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What Is The Last Score You Listened To? (older scores)


Ollie

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Not that there is ANY difference!

But, seriously, that is a very good question, for someone familiar with both.

What is the difference between the two? What are their trademarks and styles? Do their fans say things like "classic Djawadi" or "this harmonic writing is so Jablonsky", or "this piano writing reminds me of..."?

Karol

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Not that there is ANY difference!

But, seriously, that is a very good question, for someone familiar with both.

What is the difference between the two? What are their trademarks and styles? Do their fans say things like "classic Djawadi" or "this harmonic writing is so Jablonsky", or "this piano writing reminds me of..."?

Karol

I used to try and talk about those things but it became pointless here. Their styles are evident in their smaller projects.

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Not that there is ANY difference!

But, seriously, that is a very good question, for someone familiar with both.

What is the difference between the two? What are their trademarks and styles? Do their fans say things like "classic Djawadi" or "this harmonic writing is so Jablonsky", or "this piano writing reminds me of..."?

Karol

I used to try and talk about those things but it became pointless here. Their styles are evident in their smaller projects.

I couldn't discuss anything specific since I haven't heard nearly enough of either of their work, but there's certainly a difference. Most everyone who has come out of the RCP world is a fine composer in their own right, when they're allowed to be. It's not fair to equate studio/directorial pressures regarding "style" with lack of compositional individuality.

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I have listened to so little of either composer I can't really speak on the subject with any authority.

But I listened to some memorable scores last night:

Heidi by John Williams

Indiana Jones and the Temple of Doom by John Williams

The Adventures of Tintin: Secret of the Unicorn by John Williams (observe the correct spelling of the name Tintin)

Black Beauty by Danny Elfman

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I am being serious here.

Karol

Well if you're interested in exploring their works, I'd recommend Djawadi's Fly Me To The Moon and Mr. Brooks; and Jablonsky's D-War. I haven't listen to their discographies in awhile though so perhaps they're not as individualistic as I recall. They certainly aren't as immediately recognizable as more defined composers, but it's there. Ender's Game, Transformers, and The Island all sound like Jablonsky to me.

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I am being serious here.

Karol

Don't get your hopes too high. Even in those many-cherished 'little projects' there's not that much great music buried. And i know MR. BROOKS and FLY ME TO THE MOON, thank you (both are rather undistinguished, imho).

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I have listened to so little of either composer I can't really speak on the subject with any authority.

But I listened to some memorable scores last night:

Heidi by John Williams

Indiana Jones and the Temple of Doom by John Williams

The Adventures of Tintin: Secret of the Unicorn by John Williams (observe the correct spelling of the name Tintin)

Black Beauty by Danny Elfman

It's Teen-Tin.

Otherwise quite a respectable group there, Mr Ojala. ;)

I've listened to bits of Black Gold and Creation

Karol

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Quite a fine pair of scores there too Karol. Creation by Christopher Young is one of his best scores in my opinion and I would wish he could get more assignments like that. And the Horner score has that good old fashioned Hollywood sweep to it.

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I prefer The Shipping News, but Creation is indeed a great score.

Yes. The Shipping News is better (the main theme is sublime) but Creation is good too.

I find Creation a more coherent listening experience all in all. The Shipping News is a great one too but doesn't appeal to me as much on emotional level. Both scores have a really wonderful atmosphere to them.

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Quite a fine pair of scores there too Karol. Creation by Christopher Young is one of his best scores in my opinion and I would wish he could get more assignments like that. And the Horner score has that good old fashioned Hollywood sweep to it.

Don't forget earlier scores...most of them are reeeaaaally good. I. e.

THE FLY II

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All of the above is good and shall be cherished.

I've finished listening to (increasingly brilliant) Pet Sematary yet again just now (my third listen) and now Patriot Games grace my headphones. I'm really impressed with this score. Not your schmaltzy Horner - this music is chilling, eerie, abrasive and cold. It is also his best example in using Celtic-like colours - not intrusive or cheesy, as it usually happens with this individual. It might be one of my favourites of Horners at the moment - he seems to have achieved what he's always on about in all those interviews and never really does, which is to go underneath the surface.

Karol

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What do you think about it, by the way? It's not exactly a score anyone ever mentions and certainly people generally prefer Clear and Present Danger (which I just ordered last night).

Karol

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Well, that was way before he discovered that there's some serious dough in doing it the cheesy way. :mrgreen:

And now he is living as a recluse in his home outside L.A. because he hates the people who would pay him big dough for writing cheese. He sure has come around in 20 odd years.

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What do you think about it, by the way? It's not exactly a score anyone ever mentions and certainly people generally prefer Clear and Present Danger (which I just ordered last night).

Karol

There is too much droning via endless shakuhachi blasts and Horner's ever-suspicious synth noodlings, but when he hits the movie emotionally, it works like gangbusters. I always liked the thoughtful one-minute coda after the boat chase when the irish theme gets this mournful last statement. All things considered, it's a few notches below CAPD, though both rely a bit too much on functional thriller filler. As FILM music both are very successful.

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And now he is living as a recluse in his home outside L.A. because he hates the people who would pay him big dough for writing cheese. He sure has come around in 20 odd years.

I think he would happily oblige if they only wanted him to write Horner cheese (remember FOR GREATER GLORY?), but they want him to write RCP cheese. That's where the hate parts comes in.

I kind of enjoy this kind of droning every now and then. Makes me feel like an intellectual!

They both use Khatchaturian adagio, don't they?

Karol

Naturally... ;)

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And now he is living as a recluse in his home outside L.A. because he hates the people who would pay him big dough for writing cheese. He sure has come around in 20 odd years.

I think he would happily oblige if they only wanted him to write Horner cheese (remember FOR GREATER GLORY?), but they want him to write RCP cheese. That's where the hate parts comes in.

Camembert or gorgonzola? That is the question. I guess RCP is no gouda to Horner.

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I wonder whether he's going to do Avatar sequels?

But these are independent auteur films... right?

Karol

I guess it depends on what Cameron wants. I think he was happy with Horner's first score. But perhaps Horner will turn these down for another The Chumscrubber.

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Yeah, I wonder what happened with the Spiderman film. Marc Webb spoke so highly of Horner...

I read that he wanted the Zimmer in the first place and now he has his wish.

I was quite looking forward to The Amazing Spider-Man 2 and all :(

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It is such a shame, because the film was so shit and the music actually made it better. It really did.

I wonder how Hans Zimmer and Pharrell Williams are going to sort out the problem of continuity...

They won't... will they?

Karol

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Stanley and Iris

Lovely, intimate. Perfect for an Autumn afternoon, with the leaves starting to fall...

Above and Beyond (Hugo Freidhofer)

His music for the atomic bomb is much akin to his searing main/end titles from The Sun Also Rises (as heard on the Gerhardt Errol Flynn album). I really need to check out more of his stuff.

The Jayhawkers (Jerome Moross)

This is The Big Country: Part Two. I'm not complaining.

The Hobbit: AUJ

War Horse

:music:Plowing

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Memoirs of a Geisha - Suite for Cello and Orchestra by John Williams: A fantastic re-imagining of the score's central ideas in an extensive concert suite in 6 movements. You could almost think of it as Williams' second cello concerto.

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