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Darko posted:Let me ruin that for you then. Aaaagh gently caress you. I knew there was a reason I liked it so much. (I don't own the Apollo 13 soundtrack though I really should) Well, I dunno, I still think that suite from Enemy At The Gates is good. Even if it is just yet more recycling, it ties it all together pretty well.
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Aug 13, 2013 22:45
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Sagebrush posted:Aaaagh gently caress you. I knew there was a reason I liked it so much. (I don't own the Apollo 13 soundtrack though I really should) Posted before but since it's about Horner https://www.youtube.com/watch?v=DXQ-eZqnVe0 https://www.youtube.com/watch?v=pRskpDvjrIM&t=2s some arrangement and key differences but dayum
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Aug 14, 2013 00:03
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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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Hey guys, James Horner. https://www.youtube.com/watch?v=pEVSq6Jl5JA
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Aug 14, 2013 01:49
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Oblivion's score has really grown on me, but there was a bit in one of the tracks that really bugged me for ages because it sounded so familiar and I think I've nailed it. In "You can't save her", around the 2:45 mark, is that not note for note from Zimmer/Newton-Howard's "Batman Begins" score? I'll try to dig up a comparison. E: Actually it was in "The Dark Knight", the track being "Harvey Two-Face" around the 2:42 mark. There's a more similar version somewhere on the album which isn't quite as "Zimmerific" as that but it's pretty drat close I'd say. Stare-Out fucked around with this message at 11:09 on Sep 25, 2013 |
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Sep 25, 2013 11:03
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Stare-Out posted:Oblivion's score has really grown on me, but there was a bit in one of the tracks that really bugged me for ages because it sounded so familiar and I think I've nailed it. In "You can't save her", around the 2:45 mark, is that not note for note from Zimmer/Newton-Howard's "Batman Begins" score? I'll try to dig up a comparison. Oblivion's scoring was not exactly inspired, unless one means to say "inspired by." At 2:23 we get Gotham's Reckoning, followed instantly by Harvey Two-Face, and most of the rest of the soundtrack sounds like Mass Effect. This is so note-for-note it's a little jarring. Name Change fucked around with this message at 21:16 on Sep 25, 2013 |
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Sep 25, 2013 20:16
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Oh poo poo that is eerily close to "Gotham's Reckoning" too. And yeah it's very synth-laced Mass Effecty stuff but it's pretty inoffensive and easy to listen to at the same time. And the title track completely owns.
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Sep 25, 2013 21:09
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Oblivion's score is basically 'Zebra2 - The Soundtrack!'
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Sep 26, 2013 15:19
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Sat down and listened to Creepshow's score again tonight. John Harrison did such a great job capturing the Halloween horror house atmosphere, and the electronic frenzy in "They're Creeping Up On You" is just golden. It was like a more tolerable John Carpenter. It's kind of bizarre that he's only done a couple of other soundtracks, anyone know why he hasn't been more prolific?
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Sep 27, 2013 05:46
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Stare-Out posted:Oh poo poo that is eerily close to "Gotham's Reckoning" too. And yeah it's very synth-laced Mass Effecty stuff but it's pretty inoffensive and easy to listen to at the same time. And the title track completely owns. The title track is the only one credited to M83 alone, and since Tron Legacy's score was a bit Zimmer-ish too, I blame the guy that collaborated with Daft Punk and M83 on those scores. He definitely reigned them from their usual styles.
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Sep 27, 2013 18:42
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Cacator posted:The title track is the only one credited to M83 alone, and since Tron Legacy's score was a bit Zimmer-ish too, I blame the guy that collaborated with Daft Punk and M83 on those scores. He definitely reigned them from their usual styles. E: I'm currently watching Enemy at the Gates for the first time in years and holy poo poo, James Horner. Not only does the whole film kick off with his staple four-note horn motif, I'm only 15 minutes in and already I've noticed him cribbing Williams' "Schindler's List" main theme and the one bit of music from his own "Titanic" score where the ship is sinking, which was curiously absent from the actual soundtrack. I'm sure I heard some "Braveheart" in there too. This might be the worst offender for the most unoriginal Horner score yet. Stare-Out fucked around with this message at 17:31 on Oct 1, 2013 |
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Sep 27, 2013 18:58
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Ba ba ba baaaaaaaaaaaa Urgh. Such a hack job. e: for a bit more content... check out the 1st movement of Mahler's 5th. So that's where Horner got it from! haakman fucked around with this message at 18:28 on Oct 7, 2013 |
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Oct 7, 2013 15:59
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Not to divert from Hornerchat (seriously) but why is it that I only today found out that there's a 20th Anniversary version of Jurassic Park's score? I had no idea they'd released this, partly because it's digital only and iTunes only sells it in the States for some bizarre reason (had better luck with Amazon). Overall the sound quality seems better than in the original release -- though I admit my version of the score is a cd rip of my own from a few years back. Sound quality aside, the big thing is that there's 11 loving minutes of previously unreleased music on the album! Mr. Dna theme? "This score is only temporary..." Yup, it's there. It's even called "Stalling Around" after Carl Stalling  The music from the scene where Rex chases the jeep? It's there. The gorgeous choral piece when the digging team find a mosquito in amber? There in all its glory. Even the bit where Richard Kiley talks about Jurassic Park when they embark on the tour has its music on the album. It's fantastic. The last track even has some twists on the menacing four-note Raptor theme. If you like the original score, I'd say this release is worth it for the four added tracks.
