, Kasey Kockroach said: That’s what I said, and I was mildly shunned! Shunned, I tell you! Never fuck with sentimental favourites, it's like dissing ABBA and you don't do it without suffering for it. Tallguy 1 Link to comment Share on other sites More sharing options...
publicist 4,643 Posted September 22, 2022 Share Posted September 22, 2022 Warlock, which for some inexplainable reason pops up as recommendation on Spotify regularly, is no shining beacon in the Goldsmith filmography, to put it mildly. What it is, though, weird synth noises notwithstanding, is a rather unique horror score. Written during the expansive 80's, the last thing on its mind is a loud roar unleashing huge orchestral forces. Instead it's quaint and harsh sounding, with a ominous tik-tok sound echoing a big clock that Goldsmith seems so fond of he basically uses it as a heartbeat throughout. The thematic material, a five-note call close to 'Legend's darkness motif, is not very memorable and the church hymn that pops up at the beginning and the end is ruined by accordion-like synth - i would have liked to peek into Goldsmith's head at the time, the movie itself is entertaining in a cheesy kind of way, but it could sure have used a shot in the arm musically but exactly where the filmmakers practically invite him to the ball to dominate the proceedings, Goldsmith holds back. When you listen to the moments recalling classic Goldsmith, which are the cues 'The Weather Vane' and the big finale (Salt Walter Attack and Salt Flats), they fitfully remind you of Goldsmith's eminent status, but he employs the magic so involuntary it seems he hates his own guts. It was a weird phase for him, but still, you couldn't say he stayed idle. But it's no recommendation, really. Brundlefly and Kasey Kockroach 2 Link to comment Share on other sites More sharing options...
Kasey Kockroach 2,343 Posted September 22, 2022 Share Posted September 22, 2022 1 hour ago, Disco Stu said: You poisoned my water supply, burned my crops and delivered a plague onto my house! Link to comment Share on other sites More sharing options...
JNHFan2000 2,944 Posted September 25, 2022 Share Posted September 25, 2022 Enchanted - Alan Menken I love this score. It's so much fun. And I love Narissa's theme. It's just so powerful. I'm excited to hear what the sequel score sounds like in November. Tom Guernsey 1 Link to comment Share on other sites More sharing options...
crocodile 7,983 Posted September 25, 2022 Share Posted September 25, 2022 Star Wars: Return of the Jedi Willow Jumanji Karol Raiders of the SoundtrArk 1 Link to comment Share on other sites More sharing options...
Edmilson 7,384 Posted September 26, 2022 Share Posted September 26, 2022 I spent the Sunday night with classic romantic comedy scores from the 90s: My Best Friend's Wedding (JNH) - Pretty good! Father of the Bride (Alan Silvestri) - Charming! Father of the Bride: Part II (Alan Silvestri) - Even better than the first one! Now, if you excuse me, I'll go listen to Goldsmith's First Blood and Silvestri's The Predator scores in order to get my masculinity back Bespin and GerateWohl 1 1 Link to comment Share on other sites More sharing options...
GerateWohl 4,326 Posted September 26, 2022 Share Posted September 26, 2022 3 hours ago, Edmilson said: Now, if you excuse me, I'll go listen to Goldsmith's First Blood and Silvestri's The Predator scores in order to get my masculinity back Recently watched the first Predator movie again and was amused how much parts of the score actually reminded me of Back to the Future. Link to comment Share on other sites More sharing options...
bollemanneke 3,337 Posted September 26, 2022 Share Posted September 26, 2022 I listened to a reportedly hideous score while filling out the 12534th job application. Disco Stu 1 Link to comment Share on other sites More sharing options...
Popular Post JNHFan2000 2,944 Posted September 26, 2022 Popular Post Share Posted September 26, 2022 Up - Michael Giacchino I love this score. It's very dear to my heart. And contrary to a lot of other people I think he 100% deserved that Oscar. It's incredible. He get's so much emotion out of Ellie's Theme. And the action music in "Escape From Muntz Mountain", "The Small Mailman Returns" & "Seizing The Spirit Of Adventure" is some of the most dynamic action music he's written I feel Tom Guernsey, Naïve Old Fart and Raiders of the SoundtrArk 3 Link to comment Share on other sites More sharing options...
