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^^^edit for the above: I'd counter with At World's End (the other two scores aren't all that good in themselves): http://www.youtube.com/watch?v=FtsJ-p6yt_A I love love love the "flight" theme from How to Train Your Dragon, but my favorite of the last decade or so is still the main theme from At World's End, which combines with the other themes in the films to provide the only best of Williams quality multiple theme credit music I've heard in the past year or so. ComposerGuy posted:Horner's effort was bland but it was FAR from the worst score this year, and in fact Zimmer's DKR is in the running for me. Typical Zimmer bombast. I detect no craft whatsoever, and that always bothers me. Absolutely no diversity in instrumentation or tone over the entire slogging affair. The score has no emotional depth or range as a result. Zimmer steadfastly refuses to engage in it: he wields an orchestra like someone sitting down at a synthesizer: literally everything in it is idiomatic to the piano. Counterpoint? What's that? Woodwinds? What the gently caress are those? No sir, it's unison horns (gently caress you, thematic harmony!) with string pads over the standard Zimmer heavy, heavy bass drones and sound effects. I guess if you like that sort of thing then its fine? For an art comparison, you remind me of what a lot of fine artists do, where they overly focus on the depth, layers and mixture of the paint itself, and deride people that focus on form and utilize digital techniques/painting in conjunction with standard painting. Because of traditionalism, and not working with much on the digital end, it is assumed that it is by default inferior to the traditional, as it's "easier" and "cheating" or doesn't contain as much "depth." For instance, while you go on and on about counterscoring (which I love as well, don't get me wrong), you say nothing about the creative usages of synth, modulation, and mixing that other modern composers do, which takes as much skill and effort as writing am effective running counter to the main score. And your statement about the Batman "theme" is completely wrong. First of all, Zimmer focuses on mood based motifs as opposed to overriding main themes. There is no one "Batman" theme - there is a heroic motif, an arrival motif, and an action 'score' that goes along with the Batman character. Newton Howard, on the other hand, did the actual "themes" (Dawes, Gotham, and Dent). Not only did the motifs gradually evolve by being expanded and given different links and bridges between them (the expansion of action sequencing into A Dog Chasing Cars in TDK, to the culmination of everything in No Stone Unturned in TDKR), Zimmer creatively used various parts of each one to symbolize the villains. The Joker, being an inverse of Batman, reverses the "arrival" motif on HIS arrival sequences. Bane, being one aspect of Batman takes the bass and expands with heavy percussives behind it, Selina takes the percussives and turns it into a staccato for the motiffs when she is Catwomaning it up. There are only like two other composers that even think of doing stuff like this. If you look at any dual Powell-Zimmer scores, ie. Kung Fu Panda, you pretty much see the same thing. The scores are richer in that they're better at telling a story in themselves with all the callbacks and motifs, which is the Zimmer side, while normally having more flowing counterscoring and long, extended thematics for sequences, which is the Powell side. both are highly creative, and it's rather short-sighted to demean one end in favor of overly praising the other, when both take around the same amount of skill and creativity to do, overall. I dislike that a lot of Media Ventures spawn have taken Zimmer's mix of orchestra and synth and did "nothing" with it, outside making every film sound the same - but that doesn't take away from the ridiculous amount of skill and creativity that Zimmer uses on a consistent basis either. You seem to over-favor the John Williams styled heavy-theme orchestration while downing the motif-modulation-sample-mix style that Zimmer does (which is just an extension of Jerry Goldsmith's more experimental stuff (and why I actually prefer Goldsmith to Williams now, since he provides the best of BOTH worlds). Also, there is no current composer better at the "layering build to crescendo" right now, even if he cheats like hell in doing it (since he's basically been building on what he started with Thin Red Line): http://www.youtube.com/watch?v=WQvM4EM0lO8 Darko fucked around with this message at 07:28 on Dec 4, 2012 |
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Dec 4, 2012 07:01
