What is the last score you listened to?

[#SnowyVernalSpringsEternal 10,265]

What promo?

I know there's a bootleg out, but a promo?

[Mr. Breathmask 555]

I'm sorry. Bootleg, then.

Anyway, it's a two-disc set, and I believe it's free of the techno elements. I haven't even heard the album.

[#SnowyVernalSpringsEternal 10,265]

I seem to remember having read that it had film edits.

[Marian Schedenig 8,200]

I don't remember annoying electronics in X3... aside from that stupid rap-type bass rhythm thingy in the end credits. And the clip from FSM was manufactured to include some Elfman piece.

[#SnowyVernalSpringsEternal 10,265]

You mean the part from 4:28 to 4:49, right?

That's the coolest piece of music I've heard composed this year.

Even without listening to the FSM Podcast one can clearly hear Elfman's touches in X3.

I can also hear Silvestri and a dab of Kamen.

[crocodile 8,017]

And don't forget about Superman ostinato!

Karol

[#SnowyVernalSpringsEternal 10,265]

Well that was a deliberate reference, unlike (i presume) the Elfman bits.

[crocodile 8,017]

To give him credit, I like the idea that Powell didn't abandon ideas from the previous two scores. His Phoenix theme is a more developed version of Ottman's Jean Grey theme. Well, sort of. This progression is also to be heard in three main themes from all films.

Karol

[Sixers 0]

I keep listening to the end title of Alien by Jerry Goldsmith, cause it sounds so unique. I don't know exactly how much of it is from Symphony No 2 Romantic, assuming that not all of it is Symphony No 2 Romantic, but it's good nonetheless.

[Marian Schedenig 8,200]

If you're listening to the music used in the film, it's all Hanson. If you're listening to the OST, it's all Goldsmith.

[Dr.ZacharySmith 0]

I have now almost worn-out my latest purchase from the US...the original soundtrack to "The Agony & the Ecstasy," especially the Goldsmith intro...brilliant!

[QMM 4]

Superman Returns

Started listening to it again and big surprise, I still like it.

[BurgaFlippinMan 7]

I like it less now than when I first heard it. Still entertaining though.

[bondo 33]

A Sound of Thunder - Nick Glennie-Smith

Pretty cool score, extremely underrated... probably because no one saw the movie!

[Albaicin 0]

Let me see ... the last score I listened to ...

'Young Sherlock Holmes' by Bruce Broughton, Promotional 2 CD Edition.

Simply outstanding...

... scores do not grow like that one any more ...

[crocodile 8,017]

Cleopatra by Alex North

I don't listen to it often, but whenever I do I'm marveled by the volume of this work. And I just love the two love themes. It's probably to much to grasp at one listening, but so is LOTR: CR.

Interview with a Vampire.

It's probably one of a few scores that prove that a very good score can be written in a very short space of time. Very good score.

Brothers Grimm

Three very good themes. One from Hollow Man, one from Vertigo and one original (I may be wrong though). Lot of quotes, probably many delibrate, and yet it is probably one of the most fun scores in recent memory.

Karol

[John Crichton 4]

Schindler's List

I've begun to enjoy this more and more in recent months, a really superb effort. Two great themes, and the emotion is spot on.

[Romão 2,274]

Cleopatra by Alex North

I don't listen to it often, but whenever I do I'm marveled by the volume of this work. And I just love the two love themes. It's probably to much to grasp at one listening, but so is LOTR: CR.

Interview with a Vampire.

It's probably one of a few scores that prove that a very good score can be written in a very short space of time. Very good score.

Brothers Grimm

Three very good themes. One from Hollow Man, one from Vertigo and one original (I may be wrong though). Lot of quotes, probably many delibrate, and yet it is probably one of the most fun scores in recent memory.

Karol

The other one is probably from Prokofiev´s Romeo and Juliet.

Still, an amazingly enjoyable score.

[Marian Schedenig 8,200]

Farewell to the King (the old release), for the first time in years. Lovely score.

[BurgaFlippinMan 7]

Total Recall

The Terminal

War of te Worlds

Backdraft

The Terminal

Final Fantasy VIII: Fithos Lusec Wecos Vinosec

The Terminal

[BurgaFlippinMan 7]

Sabrina (thks for the suggestion AND the album Merkel! )

Currently listening - Spielberg/Williams Collaboration

[Trent B 337]

The full score for Starship Troopers in honor and rememberence of the late Mr. Poledouris. A very fun and energenic score. I suggest to those who have never heard it to check it out, especially the complete score.

[Ollie 1,059]

Lonesome Dove.