Mr. Who 919 Posted September 26, 2022 Share Posted September 26, 2022 Murder on the Orient Express (Doyle) - I like this score a lot, especially the train/travel cues and the justice theme. Death on the Nile (Doyle) - Not sure if I prefer this over Orient Express, but it's good, especially the way in which Doyle uses his main theme where the theme can sound completely different. The English Patient (Yared) - A classic score. The Hungarian influence and the Bach influences work very well. I hope this score gets an expansion from one of the labels soon. The Adventures of Tintin (Williams) - Great score that is a bit like a sequel to HP2 and Indiana Jones 4 in a weird way. Snowy's theme is straight out of the Wizarding World. Loads of fun with a nice influence from Catch Me if You Can. The Terminal (Williams) - One of JW's most uplifting scores with impressive clarinet writing. The Survivor (Zimmer) - Haunting and dark score that switches between oppressive sadness to dread to beautiful violin and vocal parts. I want to see the movie to see how it plays with the movie, especially the final cue which is a real highlight. Little Women - (Desplat) - Nice score but nto one of Desplat's best. It reminded me a bit of other Desplat scores that I like more. Outbreak (JNH) - Rather scary score with some nice melodic cues. Very impressive horror/action writing and some of it reminded me of the action music in the final Hunger Games score. Tom Guernsey 1 Link to comment Share on other sites More sharing options...
Tom Guernsey 2,280 Posted September 26, 2022 Share Posted September 26, 2022 53 minutes ago, JNHFan2000 said: Up - Michael Giacchino I love this score. It's very dear to my heart. And contrary to a lot of other people I think he 100% deserved that Oscar. It's incredible. He get's so much emotion out of Ellie's Theme. And the action music in "Escape From Muntz Mountain", "The Small Mailman Returns" & "Seizing The Spirit Of Adventure" is some of the most dynamic action music he's written I feel Oh it's a delightful score - I think some people forget how much more interesting he could be earlier in his career, in particular for Pixar. Up or Ratatouille are equally worth for the statue, even though my personal preference is for the latter. But it's pretty marginal. JNHFan2000 1 Link to comment Share on other sites More sharing options...
crocodile 7,983 Posted September 27, 2022 Share Posted September 27, 2022 Hard Rain Birth Sunset Boulevard Knowing Karol Tom Guernsey and Raiders of the SoundtrArk 2 Link to comment Share on other sites More sharing options...
Raiders of the SoundtrArk 2,429 Posted September 27, 2022 Share Posted September 27, 2022 Dracula by John Williams Damn that's so good. It's been a while since I last listened to it, I missed it so much. Clearly one of the best score from Williams Andy 1 Link to comment Share on other sites More sharing options...
Jay 37,281 Posted September 30, 2022 Share Posted September 30, 2022 Howard Shore - An Unexpected Journey (DVD Rip) I literally listened to a rip of all the music in the final film, dialogue and sound effects right there with it. Man, I had forgotten just HOW different the final film's music is compared to the released album. SOOoo much was dropped, tracked, or replaced with wildly different Shore-rewrites or Ziegler -conducted LOTR reprisals. Anyway, I hadn't listen to this score in any form for quite some time, and kind of fell in love with the Misty Mountains theme all over again, and boy the the sentimental arrangement of Bilbo's theme at the end of the end credits really get me. Now I want to listen to the album again! A decade on now, I wonder if we will ever get a release containing more music from this score. Link to comment Share on other sites More sharing options...
Bespin 8,475 Posted September 30, 2022 Share Posted September 30, 2022 I finally found an "evaluation" copy of Hook (Expanded Original Motion Picture Soundtrack, 2012) in FLAC... I tried to live the last 10 years pretending this expansion never existed (mostly because I never was able to get my hands on the CDs)... Anyway, I still don't understand what prevented a revisit of this outdated expansion this year... but well... we don't have a new expansion to this day... so... I just listened to it once, I don't want to get used to it... ya know! Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted October 1, 2022 Share Posted October 1, 2022 The Sisters Brothers - Alexandre Desplat (my short OST style playlist) Hey this score isn’t talked about enough. This shit rules. One of Desplat’s most Thomas Newmanesque scores. Chewy 1 Link to comment Share on other sites More sharing options...
Bespin 8,475 Posted October 1, 2022 Share Posted October 1, 2022 Listen to a Thomas Newman score if you want to hear his music! Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted October 1, 2022 Share Posted October 1, 2022 I mean it’s like how The Fury is JW’s most Hermannesque score, it’s fun to hear that style through the composer’s own prism. But seriously this sounds so Thomas Newmanish to me. Link to comment Share on other sites More sharing options...
