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Sagebrush posted:Is there any explanation for why, exactly, Yared's score got rejected? Basically it got trashed by a test audience. They said they thought the score was too "brassy and bold" or some such nonsense and the producers panicked (as producers do) and called in Horner to replace it. This was a month before the film was set to release. Speaking of Yared and rejection...he just got rejected AGAIN. He was the composer on "The Mortal Instruments: City of Bones"...but that score has been rejected. Atli Örvarsson is scoring it now instead, who is, OF COURSE, another of Hans Zimmer's Remote Control Clones. Joy. Poor Yared. He doesn't deserve all this poo poo. The man has a loving Oscar for god sakes.
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Aug 13, 2013 15:09
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haakman posted:Too brassy and bold? Have they even heard Horner's score for it?!? I didn't say it was a GOOD reason!
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Aug 13, 2013 19:08
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To the surprise of no-one, Zimmer has confirmed he's doing the Batman/Superman crossover movie. ...joy.
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Apr 15, 2014 19:21
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Darko posted:The only "better" choice at this point would be Powell Powell should be getting every job that Zimmer is, IMO.
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Apr 17, 2014 23:55
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Timby posted:Giacchino (lackluster Star Trek work aside) Everyone phones one in every now and again. (Although, yes, the Star Trek work is...less than stellar, minus a few standout moments in the first film) And you're right, all of those names are legit. I was using Powell more as a "student has surpassed the master" thing. Powell is by far the most talented of the Zimmer composer stable that broke out on his own, and I will never forgive the Academy for giving Trent loving Reznor an oscar for Social Network (a score I find all but unlistenable) over Powell's vastly superior effort on How To Train Your Dragon, which was one of the best scores of the past decade, let alone that year. ...and you know? I wish David Arnold would crank out another ID4-esque score. God drat but that man knows how to write for brass sections and I miss it.
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Apr 18, 2014 04:49
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Goddammit I tried to like Zimmer's new Spider-Man score but it is just the most tone-deaf poo poo. Tons of scenes with music that is completely inappropriate and a Spider-Man theme that sounds like something out of a 1980s-1990s corporate training video. If you're going to replace Horner, shouldn't you try and write a better score than he did (and that score wasn't very good to start with!)?
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May 4, 2014 19:58
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Tried to listen to "Gone Girl" because I'll keep trying to give Reznor and Ross a chance but uuuuuuuuuuuuuuuugh. In happier news, I was pleasantly surprised by Bates' effort for Guardians of the Galaxy. I'm not usually a big fan of his work, but this score had some great high points.
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Oct 22, 2014 05:25
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James Newton Howard is very underrated. I know some people think he's a bit of a low rent Thomas Newman but they are wrong. Howard is better. (I'm sorry Tommy I still love you)
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Nov 21, 2014 19:02
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Stare-Out posted:The Village is up there as one of my absolute favorite James Newton Howard scores. Love that one, though I think I actually prefer "Signs" of his M. Night work (his score to The Last Airbender is quite good, too. Shame the film is so goddamn terrible) I just finished listening to another of his that I had almost forgotten about. "Hidalgo", which is just loving beautiful throughout. "Let Her Buck" is nearly tear-inducing.
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Dec 4, 2014 00:39
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Timby posted:Yeah, Signs is great because he's totally aping Bernard Herrmann and he does it so incredibly well. For sure. "Hand Of Fate Parts One and Two" are some of my all time favorite tracks from any composer.
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Dec 4, 2014 00:43
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HP Hovercraft posted:How has nobody mentioned the best film score of the year? Into The Woods technically hasn't released yet so I figured I'd wait until it did next week.
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Dec 17, 2014 03:16
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I really hope Reznor feels like an impostor sitting at that table goddammit. ...alright, alright, I promise I'll never mention him or my rage about him again. Also: Into the Woods is a pro-listen. I was worried about the transition from stage to screen but I think they've pulled it off nicely. The inclusion of a lot of incidental tracks is a nice bonus, as well.
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Dec 27, 2014 02:37
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How are we feeling about the Best Score noms? I actually haven't had a chance to listen to any but Interstellar and Grand Budapest. Notable snubs? This generally felt like a more "down" year for scores. Not that there aren't great ones. Just further between the notables than usual.
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Jan 16, 2015 18:50
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Darko posted:Interstellar is actually the only score I liked this year, outside of How to Train Your Dragon 2. I'm happy Zimmer finally "woke up" and did something interesting, so I kind of want him to win another so he's inspired to not go back to the well as much in the future. More or less agree with this. I was pleasantly surprised by Zimmer's effort for Interstellar. HtTYD2 was good, but I thought fell a little short of the original's greatness.