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Oct 8, 2013 00:07
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For anyone interested, Soundcloud has 1-minute track previews of Howard Shore's The Desolation of Smaug score. It's tricky to tell from 1-minute long samples but it doesn't really feel like Shore's usual Middle Earth stuff. And I mean that in a good way; there's definitely some Hugo and Silence of the Lambs in there which is awesome. Not too keen on the end credits song "I See Fire", though. And the lack of the orchestrated "Misty Mountains" theme from the first movie is a bit of a bummer, that needs to have its "The Lighting of the Beacons" moment.
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Nov 22, 2013 10:46
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AFewBricksShy posted:One of the soundtracks I keep going back to is Clint Mansell's "Moon" soundtrack. To revive the thread the Moon Soundtrack is wonderful I think its his best work it gets the mood perfectly my most played score. The other big one for me Drive, and Moulin Rouge in particular https://www.youtube.com/watch?v=RA_vxjTdw7A Bolero which seems to have been recorded twice with two different artists for some strange reason Steven Sharples for cd while Simon Sanstang did the movie which seems extremely odd. (USER WAS PUT ON PROBATION FOR THIS POST)
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Dec 2, 2013 19:18
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Here's an interesting read: http://badassdigest.com/2014/01/24/scorekeepers-top-ten-film-scores-of-2013/
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Jan 25, 2014 02:47
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Had not even heard of Grand Piano, sounds like an interesting concept. On the topic of plagiarism, this blew my mind the first time I saw 300, having owned the Titus soundtrack: Titus, 1999, Elliot Goldenthal: https://www.youtube.com/watch?v=KBHZ_MDktCs 300, 2007, Tyler Bates: https://www.youtube.com/watch?v=VAZsf8mTfyk Wikipedia says the matter was "amicably resolved" (  )
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Jan 25, 2014 04:41
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DNS posted:Here's an interesting read: http://badassdigest.com/2014/01/24/scorekeepers-top-ten-film-scores-of-2013/
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Jan 25, 2014 12:48
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Incidentally, the score to Escape From Tomorrow is the best thing about the whole film. It's almost too good, actually, it seems like an impressive score put to B-roll. e: The original music, that is.
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Jan 25, 2014 18:51
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Stumbled across Zimmer's finale to The Lone Ranger today, and while it's not particularly original or creative, it's an absolute masterclass in mutating the themes of another piece of music (in this case, the William Tell Overture): http://grooveshark.com/s/Finale/5cZn2z?src=5 coffeetable fucked around with this message at 19:48 on Feb 3, 2014 |
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Feb 3, 2014 19:44
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Stare-Out posted:Holy hell, I had no idea Korzeniowski had scored another movie (Escape from Tomorrow). His "A Single Man" score is absolutely stunning. Gonna have to check that score out. He also scored the Romeo & Juliet movie that came out in October (which no one saw). It's the one Horner was fired from and Korzeniowski took over.
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Feb 3, 2014 22:00
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James Newton Howard's Hunger Games soundtrack goes unappreciated I think. Catching Fire made me realize there's some good stuff going on with the score. I had to go back and listen to Horn of Plenty because drat that track owns. https://www.youtube.com/watch?v=RFAUzAtSz0w
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Feb 4, 2014 02:42
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teagone posted:James Newton Howard's Hunger Games soundtrack goes unappreciated I think. Catching Fire made me realize there's some good stuff going on with the score. I had to go back and listen to Horn of Plenty because drat that track owns. Just got done watching this and I completely agree.