Raiders of the SoundtrArk 2,429 Posted October 1, 2022 Share Posted October 1, 2022 17 hours ago, Bespin said: I finally found an "evaluation" copy of Hook (Expanded Original Motion Picture Soundtrack, 2012) in FLAC... I tried to live the last 10 years pretending this expansion never existed (mostly because I never was able to get my hands on the CDs)... Anyway, I still don't understand what prevented a revisit of this outdated expansion this year... but well... we don't have a new expansion to this day... so... I just listened to it once, I don't want to get used to it... ya know! Don't worry we just have to wait another month and we should be good Link to comment Share on other sites More sharing options...
Mr. Who 919 Posted October 1, 2022 Share Posted October 1, 2022 7 hours ago, Disco Stu said: The Sisters Brothers - Alexandre Desplat (my short OST style playlist) Hey this score isn’t talked about enough. This shit rules. One of Desplat’s most Thomas Newmanesque scores. Never heard of this score despite being a big fan of Desplat. Will check it out! I listened to Reality by Desplat the other day and that was a really cool little score with some interesting vocal work. Link to comment Share on other sites More sharing options...
Bespin 8,475 Posted October 2, 2022 Share Posted October 2, 2022 Among the great utilities of Discogs, like to remember me how my CD collection costed me over the years, is to be able to list my collection by "added date" or by "release date". It helps me to remember the last CDs I purchased, because I rarely listen to a CD at the moment I purchase it... so I don't want to forget anyone! Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,493 Posted October 2, 2022 Share Posted October 2, 2022 37 minutes ago, Bespin said: ...like to remember me how my CD collection costed me over the years... I'll tell you how much your CD collection has cost you: absolutely nothing. Why? Because anything truly worth having never has a price. As John Barth said: "We will pay the price, but we will not count the cost". Right @Roll the Bones? Link to comment Share on other sites More sharing options...
Bespin 8,475 Posted October 2, 2022 Share Posted October 2, 2022 That's exactly what MasterCard and Visa keep telling me! Link to comment Share on other sites More sharing options...
Edmilson 7,384 Posted October 2, 2022 Share Posted October 2, 2022 I spent the weekend with Hugh Henry Jackman in kid mode: Wreck-It Ralph: Nice mix of electronics and traditional orchestra. This might be his best score for an animation so far. Puss in Boots: It's a decent homage/parody of Spanish music James Horner Zorro-style, but filtered through a John Powell lens. Jackman does a nice aproximation of Powell when he's not busy with angry electronics for spy thrillers, so I'm kinda hopeful for his Strange Worlds score. Tom Guernsey 1 Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,493 Posted October 2, 2022 Share Posted October 2, 2022 50 minutes ago, Bespin said: That's exactly what MasterCard and Visa keep telling me! I know what you mean. L'Oréal keep telling me I'm worth it Bespin 1 Link to comment Share on other sites More sharing options...
Edmilson 7,384 Posted October 3, 2022 Share Posted October 3, 2022 Philadelphia - Howard Shore It has some beautiful moments, but overall this is one of those serious orchestral scores for 90s thrillers about lawyers, cops, FBI, etc. Which means it can be very dated if you're not into the right mindset. But it's still worth listening, specially for those who want to discover a new, non-Tolkien related side of Shore. Bespin and GerateWohl 2 Link to comment Share on other sites More sharing options...
Popular Post Knight of Ren 785 Posted October 4, 2022 Popular Post Share Posted October 4, 2022 Harry Potter & the Deathly Hallows (Part 1 & Part 2) - Alexandre Desplat If it weren't for Williams iconic themes for the first scores, this would be my favorite scores of the main saga (I'm not counting Fantastic Beasts in there). I love how Desplat creates a complex thematic tapestry which he develops during the two movies, with some brilliant references to William's Hedwig's Theme here and there. The Obliviate theme and Lily's theme and all its variations are the obvious standouts, but I particularly love a cue like "Sky Battle" in how it mingles the heroic Order of the Phoenix theme with Voldemort's insidious theme, or for example the way he transforms the Deathly Hallows motif from Part 1 (in "Godric's Hollow Graveyard" or "The Deathly Hallows") into an action motif in Part 2 (in cues like "The Tunnel"). And what I find to be the best aspect is that both the emotional moments and the more action oriented ones are treated with the same thought and care, and a beautiful cue like "Farewell to Dobby" manages to have the same impact as an action sequence like "Battlefield" or "Broomsticks and Fire" (I especially love how he manages to incorporate his Horrocruxes motif near the end of the action of this cue). And the Hogwarts Defense Theme in cues like "Statues" or "Courtyard Apocalypse", even with his simple, straigthforward structure, always manages to give me chills. Perhaps it has to do with the fact that I like this saga a lot, but Desplat's scores remain some of my favorite work from him, and for me, stand on almost the same level as Williams' scores, although never surpassing them. Chewy, Naïve Old Fart and Smaug The Iron 3 Link to comment Share on other sites More sharing options...