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bullet3 posted:I agree with what you're saying, but it's easy to hate on Zimmer's style of film-scoring because it's almost completely taken over the film industry, and the John Williams theme-based scores have almost died out, which is tragic. It's not his fault at all, and he's great at what he does, but we're in desperate need of another Poledouris or Goldsmith. Not just film - let's not forget that every current big-budget video game sounds like Zimmer too: http://www.youtube.com/watch?v=K8t4hWZRfZw The issue is obvious, really. Most directors say "I want my movie to sound like <this movie>." If you're saying, "I want my film to sound like Star Wars," you're probably going to get a fully orchestrated bombastic theme with a certain structure type. If you're saying, "I want my movie to sound like The Rock," you're going to get a heavy string+horn section in front of some heavy percussion played at high tempo. The latter is going to sound more "samey" by far just due to the lack of variety in general. It would be like if every director wanted everything to sound like a James Bond movie in the 80s, so everything sounded like John Barry - play section, repeat section higher, french horn, where you got tired of everything sounding like a James Bond movie. But that's where we are now, unfortunately. I kind of remove Zimmer from this, for the most part, because he has the freedom/clout to experiment, whereas a lot of the spawn don't. He can do stuff like this: http://www.youtube.com/watch?v=UHSDAEAQptE ...and then go to stuff like this: http://www.youtube.com/watch?v=X1wTdFSYK9c ...and then do stuff like this: http://www.youtube.com/watch?v=sOz68UWknv0 ...and this: http://www.youtube.com/watch?v=cVKdgs44bRY Which goes beyond the "make it sound like Crimson Tide!" trap that others get caught in. Poledouris is awesome because he brought back a lot of the classic style of film scoring that was kind of phased out by the 80s. His stuff ( http://www.youtube.com/watch?v=Xhvd9twPEIo ) was often very reminiscent of the Miklós Rózsa era of scoring ( http://www.youtube.com/watch?v=aKzGnSho1_0 ) which is SORELY missed. Darko fucked around with this message at 08:00 on Dec 4, 2012 |
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Dec 4, 2012 07:57
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I can't stand Horner at this point - he's ridiculous. If you take any of the composers that popped up from the same era, ie. Zimmer/Elfman/Silvestri, etc., you see some gradual progression and evolution. They might go back to favorites or callbacks from time to time for stuff like action fills, and have a recognizable style, but you can post instances from ANY of them where they sound COMPLETELY different. Horner just does the same exact stuff over and over again and has actually REGRESSED since the early 90s. With not a single thing he's done going outside of that recognizable style or sounding "unique" in the slightest. He doesn't get creative wit hthe soundtracks, he doesn't experiment - he just copies and pastes bits of one score and another to create a new one. It's ridiculous. Fatkraken posted:are we allowed to talk about TV scores here? 'Cause Bear McCrearys scoring for the Battlestar Galactica reboot is absolutely marvellous. For a TV show that was producing 15-20 episodes a year there's a hell of a lot of quality music in there, almost every major character has their own set of musical motifs with interactions BETWEEN characters given their own themes which often lift elements from both. It's a lot richer and more varied than most TV show soundtracks. My only problem with McCreary is that he tends to go as far as lift basically entire songs from other composers for some reason. You can easily do that by accident; I know that I've composed some "awesome sounding songs," only to realize halfway through that I'm just recreating music from Golden Axe or something and not realizing it - but you shouldn't really get to production without realizing what you're doing. Every composer either lifts, homages, or liberally borrows from classic composition to some degree, but doing it with contemporary composers is just weird. He says it's "coincidental," but... The most blatant example: Black Hawk Down - Leave No Man Behind http://www.youtube.com/watch?v=OcxQfCZ_9V8 BSG - Roslin and Adama http://www.youtube.com/watch?v=HG-Js_rMEV4 I'd say that video game composition is far closer to film than television at this point, especially since, obviously, film composers do video games now and people like Michael Giacchino come from video games. Television is still (mostly) stuck in "play a song when something happens" while the "dramatic action cutscenes" in games are more often completely scored. That's why I don't feel that television stuff is really relevant to go in the same context, unless you're talking miniseries.
