CHUD.com Community › Forums › THE MAIN SEWER › Movie Miscellany › The Composers, Scores, and the Chewers Who Love Them Thread
New Posts  All Forums:Forum Nav:

The Composers, Scores, and the Chewers Who Love Them Thread - Page 17

post #801 of 1226
Quote:
Originally Posted by soylentgreen View Post
Not too fond of the puns myself, but I'll take that over Zimmer's tendency to make a score album of five or six hodge-podge suites. (And name them after Bat species! ) He's getting better though.
Ha ha...I hated that too.
post #802 of 1226
Quote:
Originally Posted by soylentgreen View Post
Not too fond of the puns myself, but I'll take that over Zimmer's tendency to make a score album of five or six hodge-podge suites. (And name them after Bat species! ) He's getting better though.
God, I hated that. I'm not asking for titles like "Batman beats up the guys at the dock", but something minimally descriptive of the accompanying scene would be nice. Pissed me off. I was pleased to see that The Dark Knight score was slightly more helpful. But only slightly.

Also, while I'm pleased to see Giacchino getting a deluxe treatment, I'm a little annoyed at how quickly it happened. We already have to be wary of double dipping on home video. Are we going to have watch out for it in score albums now too?
post #803 of 1226
Quote:
Originally Posted by soylentgreen View Post
That few moments when the score goes from the prologue to the title reveal (just as the Romulan ship and it's debris drift askew and the teeny little shuttles creep out of it's reach, fade out, title rotates into view)...goose pimples!
I love that transition and cue as well. Amazing to think that it was the result of a last minute change by Abrams, stealing the "Enterprising Young Men" cue from later in the film, cutting it up a bit, and dropping it in.
post #804 of 1226
Quote:
Originally Posted by Litmus Configuration View Post
I love that transition and cue as well. Amazing to think that it was the result of a last minute change by Abrams, stealing the "Enterprising Young Men" cue from later in the film, cutting it up a bit, and dropping it in.
Yeah it almost becomes a "shuttle motif" as a seldom heard ostinato is heard there and later when a shuttle is going up to space with the new recruits.

I like it as well.
post #805 of 1226
The only Batman Begins track I actually know by name is Molossus.

Adding love to the last minute alteration of the opening of Trek with the shiny opening titles.

Which other Giacchino scores have featured bad puns? Star Trek struck me as the only one that stuck out that way. Maybe some of the LOST scores? I don't recall Ratatouille or Speed Racer having puns.
post #806 of 1226
Alan Silvestri's A-TEAM score plays during all of these b-roll clips:
http://www.traileraddict.com/trailer...-team/b-roll-i

Sounds very Silvestri. And they're using the original theme in the movie, so that's good.
post #807 of 1226
Quote:
Originally Posted by mcnooj82 View Post
Which other Giacchino scores have featured bad puns? Star Trek struck me as the only one that stuck out that way. Maybe some of the LOST scores? I don't recall Ratatouille or Speed Racer having puns.
While not nearly as many, both Ratatouille and Speed Racer have puns. Up does as well.
post #808 of 1226
Speed Racer only has three, really, and none of them are as painful as "Nero Sighted".
post #809 of 1226
More selected lowlights of Giacchino's punny subtleties:

LOST

Season 1
2"The Eyeland" 1:58
6"Hollywood and Vines"1:52
10"Win One for the Reaper"2:38
18"Thinking Clairely"1:04
19"Locke'd Out Again"3:30
21"Booneral"1:38
22"Shannonigans"2:25
23"Kate's Motel"2:07

Season 2
22"Eko Blaster"1:44
24"McGale's Navy"2:22

Season 3
7"Eko of the Past"2:45
9"Leggo My Eko"3:12
13"Here Today, Gone to Maui"4:53
15"Achara, Glad to See Me?"2:25
21"Claire-a Culpa"5:21
28"Rushin’ the Russian"1:06
30"Dharmacide"3:56
Disc Two
10"The Good Shepherd"0:58
14"Jintimidating Bernard"2:42
19"Weapon of Mass Distraction"0:50
23"Through the Locke-ing Glass"2:13
27"All Jack’ed Up"0:12
33"Looking Glass Half Full"4:16