JoeinAR 1,949 Posted October 4, 2022 Share Posted October 4, 2022 2005's King Kong. I rarely listen to this beautiful score. It brings strong emotional reasonace. I think Howard might be the best composer not named John Williams Edmilson 1 Link to comment Share on other sites More sharing options...
Jay 37,281 Posted October 4, 2022 Share Posted October 4, 2022 Richard Gibbs - Battlestar Galactica (miniseries) Boy, I hadn't listened to this in a loooooong time. I forgot how much of the framework for Bear's scores to the subsequent series stems from this (and he is credited with "additional music" here, too). Notably the theme for Six (?) from track 22 that ended up being used to open the show every week (IIRC). This album flowed pretty well for 67 minutes, I wasn't bored, despite there being a lot of drum-based action music. Not much else to say! Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,493 Posted October 4, 2022 Share Posted October 4, 2022 1 hour ago, JoeinAR said: I think Howard might be the best composer not named John Williams That would be "Johnny Williams", and then, "John T. Williams" JoeinAR 1 Link to comment Share on other sites More sharing options...
Tallguy 3,363 Posted October 4, 2022 Share Posted October 4, 2022 47 minutes ago, Jay said: Richard Gibbs - Battlestar Galactica (miniseries) Boy, I hadn't listened to this in a loooooong time. I forgot how much of the framework for Bear's scores to the subsequent series stems from this (and he is credited with "additional music" here, too). Notably the theme for Six (?) from track 22 that ended up being used to open the show every week (IIRC). This album flowed pretty well for 67 minutes, I wasn't bored, despite there being a lot of drum-based action music. Not much else to say! The Storm and the Dead is still amazing. Link to comment Share on other sites More sharing options...
Jay 37,281 Posted October 4, 2022 Share Posted October 4, 2022 Just listened to that cue on youtube and its OK Link to comment Share on other sites More sharing options...
crocodile 7,983 Posted October 5, 2022 Share Posted October 5, 2022 The Peacemaker. After all these years still one of my absolutely favourite Zimmer scores. It has all the pathos of his earlier 1990s action scores and also anticipates the Gladiator era. Sweet spot. Karol Link to comment Share on other sites More sharing options...
bollemanneke 3,337 Posted October 5, 2022 Share Posted October 5, 2022 True Grit, 1969, Prague re-recording. Wow! I love the use of every instrument. Tom Guernsey 1 Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted October 5, 2022 Share Posted October 5, 2022 Man, I'd give up a lot of money to see a release of Alfred Newman's score for Young Mr. Lincoln, either a re-recording or if the original recordings miraculously survived and were usable. It's one of my top 10 favorite movies and I love Newman's score. There's not a ton of score in the movie, especially not the second half, but what's there is really special. Especially the bittersweet love theme heard in the clip below. John Ford liked it so much, he just used the same recording again in The Man Who Shot Liberty Valance 20+ years later. publicist 1 Link to comment Share on other sites More sharing options...
publicist 4,643 Posted October 5, 2022 Share Posted October 5, 2022 It's also a pretty good movie. Disco Stu 1 Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted October 5, 2022 Share Posted October 5, 2022 Ford doing what he does best Link to comment Share on other sites More sharing options...
publicist 4,643 Posted October 5, 2022 Share Posted October 5, 2022 Fuck 'War Horse'. Tallguy 1 Link to comment Share on other sites More sharing options...
Bespin 8,475 Posted October 6, 2022 Share Posted October 6, 2022 Marc Hamlisch, The way we were, at last! Link to comment Share on other sites More sharing options...
Andy 4,079 Posted October 6, 2022 Share Posted October 6, 2022 On 4/10/2022 at 10:50 AM, JoeinAR said: 2005's King Kong. I rarely listen to this beautiful score. It brings strong emotional reasonace. I think Howard might be the best composer not named John Williams I have, for the most part not had JNH land on my radar. As a child of the 70s and 80s, I felt that films and scores of the 90s had dipped in quality. JNH seemed to personify the cinematic sound of the decade. Theme-ish, but rather trailer-like for the time. That said, I’m giving his work a second listen, and that started this week with Alive , which I listened through twice. It’s short of delightful, but quite good. Pretty amazing that I remember the “Saved” melody from the trailers and end credits after almost 30 years. It’s a pleasant listen, and I’m really glad I gave it a chance. Next up is a revisit of Waterworld. I’m thinking I should check out Kong, and then what? Link to comment Share on other sites More sharing options...
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