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Dec 4, 2012 15:48
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ComposerGuy posted:This runs to taste (though I take serious issue with your assumption that I dismiss digital and synthetic scoring out-of-hand, which is certainly not the case: I work in that medium often. I take issue with Zimmer, not his medium). I didn't just say you dismissed it out of hand, I said you placed a value judgment on two different types of scoring, where you default view one as superior to the other. You put a huge emphasis on orchestration, counterscoring, and theme, and a lesser emphasis on synthesis, build, and motif to the point where you view the former as "better" even if they take the same amount of creativity and effort. Or, like in the case of the Batman example above, you don't even recognize a motif progression or the creative elements involved behind the composition because it's not your cup of tea - in which case you are dismissing that type of scoring out-of-hand. quote:Whether I love something or hate something, I have at least engaged in the music and had a strong reaction to it. I don't hate what Zimmer does, I just don't find it the slightest bit interesting. I just find this weird, because, as a composer yourself, I'd think you'd appreciate how he works at modulating singular sounds to provide completely unique sounds, purposely matches an instrument to a character in more creative ways than average (ie. using razor blades on violin strings for the Joker's motif or uses a piano that is purposely out of tune for Sherlock to give the feeling of Sherlock's "out of tune" mind), and who is not afraid to completely change his style or experiment with certain projects. As said, he's literally, like, one of three composers that applies that much creativity to any project, and is one of the few callbacks to Goldsmith, who did the same in his era. How does that "bore" you? edit: Don't take this as me jumping on you or attacking you - I just think that you might be a little too harsh on him to the point where you don't really give him his due because of your aesthetic dislike of what he does, that's all. And I'm interested in seeing where you're coming from. It's not me debating so much as sharing my perspective. I'm a pretty poo poo composer, so I'm always interested in the perspective of other composers. Darko fucked around with this message at 16:07 on Dec 4, 2012 |
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Dec 4, 2012 16:02
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ComposerGuy posted:Now here we definitely agree. I used to LOVE Horner, and I maintain that his work in the 80's and early 90's was good-to-great, especially for animated films. But basically right after Apollo 13 he started a downward slide that he never recovered from. He had started showing signs of self-lifting a bit earlier, but was still doing enough original work to forgive it. "Titanic" was the line. My "line" for Horner was A Beautiful Mind. I had not seen Bicentennial Man at that point, and thought that A Beautiful Mind was a wonderful return to form for him, and actually defended him. Then I heard Bicentennial Man, and saw how he just lifted a fill from that, extended it a couple of bars, and made it the main theme for ABM, and was pretty much like "gently caress you Horner." He does this all the time, and far worse than any other composer - who typically just take fills for action beats and such. Ugh: http://www.youtube.com/watch?v=jQd5ueBM5Yk Titanic is "ok" - he lifts a lot in it, and I don't really -like- it on its own much, but it's still extremely fitting and interesting enough to get a pass. Horner was literally my favorite composer right around the Braveheart era, which is why it's even more of a shame that I absolutely hate his stuff now. I mean, even on top of reusing his OWN stuff - he basically just seems to use the temp tracks and doesn't even really change much of anything: http://www.youtube.com/watch?v=eMHJlkYlzKE
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Dec 4, 2012 16:18
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I'm going to admit that I don't really like the LOTR scores at all. It has nothing to do with actual QUALITY; it's pure taste, in that I don't like brass as a major instrument in most instances - I like brass purely used in hits or crescendos only. The LOTR soundtracks are so brass-horn heavy that they end up grating on me quite a bit. I'm a big fan of strings, woodwinds, and pianos. *The exception is the french horn when used John Barry style. Darko fucked around with this message at 16:49 on Dec 7, 2012 |
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Dec 7, 2012 16:15
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Darthemed posted:Since everyone contributing to this thread seems quite well-informed, I have to ask: who are the worst offenders when it comes to overuse of tinkly piano? It seems like this trend has died down quite a bit since the '90s (I'm looking at you, Forrest Gump score) You should probably forgive Forrest Gump, given that it's a change in style from the composer of Back to the Future and Predator. I actually like that score quite a bit because of the break in tone from Silvestri at the time.