Season 4
2"Locke'ing Horns"1:52
8"Karma Jin-itiative"1:24
14"Locke-about"6:05
16"Nadia on Your Life"1:42
17"C4-titude"2:00
18"Of Mice and Ben"2:19
19"Keamy Away from Him"4:58

Season 5
1"Making Up for Lost Time"3:23
2"The Swinging Bendulum"5:44
10"Crash and Yearn"2:30
11"Your Kharma Hit My Dharma"2:06
12"Alex In Chains"1:37
13"I Hear Dead People"1:54(from "Some Like It Hoth")
14"For Love of the Dame"3:18
16"Sawyer Jones and the Temple of Boom"5:16
23"Jacob's Stabber"

LAND OF THE LOST

1. Swamp And Circumstance (1:25)
3. Food Coma For Thought (1:01)
14. A New Marshall In Town (1:37)
15. Pterodactyl Ptemper Ptantrum (:42)
20. If You Don't Make It, It's Your Own Damn Vault (2:40)
22. Stakbusters (2:33)
24. Crystal Clear (2:31)
26. Ready And Will (1:36)
28. Pop Goes The Sleestak (:16)
post #810 of 1226
I suddenly feel vaguely ill.
post #811 of 1226
(in Plinkett's voice)

Oh.

Ohhhhhh...
post #812 of 1226
Quote:
Originally Posted by Greg David View Post
Also, while I'm pleased to see Giacchino getting a deluxe treatment, I'm a little annoyed at how quickly it happened. We already have to be wary of double dipping on home video. Are we going to have watch out for it in score albums now too?
It is slightly worrying, but better to wait one year instead of 30.

Apparently the screaming and yelling from fans was enough to get the release started, and Giacchino was already talking about an expanded release last year.

Still, the bitching on the FSM boards is sad to see. It's like they want a moratorium on any reissue under 10 years...

ETA: Jesus. What is it with that guy and puns?
post #813 of 1226
Quote:
Originally Posted by wadew1 View Post
Alan Silvestri's A-TEAM score plays during all of these b-roll clips:
http://www.traileraddict.com/trailer...-team/b-roll-i

Sounds very Silvestri. And they're using the original theme in the movie, so that's good.
Holy shinola. I hate that we have a six-week wait for the film in the UK. This just makes it worse.

And the Varese release is just about 70 minutes long! Crazy.
post #814 of 1226
I always liked the puns on Giacchino's scores. Always liked the personality they had.

I'm at a loss to tell the difference between Silvestri's reorchestrisation and the original version of the theme. I mean I guess it'll please the Fleed's of the world that the theme has been kept as it was, but I always quite like composers having a stab at updating themes. Even if the invariably don't work out. I still have the main themes to the remakes of the Saint (by Orbital) and Mission:Impossible (by Adam Clayton/Larry Mullen) because of how ludicrously of their time they are.
post #815 of 1226
Spike Marshall, You're right, that it pleases me that...Mike Post and Pete Carpenter's Classic score to...The A-Team is properly presented in the film adaption. The...Worst of course is...S.W.A.T.! It was played...4 times in the film, and it never sounded as great, as during an episode of the classic tv series! There are themes that I do not messed with much and...The A-Team is one of them. I wish that there was a longer cut of the tv series...The A-Team cd. 35 minutes is not enough, of one of my favorite scores ever!
post #816 of 1226
It made me smile. I'm sure there'll be more meat on the score than just reworking the old theme.

The examples Spike throws out are probably the best of the 90s electronica reworkings. Moby and Apollo Four Forty deserve love too. Still for those guys, we also have Eric Serra's Goldeneye... which doesn't work.

Just offered my services to in70mm.com again for that 2001 concert. Looking forward to it.
post #817 of 1226
So in love with Morricone's Sonny and Jed score. Here's "Sonny".
post #818 of 1226
Tonight's the night. Listening to the North score in preparation. Really quite good. Too bad the Kubrick estate/WB didn't want to put an isolated score on that recent DVD. At least the CD's liner notes have timings for those with the R1 DVD.
post #819 of 1226
Have fun Jim!
post #820 of 1226
Thanks Taylor. Hope the FSM boards are less frustrating for you than me.