[Romão 2,274]

Lonesome Dove too

[Incanus 5,715]

Les Misérables

[Mr. Breathmask 555]

I didn't have too much time last night, so I listen to The Hunt for Red October (the album runs only 30 minutes) in honour of Mr. Poledouris. I played the end credits of his The Legend of Butch and Sundance after that, which is one of my favorite tracks.

- Marc, who actually scored a short film last year with almost entirely Poledouris music.

[crocodile 8,017]

Serenada Schizophrana

I actually haven't heard the whole thing yet, but I have to say that what I heard so far helps me appreciate Elfman even more. I wasn't too impressed with his two Burton scores from 2005, but this one is really great. I want the whole album now!

Karol

[John Crichton 4]

Superman Returns (complete)

Oh dear. I quite enjoyed this score when it first came out. It hasn't aged well, and it's only months old. The performance of the main title still sounds horrible. The action cues sound like Ottman was just throwing together any old crap in between statements of the main theme. And way, way, way too much generic chorus that has no life or emotion in it whatsoever (the latest bad trend in scoring, perhaps, following in the footsteps of Ethnic Wail/Moaning Woman?). I know there was a lot made about how Ottman orchestrated the love theme, but not being a mucisian and not having the ear of one it honestly sounds fine to me. It's the upbeat, "heroic" statement of the Kent theme in Memories that bugs the hell out of me every time I hear it.

That being said, the score does have its moments, but there's so much blandness in bewteen them it's a struggle. I like the new theme for Luthor, and anytime it appears the score actually gets some life breathed into it, but the other new themes don't do much for me. And it is a better effort than any of the Reeve sequel scores, but I suppose that's not saying much.

[Ollie 1,059]

That pretty much sums up my opinion.

[crocodile 8,017]

But still it is the most effective "as heard in the film" score of the year. Even if you treat it as a temp track, it is still a very good temp track.

Karol

[Ollie 1,059]

Ehhh....

To me it sounded worse in the film, especially the opening credits with the terrible edits.

[#SnowyVernalSpringsEternal 10,265]

But still it is the most effective "as heard in the film" score of the year. Even if you treat it as a temp track, it is still a very good temp track.

Karol

You really don't have a clue what makes good film music, do you?

[Trent B 337]

Just got done listening to the real full promo for Elfman's Spider-Man. Awesome score one of my favorites from Elfman.

P.S. What I mean by real full score...track listings below.

Spider-Man 2 full promo.

01- Main Title (3:40)

02- On The Bus (0:40)

03- Spider Bite (2:03)

04- Deadlines (0:18)

05- Transformations (3:48)

06- A New Man (1:36)

07- Something's Different (1:18)

08- First Web (0:59)

09- New Powers (2:10)

10- Web Slinger (1:17)

11- Backyard Connection (2:40)

12- Costume Montage - Web Pratice (1:57)

13- Harsh Words (0:31)

14- Peter Wins (0:24)

15- Revenge (6:52)

16- Enter The Goblin (0:19)

17- Alone (1:36)

18- City Montage (1:50)

19- City Stinger (0:08)

20- Moondance (0:46)

21- Photographing Spider-Man (0:40)

22- City Stinger 2 (0:14)

23- Norman Gets The Boot (0:22)

24- Spider Sensation (0:10)

25- Parade Attack (5:04)

26- Specter Of The Goblin (2:04)

27- Rooftop Chat (3:04)

28- Hint - Trouble - Kiss (3:19)

29- Fire (2:48)

30- Drop Of Blood (0:48)

31- The Clues (1:09)

32- Norman's Troubles (1:29)

33- Revelation (1:09)

34- Peter and MJ Talk (2:10)

35- Father and Son (0:18)

36- On The Bridge (1:49)

37- To The Rescue (4:42)

38- The Final Confrontation (4:20)

39- Farewell (4:42)

40- End Credits (1:52)

[crocodile 8,017]

But still it is the most effective "as heard in the film" score of the year. Even if you treat it as a temp track, it is still a very good temp track.

Karol

You really don't have a clue what makes good film music, do you?

An you do, of course?

There are numerous moments in the SR score that make perfect match between picture and music. Should I name some? The memories cue is nice with the Smallville theme and some elements of Superman ostinato. The first statement of Love theme is very nice. I like bank cue and the the latter portion of People You Care For (yes, they both sound like Goldsmith). When Superman flies to rescue Lois and he notices the cracks underwater there is nice (if somewhat simplistic) use of choir. I works very well. The second good use of choir is when Superman is landing on the New Krypton. We then have this grave and dark music, completely the opposite to the actual Krypton material from the Williams score, which also used a choir. The finale is probably underwhelming, but the Ligeti (and 2001, for that matter) reference is nice. When Superman throws the New Krypton into space we have a nice string passage (which is lifted from from The Thin Red Line, by the way). One of my favourites moments in the film is when Lois walks out of hospital and we hear a blending of personal theme with Can You Read My Mind and then get to Smallville theme when we see Martha. Very touching moment. Oh, and I'm one of those people that actually like personal theme, not for its memorability, but more for its emotional content, perfectly mirroring Superman's state of mind in this particular picture. Those are little moments, but such things are not to be found in X3, for example.