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Dec 10, 2012 18:15
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One of my most annoying pet peeves is people who judge a score based on how "hummable" it is. Essentially, there's an "it's only good if I remember it" way of determining quality that doesn't make much sense. The scores people remember as hummable are actually the "chorus" sections of movies they already love, and have seen 50 times, typically. And are also typically played constantly in the advertising for said movie. It's especially obvious in that some of the better sections of the scores for said movies wouldn't even be "hummable" for the same person. Everyone knows the Empire March from Star Wars, as marching bands and media for the film and other commercials play it over and over, but how many people, relatively, would be able to hum the asteroid theme, as amazing as it is ( http://www.youtube.com/watch?v=VZTnA0ESKMI )? The first time I remember this starting was around the time of Spider-man when people were complaining that he didn't have a recognizable theme you could "hum" like Elfman's Batman, ignoring that Batman's theme was embedded in the public consciousness with the advertising for the movie before the movie even came out (and then the secondary theme was drilled into our heads via it being made into the main Animated Series theme which we watched daily). Modern movies typically don't have the same type of advertising and marketing tie ins as movies in the 80s/90s did, so you don't as often have cartoons that play the themes over and over again ( http://www.youtube.com/watch?v=6hFoR0ziYFc ), or as many tie in commercials playing themes with visuals from the films ( http://www.youtube.com/watch?v=10RkOeiBnGE ), in a relative sense - so themes are less "hummable" for that reason in general (unless you're already attached to them).
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Dec 21, 2012 15:00
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headrest posted:Whoa whoa, I could hum the asteroid field song all day. Needless to say, I often overwhelm people and make them feel uncomfortable when I do, also the key changes are tricky. You missed the point. I asked how many people, relatively, can hum the Asteroid theme as compared to the Star Wars march, not if -anyone- can hum it. "Hummable" comes from repetition, more than anything, and what peopel call "hummable" is simply the scroe they listened to the most (normally from seeing the movie or related media a ton).
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Dec 22, 2012 00:51
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Fatkraken posted:I disagree with this. There's a lot more to "hummableness" than just repetition. A catchy theme really can get into your head just from a couple of repetitions, while a more subtle one can play for hours and still depart from your mind seconds after it's over. You see it within the same movie, some bits of the score are substantially more memorable than others even if they get the same amount of play within the film (from seeing the film only, not being exposed from related media). I'm sure there are a hundred tricks composers use to write a memorable riff or leitmotif, but denying some are more memorable than others is silly. I'd agree with that - but the counterpoint is showing me one person who has ever made that "hummable" statement that isn't actually basing it on a film that they already like. Since some bad movies have some of the best scores, why are those scores never as "memorable" as the ones from movies those people have watched over and over again?
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Dec 22, 2012 17:15
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Hewlett posted:I can't really relate to this, since there are days when I still get Black Hole, John Carter, ASM and Wing Commander themes in my head. I think most of us specifically speak out and listen to film scores on their own merits or due to composers - thus being drawn to this thread. For reference, what I'm referring to is specifically in, say comments sections or large threads for movies like, say, Man of Steel, where someone will pop in and say "I hope they use the Superman theme, nobody has made memorable themes like that in years, something you can remember and hum!" Not those of us that would immediately pick up well composed thematics by default.
