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Your headscratcher score purchases


1977

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17 minutes ago, TSMefford said:

He has cool ideas, but they don't seem to fully mesh with the films he's working on in my opinion.

 

In the Moviola doc, John Barry said that the problem with the newer generation of composers is that they have this attitude [paraphrased from memory]:

 

"I've got this really cool idea" and then they have the synthesizers going and whatnot and I [Barry] am asking "but what is the scene about dramatically, you need to answer that question first before you approach it with music. They don't lead with their dramatic sense." 

 

He specifically referred to it as being "on dangerous ground".

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On 5/17/2020 at 5:35 PM, crocodile said:

Looking through my collection here are some of the titles that I didn't like one bit or completely forgot about:

 

 

SpaceCamp

 

 

Karol

whaa?  Spacecamp is a mini Williams masterpiece .In Orbit is one of his most beautiful cues ever

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Just now, King Mark said:

whaa? I think Spacecamp is a mini Williams masterpiece

 

It is, as long as you supplement it with the far more robust Kunzel recording of the End Titles.

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1 minute ago, JTWfan77 said:

 

In the Moviola doc, John Barry said that the problem with the newer generation of composers is that they have this attitude [paraphrased from memory]:

 

"I've got this really cool idea" and then they have the synthesizers going and whatnot and he [Barry] is asking "but what is the scene about dramatically, you need to answer that question first before you approach it with music. They don't lead with their dramatic sense." 

 

Precisely. This, to me, describes Hans these days exactly. There's nothing inherently wrong with the ideas and hooks he uses...but it doesn't really make sense for the films he's working on. It sort of seems like he just has this cool idea at the time and the big budget to do it, so why not? 

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Just now, TSMefford said:

 

Precisely. This, to me, describes Hans these days exactly. There's nothing inherently wrong with the ideas and hooks he uses...but it doesn't really make sense for the films he's working on. It sort of seems like he just has this cool idea at the time and the big budget to do it, so why not? 

 

To reference Barry again, he's just not a good dramatist.

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4 minutes ago, Jurassic Shark said:

He needs to work with directors with bigger balls, who can say no to his ideas when they're not suitable.

 

Or ones that aren't musically illiterate.

 

Anyway, lest this thread devolve into a hate on Hans session, another one I question getting was the Intrada expansion of Clash of the Titans - for which I blame the advertising copy, the gorgeous key art and the involvement of the LSO :)

 

I think the short OST presentation would have served me much better.

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Just now, Jurassic Shark said:

He needs directors with bigger balls, who can say no to his ideas when they're not suitable.

 

His Chris Nolan scores were a bit better than is usual turnout, but then Dunkirk happened...at least it still has some sort of story relevant ideas (mimicking the plane sounds, and things like that) but I can't listen to it outside the film.

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5 minutes ago, JTWfan77 said:

 

Isn't that what sound effects are for?

 

Indeed. But I mean that score is basically just Sound Design anyway so...

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22 minutes ago, Jurassic Shark said:

 

A great score!

It's the best score of which people have heard only one cue!

 

Karol

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5 minutes ago, crocodile said:

It's the best score of which people have heard only one cue!

 

Karol

 

Well, that's because people are lazy, and afraid of older scores. It's a great score in how it obsessively elaborates on the rhythmic pattern heard in the famous cue.

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2 minutes ago, Jurassic Shark said:

 

Well, that's because people are lazy, and afraid of older scores. It's a great score in how it obsessively elaborates on the rhythmic pattern heard in the famous cue.

It's something they need to re-release.

 

Karol

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