Once again, I didn't say that the score is great because of its purely musical qualities, but because it is very concious of what exactly the picture needs at the moment. And this apt approach, that is more concerned with its original purpose than the overall integrity of the score, is very similar to what Williams was doing (and still does today).

Karol

[#SnowyVernalSpringsEternal 10,265]

What you describes makes is "adequate" film music, which is different then actual "good" film music, which is much rarer these days.

[crocodile 8,017]

Then I value "adequate" music more than current "good" film music. The latter makes a good listen, no problem here, but, more often than not, I feel that it is more concerned about itself than the picture. Example? The Mummy Returns. It is loud and fun. But when you compare it to The Raiders of the Lost Ark, then you realize how humble and quiet this music was. When you remove march statements, it would be considered today by many listeners only as a adequate music. The cues like The Map Room: Dawn would be too underwhelming today. It doeasn't have loud chorus (like in The Mummy Returns") but its power is ultimately very subdued, which is a good thing. It's a wonderful piece of music and a great example of what I like most. I listen to this scores very often and enjoy it cery much, but the true quality appears only when you put it against the screen.

Instead of just booming with Superman march every five minutes, Superman Returns at least tries to do something with its material. It's pity that Ottman has to edit the film and write the score at the same time. It does give him less time to do it better. But he's better and better with each big picture.

Karol, who probably values many Williams' scores for other things than many people on this board.

[#SnowyVernalSpringsEternal 10,265]

Raiders is an utterly brilliant score.

The Mummy Returns in a very good one

But both have a spirit and identity that is very much their own, something I completely miss in Superman Returns.

[crocodile 8,017]

Yes, there is a problem with identity. But it probably has something to do with tight schedule, as I stated above.

But I don't see any personality of its own in X3 either. The main theme is generic and the continuation of two that went before. Besides, he (Powell) doesn't do much with it really. Phoenix theme is direct continuation of Ottman's Jean's theme (which sounds like Star Trek 2 or 3, by the way), and there are Elfman references, Arnold references and so on. It's a patchwork all the way. The only real advantage of this score is that it is more fun to listen to.

Karol

[#SnowyVernalSpringsEternal 10,265]

To my knowledge Superman Returns did not suffer from a tight schedule.

[crocodile 8,017]

But Ottman was also an editor of the film so, I believe, he didn't have much time to write the score in the end.

Karol

[#SnowyVernalSpringsEternal 10,265]

Then he should not have picked up more then he could chew.

Also, as the films editor, he is also responsible for giving the film a temp track, isn't he?

Whi is he, as an editor, giving himself, as a composer a limit of creativity by using a temp track?

[crocodile 8,017]

That's right. He adesses this matter very often on his official site. Besides, he edited the film because Singer always wants him to.

Karol

[#SnowyVernalSpringsEternal 10,265]

I know this, but it still doesn't make sense to me.

Temp tracks are used by directors or editors to make clear to a composer what type of music they want for a scene.

Ottman is both a editor a composer and has directed a feature film.

Why does this man NEED to use temp tracks?

[robthehand 3]

Why does this man NEED to use temp tracks?

Maybe for "inspiration".

[TheTennisBallKid 17]

He's a hack!

ttbk

[#SnowyVernalSpringsEternal 10,265]

Well that's a bit harsh perhaps.

[TheTennisBallKid 17]

Search your feelings, Stefancos...

Incidentally, Homeward Bound II: Lost In San Francisco (Broughton)

I can never get enough of Shadow's theme....

ttbk

[alfredo 0]

I agree with Stefancos, Ottman using a temp track just does not make sense. Im sure Ottman does mock ups before he takes anything to an orchestra, why not edit and composein tandem, atleast writing some rudementary mock-ups. Ottman has such a unique oppritunity when he edits and scores and he just wastes it by using a temp track.

[Romão 2,274]

Well, the temp track can also give you a sense of the rythym of a scene, which can also be very helpful for an editor. Temp tracks are not only about giving the composer guidelines.

[Ollie 1,059]

Ottman has admitted before that he paints himself into a corner because he temps the film.

Finally getting around to listening to The Two Towers complete recordings.

Magnificant.

By the way has anyone noticed that this set isn't really available in stores for some odd reason?

I have yet to see it in any music section anywhere.