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Dec 22, 2012 19:17
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From Jurassic Park - on, I much preferred understated Williams to bombastic Williams. His 80s output NEEDED the large, over the top scores, and tune based thematics because those movies were often drawing from throwbacks. However, once Spielberg stopped directing in his 80's style in general, the obvious-theme-score didn't really fit as much. Whenever Williams returns to it, it just feels out of place and weird, whereas, when he doesn't (Catch Me if You Can, War of the Worlds), it sounds fantastic. I tend to rate composers by eras. For instance: - in the 80s, my tops would probably be Jerry Goldsmith, John Williams, John Barry, and Ennio Morricone - in the 90s, it would shift quite a bit, and include James Horner, Thomas Newman, Carter Burwell, and Hans Zimmer, and maybe Elfman or Silvestri - in the 2000s, James Horner falls waaayy off, to "gently caress James Horner," Zimmer jumps up quite a bit to possibly #1 because of the Black Hawk Down/Hannibal/Simpsons/Last Samurai combo, Elfman disappears, Williams jumps back up a bit because of the third Harry Potter and a few of the Spielberg movies, and you start including people like Powell and James Newton Howard - in the 2010s...I'm not even sure. I like some of Zimmer's stuff, but not as much as his general 2000s output, I'm not liking recent Williams, I think Giacchino is "ok" but depends too much on a singular theme in all of his work, and am just "okay" with people like Desplat or Mansell's recent stuff. I've actually been listening mainly to stuff from the 80's for the past few years, thusfar.
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May 9, 2013 19:47
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Hook is easily Top 3. Easily. Very, very underrated (which shows that, in most cases, the lesser-liked films with great scores will go mostly unnoticed). 'You are the Pan' is one of my top-played Williams tracks: http://www.youtube.com/watch?v=2EFiTuG21jg I still have E.T., Last Crusade, and Jedi rotating in there, though. My "top Williams track" is probably still Scherzo For Motorcycle & Orchestra: http://www.youtube.com/watch?v=HQIjCI6Eji0
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May 9, 2013 21:06
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It would be interesting to share film score related Spotify playlists for those of us that use Spotify (it's free, so why wouldn't you?). Might be a good way to expose others to other tastes or things we may not necessarily listen to otherwise. I'm not sure this will work correctly, but I'll give it a try - here is a playlist I made a little while ago that started as "just contemporary," and then turned into, "you know, some Miklos Rozsa would really sound good right now..." Let's see if this works: http://open.spotify.com/user/125938256/playlist/114eDyzNMNzaiGnnFw2ong edit: Oh, look, my full name. Okay, well, if you don't mind your actual name being open and available, I guess, hah. Darko fucked around with this message at 14:33 on May 10, 2013 |
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May 10, 2013 14:26
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haakman posted:http://open.spotify.com/user/ellywu2/playlist/680wtzEEfFA3fCy2kTTdj4 Yes, this shares quite a few similarities with some of mine (I typically reserve Transformers/Batman stuff for workouts and separate that type of stuff from more melodic pieces). I refuse to ever put any Horner on anything anymore, but actually, "War" from Avatar doesn't sound that bad. Hey, ComposerGuy - I just made this one especially for you. It's called "Respect the Zimmer." Sadly, I couldn't include half of the more obscure stuff on there, and I had to use some City of Prague covers due to Spotify not having some originals: http://open.spotify.com/user/125938256/playlist/1Vm0D0lSfytOqafC026NGR (For the most part, it doesn't include what you would normally think and has a wider variety than the typical Gladiator/Batman/etc. stuff) Darko fucked around with this message at 16:34 on May 10, 2013 |
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May 10, 2013 16:31
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I've always found Lion King overrated (and derivative of Horner - type stuff, ie. "Glory" in construction) - and found Prince of Egypt MUCH better. And liked Road to El Dorado more than Prince of Egypt. The only problem I have with current Zimmer is lack of "listenable variety." Earlier 2000s was excellent - you had great tonal and stylistic jumps between Black Hawk Down and Hannibal and Simpsons and Matchstick Men, etc. which were all great, but different. The only problem he had then was overusing Lisa Gerrard. Now, he's so married to superheroes, sequels, and big summer bombastic blockbusters, that you're getting a lot of similar scores. Not as much of the understated "smaller" movies or the stylistic changes in jumping from a spy movie to a cartoon about talking animals.