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Feb 3, 2015 17:52
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This may have been said earlier but god do I miss David Arnold. I know he didn't drop off the face of the earth, its just that he isn't really doing movies anymore. His last major film was Quantum and Solace more than a half-decade ago. IMDB has him listed as the composer on ID4-2 and I want to believe that because his ID4 score is one of the best scores ever in my opinion, but I'm not sure I can trust that since he had that falling out with Devlin and Emmerich way back and hasn't worked with them since. If you haven't, listen to the Independence Day score (the extended edition if you can get your hands on it), it's just wonderful from start to finish. A masterclass in how to write for wind instruments (particularly horns, trumpets and upper woodwinds) and heart-swellingly patriotic without ever falling into sap. It's exhilarating.
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Mar 31, 2015 15:51
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I wish he was still doing Bond. I love Thomas Newman, but he was wrong for Bond. The Skyfall score has a few too many "THAT'S what you went with for this scene?" moments.
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Apr 2, 2015 17:36
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I'm hopeful the producers ask him back once Mendes is done.
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Apr 2, 2015 17:59
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Timby posted:Nic Raine arranged a killer mash-up of the On Her Majesty's Secret Service and A View to a Kill themes for an orchestral Bond theme album a long time ago: God drat that owns. Agree that the View to a Kill transition is gold.
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Apr 3, 2015 00:37
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Darko posted:I agree with you on this. The orchestrations aren't as interesting as up or the Incredibles, and the (new) themes are nowhere near any of his best. In fairness, he had Gordon Goodwin orchestrating a solid chunk of Incredibles, which, yeah. Goodwin is flat amazing as a Jazz composer/arranger.
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Jun 10, 2015 17:23
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God dammit to hell. gently caress.
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Jun 23, 2015 04:52
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Foo posted:Wow... very sad. I loved his score for Aliens! He was basically James Cameron's guy for most of his career, so yeah.
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Jun 23, 2015 06:17
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Horner's best work was for the Don Bluth films in my opinion. Land Before Time and An American Tail are first rate.
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Jun 23, 2015 07:21
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I expected Williams to be next. He is a generation ahead of everyone else working. He's in his 80s. Horner was only 61.
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Jun 23, 2015 16:38
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Darko posted:Well, as is typical with Horner, if you loved that, you'll love this! Horner post-Titanic (really post-95) is where he really became the reuser that he is known as now. But he had a magical decade (mid-80s to mid-90s) of extremely good and important work. Compared to most, that's more than enough.
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Jun 23, 2015 16:42
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His work for Bluth is his best stuff to me.
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Jun 23, 2015 17:39
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I think it's one of his strongest Star Wars scores. Rey's Theme alone is worth the price of admission.
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Dec 20, 2015 03:08
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Surprise! Score to the new Independence Day movie is nowhere close to as good as David Arnold's for the original.
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Jun 25, 2016 03:22
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Darko posted:Braveheart and Legends of the Fall have excellent scores. Horner had a nice little run in the 90s right up until around A Beautiful Mind, where he just gave up and repeated himself over and over completely. I always felt some of his strongest work was in animated features. His work for Don Bluth in particular was really good.
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Jul 3, 2016 15:09
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Goldenthal is mainly a contemporary classical composer and a film composer second. He just focuses more on concert works. Unsurprising considering his mentors (Corigliano and Copland).
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May 15, 2017 16:29
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Al Borland Corp. posted:I just saw Cars 3 and was very surprised when the credits came up that the score was by Randy Newman. I didn't know he did scores and it was very well done, lots of it didn't sound like him at all. Has he scored other Pixar films? Randy has been writing scores for film since the early 70s. TV in the 60s. James and the Giant Peach, Seabiscuit, Pleasentville, Avalon.... He's easily the most diversely prolific of the Newman Family of composers. His orchestral style is influenced by Elmer Bernstein and if you want an Americana sound in your score, he's you guy (though for a while there he arguably shared that distinction with, oddly enough, Rachel Portman, who is English. But she sort of dropped off the Hollywood map in the late 2000s). ComposerGuy fucked around with this message at 16:21 on Jul 18, 2017 |
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Jul 18, 2017 16:13
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I just found out the upcoming Thor movie is scored by loving Mark Mothersbaugh. I just got *way* more excited about it.
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Jul 25, 2017 15:11
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