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Feb 4, 2014 02:48
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teagone posted:James Newton Howard's Hunger Games soundtrack goes unappreciated I think. Catching Fire made me realize there's some good stuff going on with the score. I had to go back and listen to Horn of Plenty because drat that track owns. Didn't Arcade Fire compose that particular track, though? (Either way, I agree that the anthem is awesome.) EDIT: It looks like AR composed the tune and lyrics, but JNH arranged it into the orchestral version that's in the film. Hewlett fucked around with this message at 03:38 on Feb 4, 2014 |
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Feb 4, 2014 03:35
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teagone posted:James Newton Howard's Hunger Games soundtrack goes unappreciated I think. Catching Fire made me realize there's some good stuff going on with the score. I had to go back and listen to Horn of Plenty because drat that track owns. The bit for Rue's Death is so good. I love how it sort of became the theme for the rebellion
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Feb 4, 2014 03:41
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coffeetable posted:Stumbled across Zimmer's finale to The Lone Ranger today, and while it's not particularly original or creative, it's an absolute masterclass in mutating the themes of another piece of music (in this case, the William Tell Overture): It was Geoff Zanelli who did the arrangement for that track.
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Feb 8, 2014 22:14
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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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Can't wait to hear how he incorporates Williams' theme.
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Apr 15, 2014 23:31
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I'm going to guess that Zimmer's Batman/Superman score will go something like this: whenever one of the main characters is about to appear, a motif of the same number of notes as the syllables in their name will sound twice, first ending on a lower note, then on a higher. So for Batman: "BAT... [lower] MAN... BAT... [higher] MAN..." And Superman: "SU-PER... [lower] MAN... SU-PER... [higher] MAN..." Then Wonder Woman: "WON-DER... WO-[lower]MAN... WON-DER... WO-[higher]MAN..." All with strings constantly going "diddleiddlediddleiddlediddleiddle" under them. Thank you, I'm Hans Zimmer, composer of the theme for TV's Going For Gold, that'll be $2 million please.
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Apr 16, 2014 09:43
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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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Darko posted:the same guy shouldn't really be making themes for the three most popular superheros out there. He's not though? Unless he's doing Iron Man or Avengers themes too...
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Apr 16, 2014 17:40
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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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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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ComposerGuy posted:Powell should be getting every job that Zimmer is, IMO. Giacchino (lackluster Star Trek work aside), Desplat and James Newton-Howard should be in that conversation, too.
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Apr 18, 2014 01:48
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Has Ramin Djawadi been attached to any upcoming stuff?
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Apr 18, 2014 01:52
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ZackHoagie posted:If we're talking scores from all time and not just this last year, Michael Nyman's scores for the films of Peter Greenaway are absolutely vital at capturing and accentuating what made the movies work with to begin with. Another score, which is probably one of my all-time favorites is his score for Gattaca: http://www.youtube.com/watch?v=TXeBe2XQDZg. drat thing makes me tear up almost every time- though I'm also a huge fan of the film, so that's probably part of it. [edit] I scanned the filmscores review of Gattaca and they mostly found it to be "a dreary score for a dreary movie"; which isn't to say that they disliked either overall. Still, I disagree. Yes, It's quite minimal and doesn't necessarily punctuate the action or emotion of what's happening onscreen all that often, but it hits the big emotional notes that are most vital to the film's themes. This is especially true towards the end where the soundtrack follows the two brothers as they swim out to sea. Similarly with the montage that marks the very end of the film. Gattaca is a subdued film because it's main characters are forced to project icy, composed, confident demeanors in a world that has ironically contorted techno-biological advancement into a dehumanizing affair. Consequently, I think the score largely captures this. The score breaks out into its more sweeping emotional orchestral notes only when the characters are actually allowed to tap back into their humanity -be it in moments of love, lust, or anger. Notsosubtle fucked around with this message at 05:00 on Apr 18, 2014 |
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Apr 18, 2014 04:35
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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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I like Giacchino's Star Trek scores just fine, but for me, his two standout scores are John Carter and Mission Impossible: Ghost Protocol. It's a shame John Carter was such a flop, because Giachhino's score seemed outright inspired (and he's quoted as saying his inspiration for the John Carter score was The Empire Strikes Back). It doesn't hurt that I still have a ridiculous amount of fun watching Ghost Protocol the movie, and in part it's because so much of that score itself is just so drat fun. This track, in particular, makes for some great music in the car. https://www.youtube.com/watch?v=qHbj-lZ840I But now that I've mentioned good driving music, I have to mention one of my favorite action tracks (and scenes) from recent years, Alan Silvestri's "Flying A Tank" from The A-Team. https://www.youtube.com/watch?v=FJltfRvIsKo 
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Apr 18, 2014 13:45
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The collaboration between Claire Denis and the band Tindersticks is my favorite director/composer collab in cinema. Here are a few examples of her images paired with their music... https://www.youtube.com/watch?v=IYbZBCR6yCs https://www.youtube.com/watch?v=UI7wV-A5zxE https://www.youtube.com/watch?v=sNYJyjLG1pA
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Apr 18, 2014 14:26
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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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