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May 13, 2013 16:23
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ComposerGuy posted:Great score that doesn't get talked about much. Predator > Back to the Future. Tone changes, crescendos, drum rhythm in 2...
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Jun 11, 2013 16:14
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haakman posted:What does everyone think about the Kingdom of Heaven score by Gregson-Williams? (barring the obvious inclusion of a cue from Goldsmith's 13th Warrior). I'm quite a fan - it contains accessible, modernised medieval music - "Burning the Past" is a cue I particularly enjoy. Good main theme, far too repetitive of a full score and it gets grating after a while.
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Jun 11, 2013 16:14
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Rocket Ace posted:Yes, I know that everyone HATES James Horner. James Horner post Legends of the Fall/Braveheart. Willow falls before that, as does American Tail, etc.
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Jun 11, 2013 19:39
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The Legends of the Fall DVD had an option where you could cut the dialogue off and just listen to the score, and it worked really, really well. actually, I far prefer the movie that way.
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Jun 12, 2013 02:02
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Timby posted:the Aliens score directly quotes Star Trek III throughout. Star Trek 3? Haha, I'll do you one better: http://www.youtube.com/watch?v=qGQ9zDKgjhc ....as compared to: http://www.youtube.com/watch?v=sB92r3o19gk (and the other sections appear all through the Aliens score as well) ugh...goddamn James Horner. Darko fucked around with this message at 19:31 on Jun 12, 2013 |
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Jun 12, 2013 19:28
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ComposerGuy posted:I picked up the LaLa Land release of the extended score of "Home Alone" yesterday. I always forget just how much I love that score...is there another score in film history that just so perfectly screams "CHRISTMAS, MOTHERFUCKERS"? http://www.youtube.com/watch?v=pj1Yo3NXjtM 
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Jul 11, 2013 04:05
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ComposerGuy posted:Well, yes, but the whole score! The whole movie is about Jesus and what Christmas is reallly supposed to be about so there! 
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Jul 11, 2013 05:26
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Stare-Out posted:Honestly, the only works of Michael Kamen I'm familiar with are Band of Brothers, the first X-Men movie and the orchestrated concert he did with Metallica. Band of Brothers has great music in it and Kamen is responsible for the X-Men "theme" that John Ottman did some great things with in X2. I can't for the life of me remember the music from the Kevin Costner Robin Hood or From The Earth to the Moon though. The Robin Hood theme was used in, like, 50% of trailers in the 90s (with Shawshank being the other half), so you should know it, actually: http://www.youtube.com/watch?v=b5Edkb2Qo9c Kamen has some gold, but lately, has produced nothing of note. There are a few composers like that, or people that were great in the 80s and then fell off a cliff.
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Aug 12, 2013 14:43
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Stare-Out posted:His less than stellar productivity of late could do with the fact that he's been dead for a decade now. Yeah, I phrased that completely wrong, hah. I meant, "in later years" and meant to compare it to people that fell off a cliff. Kamen was weird in that he only did a couple of good scores, but the ones he did stood out greatly.
