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Horner's re-recordings of 30s and 40s swing classics


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24 minutes ago, karelm said:

Didn't he do some of the source cues in Cocoon which also had a similar vibe?

 

No source cues, but there's a cue called THE BOYS ARE OUT. Also, the Main Title from  *batteries not included  is pretty "swingy". What there is on COCOON THE RETURN I wouldn't know. As the film is complete and utter dog shite, I tend not to listen to the score.

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6 minutes ago, Jay said:

How good or bad a film is had nothing to do with how good or bad a score is, Richard

 

I'm against that affirmation.

 

A good movie, is a global achievement of many talents.  Light, editing, acting, the story, etc, etc... and the music.

 

If the score is very bad and suits not the movie, how could the movie can be qualified as "good"?

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3 hours ago, Jay said:

How good or bad a film is had nothing to do with how good or bad a score is, Richard.

 

3 hours ago, Bespin said:

 

I'm against that affirmation.

 

A good movie, is a global achievement of many talents.  Light, editing, acting, the story, etc, etc... and the music.

 

If the score is very bad and suits not the movie, how could the movie can be qualified as "good"?

 

There are many scores that transcend risible films, and are, in fact, the best thing about those films.

In the case of CTR, however, Horner was probably asked to provide something that very closely resembled the original, and in doing so, he composed a dry, washed-up, unimaginative piece of work, for a giant dog shite of a movie. 

I don't listen to the score for CTR because it reminds me of what a giant dog shite the film is.

It's much better to listen to the original.

You both make very good comments, and you are, in fact, both right, so pat yourselves on the back.

Come to think of it; I've seen many great films with great scores, but I'm yet to see a truly great film, with a bad score.

They seem to go hand-in-hand.

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On 05 January 2018 at 5:59 PM, karelm said:

Didn't he do some of the source cues in Cocoon which also had a similar vibe?

 

Wasn't the performance of Dancing in the Dark also arranged by Horner?

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On 1/5/2018 at 12:01 PM, Bespin said:

 

I'm against that affirmation.

 

A good movie, is a global achievement of many talents.  Light, editing, acting, the story, etc, etc... and the music.

 

If the score is very bad and suits not the movie, how could the movie can be qualified as "good"?

 

I've seen LOTS of good movies where the score made no impact on me whatsoever, or maybe I didn't even like, but I still loved the movie.  Some examples:  Memento, Gravity, Batman Begins, Girl with the Dragon Tattoo (Fincher), Prisoners, Ege of Tomorrow, Arrival, etc etc.

 

Likewise, there are plenty of great scores to films that aren't good at all (or films I've never seen).  Examples: Star Wars prequels, Batman & Robin, Spider-man 3, Signs, Krull, The Mummy Returns, Grand Piano, half the movies Jerry Goldsmith scored...

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