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Aug 12, 2013 15:31
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Stare-Out posted:And thanks to the link you posted, I now remember I have heard the Robin Hood theme in a few trailers but I think the most-used theme in trailers goes hands-down to Zimmer's "Backdraft" theme (2:55 onwards). That poo poo was everywhere in the 90's. Here's the top ten list, actually (soundtrack.net): "Redrum" Immediate Music (used 28 times) Come See The Paradise (1990) Randy Edelman (used 27 times) http://www.youtube.com/watch?v=H9GNeTUzQis "Tightwire" Immediate Music (used 26 times) "Naked Prey" Immediate Music (used 25 times) Aliens (1986) James Horner (used 24 times) http://www.youtube.com/watch?v=uy1all0-sF0 (1:10 ish) Stargate (1994) David Arnold (used 22 times) http://www.youtube.com/watch?v=RrlIZyAUFsE (50 seconds in) "Blasphemy" Immediate Music (used 19 times) Bram Stoker's Dracula (1992) Wojciech Kilar (used 18 times) http://www.youtube.com/watch?v=jvImYvzHohY&list=PL2D72A733ECE9D63D Mortal Kombat (1995) George S. Clinton (used 17 times) Carmina Burana: "O Fortuna" Carl Orff (used 17 times) Sea Of Love (1989) Trevor Jones (used 17 times) Trailerhead: Triumph: "Ode to Power" Immediate Music (used 16 times) "Red Wire Blue Wire" Immediate Music (used 15 times) Number 11? Backdraft http://www.soundtrack.net/trailers/frequent/ I know everything on the list offhand, but not Sea of Love, and I can't figure out what that even sounds out (and even Youtube isn't helping me). Edit: editing in links to the relevant music. Darko fucked around with this message at 16:18 on Aug 12, 2013 |
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Aug 12, 2013 15:38
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Stare-Out posted:That's kind of surprising. Aside from Carmina Burana and Aliens, I honestly can't really remember any of those in any trailers I've seen. I'm sure I've come across them but still can't think of any. "Sea of Love" is a bit of a puzzle too, yeah. Well, Stargate's was used EVERYWHERE. You probably definitely would get that one. The funniest thing is that Dragonheart used Stargate's music in its trailer, but Dragonheart's actual score is one of the most used trailer musics. Dragonheart's trailer with Stargate's music: http://www.youtube.com/watch?v=SF9tgeo1HuA Seven Years in Tibet using Dragonheart's music: http://www.youtube.com/watch?v=rZ-KNWJeQ4g Come See The Paradise's used everywhere in trailers music starts at 1:10 here: http://www.youtube.com/watch?v=zdSZaTBWQqw Random Dracula gets used - I've heard quite a few different things using various tracks from it. Here's one using the main theme at the beginning: http://www.youtube.com/watch?v=r8CYpb7zrjs
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Aug 12, 2013 16:31
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exquisite tea posted:That reminded me of another Randy Edelman piece from Dragon: The Bruce Lee Story that was used in just about every heroic-sounding movie in the 1990s (main cue starts at about 2:15). I closed the site and can't check at the moment, but Dragon is ranked like 15 or something. It's kind of a useful resource; you can click the title and see what trailers it's used in for most.
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Aug 12, 2013 17:15
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Sagebrush posted:e: as far as post-2000 James Horner stuff I really like, his score for Enemy At The Gates is really nice. Let me ruin that for you then. Fast forward to 2:52 here: http://www.youtube.com/watch?v=xYvpBsLhVlI Now listen: http://www.youtube.com/watch?v=qhwmNwQJrdI
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Aug 13, 2013 16:31
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Fatkraken posted:Posted before but since it's about Horner I never heard this before. Jesus - as soon as the first link started, I knew what the second one was going to be.
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Aug 14, 2013 00:07
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Hans Zimmer is half of the reason that DCs Batman/Superman outputs fell a lot less flat in dramatic, emotional, and action beats than Phase 1 of Marvel, Amazing Spider-man, etc.; so this is a good thing. The only "better" choice at this point would be Powell, whose Last Stand score was probably the best superhero score of the last 10 years (for combining Zimmer's tonal pull with some nice extended compositions). The only issue is that he's scoring Batman, Superman, and Spider-man; the same guy shouldn't really be making themes for the three most popular superheros out there.
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Apr 16, 2014 13:47
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ManifunkDestiny posted:He's not though? Unless he's doing Iron Man or Avengers themes too... Those are the <historically> most popular comic heroes. Still are, overall, especially counting merchandising and licensing.
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Apr 16, 2014 23:25
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I'm on my way to the Detroit Symphony Orchestra to see John Williams conduct as presented by Steven Spielberg. I'm so excited. As much as I've been bored by Williams' work as of late, he was a HUGE influence on me artistically over the years, as was Spielberg.
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Jun 14, 2014 22:02
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effectual posted:How was it? Possibly the best overall musical event I've been to. I've heard the DSO do a lot of film music in the past, and compilations of Williams as well, and they've often not been the "best" performances overall due to slight timing misses or weird note changes. However, they were on their "A game" for this and were almost absolutely perfect. Williams is quite spry and sharp for his age, which is good to see. Spielberg is Spielberg, obviously. They did a couple of presentations, for instance, presenting the opening to Last Crusade without sound and comparing it to being live-scored. I think I was most impressed, though, by some of the edited montages that they put together. Marion's theme for the leading ladies of film, etc. But yeah, just seeing who are probably the greatest (combining skill with accomplishments with popularity) artists in their field in my lifetime was an unbeatable event.   And a quick excerpt I grabbed to give friends an idea of what it was like: https://www.youtube.com/watch?v=iTPkki1JSN8 Darko fucked around with this message at 12:50 on Jun 17, 2014 |
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Jun 17, 2014 12:33
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I've played the Memento score on Youtube or something, I believe, so it should exist. Can't research it right now, but I can look later. edit: Is this the one you have?: http://www.soundtrackcollector.com/title/41067/Memento Darko fucked around with this message at 16:13 on Oct 2, 2014 |
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Oct 2, 2014 16:11
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ComposerGuy posted: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. Howard is great, but he hasn't hit the peaks of Meet Joe Black or The Horse Whisperer yet, or composed something with the general mood range of Shawshank. He's good, but there isn't much that can compare to MJB.
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Nov 22, 2014 00:30
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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.
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Jan 17, 2015 00:18
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I'll check out that score. But, yes, all too often, great scores get under-heard because of being attached to mediocre or crap films.
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Feb 4, 2015 15:35
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Stare-Out posted:That's the first time I've heard a bad word said about Giacchino. I've always felt he's like the next Williams in a lot of ways, not only because he's taking over the mantle for Jurassic World but because he's great at composing pretty sweet and memorable themes (amongst some more subtle and gorgeous ones, like the one Timby linked). I've always liked his version of the Star Trek theme, even though I can't shake how similar is sounds to a certain piece from World of Warcraft of all things. Not that I think it's intentional at all. I think Giacchino is very good, but somewhat overrated online due to a lot of people rooting for him for being relatively young, coming from game scores, and composing more in the "old" style than the post-Zimmer style. It's a kind of rooting for the underdog thing. He actually makes GREAT themes. All of the themes he made for the Star Trek movies are fantastic, as is the Up theme. He also does a serviceable job with filling in between the themes. My only issue with him, and why I don't personally rate him on the level of Powell, Zimmer (when he's not being lazy), Newton Howard, Newman, etc. etc. etc. is that, to me, he's yet to make a score that worked perfectly inside the movie AND made a perfect listen outside of that film. Star Trek 1 had great theme work, but then relied too much on those themes to the point of getting repetitive. Up had great moments, but got somewhat "Mickey-Mousey" and not really melodic listening as it continued. Etc. He has the potential to be top tier or maybe even current best, but hasn't quite reached there yet, imo.
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Feb 6, 2015 22:05
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ComposerGuy posted:This may have been said earlier but god do I miss David Arnold. He's still doing a lot of work, though. I listen to Sherlock season 2 quite a bit for instance.
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Apr 1, 2015 23:51
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