Okay, so:

1. They used a new digital print with just dialogue and sound effects. I have to think this is going to get carted around the world. (Fear not, Greg.)

2. Despite being in the absolute back row of the balcony, still a fantastic aural experience.

3. Christiane Kubrick showed up to give it the seal of approval.
post #821 of 1226
Sounds awesome Jim. I'm glad you had a great time!
post #822 of 1226
Very cool. Hope we get this 2001 event in L.A. I think the only time I've seen a live orchestra perform synchronously with a film was the restoration premiere of Abel Gance's NAPOLEAN at the Shrine Auditorium. Almost as cool was when I went to the premiere of TOMORROW NEVER DIES at the Dorothy Chandler Pavilion and a live orchestra played Bond themes before the movie began. As the lights dimmed, the entire orchestra pit slowly descended out of sight. Hope those fellas were okay.
post #823 of 1226
Going all-American in my mp3 player today:

David Arnold - Independence Day
Bruce Broughton - Silverado, Tombstone
Elmer Bernstein - The Magnificent Seven
John Williams - The Patriot
David Shire - Pelham
post #824 of 1226

.


Edited by Agentsands77 - 6/4/16 at 2:36pm
post #825 of 1226
Quote:
Originally Posted by Tom Logan View Post
So in love with Morricone's Sonny and Jed score. Here's "Sonny".
Damn, I've never even heard of this film. Score has a "Duck, You Sucker" feel to it. Has anyone seen the actual movie?
post #826 of 1226
I watched Brainstorm the other night. Hadn't seen it since HBO back in the 80s, so I'd forgotten Horner did the score. And there he is, barely a year after Wrath of Khan, and he's liberally ripping it off -- the "da-da-da-daaaaa" motif for impending danger particularly.
post #827 of 1226
Quote:
Originally Posted by Jim Barg View Post
Going all-American in my mp3 player today:

David Arnold - Independence Day
Bruce Broughton - Silverado, Tombstone
Elmer Bernstein - The Magnificent Seven
John Williams - The Patriot
David Shire - Pelham
I'm much more fond of THE PATRIOT than I thought I'd be at first blush. It's taken a little time, but it truly grew on me. My ear's desire to hunt down and call out Williams-isms in the music was a hurdle. Every composer has that catch-22, but for some reason, with Williams it always feels more disappointing. For Emmerich's film, as I'm increasingly appreciating, he's honed his trademark "American sound" (for lack of a better way of putting it) to a much more matured end. On it's own it's vivd and alive, but in the film it really jives with the narrative in a way that, at least to myself, seems to reign in the more cartoonish Emmerich-y elements like some kind of aural ballast.

(Now, fresh in mind as it's been on heavy rotation on tv, SUPERMAN...Those Smallville cues, notably for Jonathan Kent's death and leaving home, are saturated with goosepimpling sound of the dusty Wyeth browns and golds Donner paints that portion of the film in.*)

For the last few weeks I've been running the RAVENOUS score while playing Red Dead Redemption. With such steady consumption it found it's way back into the car for the holiday prompting a "What the hell is this?" from my wife.

It's a score I already adore, but the more I'm savoring it, the more I realize it's a seriously American sounding experience. A great alternative vibe from the more traditional school. Sort of a "primary source" sound versus the "textbook history" tone of Bernstein and Williams.


* Of course, it's nearly impossible to verbalize how the Krypton theme (and it's subtle iterations throughout the score) touches a nerve like almost no other motif in film scores of the last three or four decades.
post #828 of 1226
I just gave my collection a much-needed injection of extra Morricone: Once Upon a Time in the West, A Fistful of Dollars, and Two Mules For Sister Sara.

Screen Archives is going to put me in the poor house.
post #829 of 1226
Quote:
Originally Posted by soylentgreen View Post
I'm much more fond of THE PATRIOT than I thought I'd be at first blush. It's taken a little time, but it truly grew on me. My ear's desire to hunt down and call out Williams-isms in the music was a hurdle. Every composer has that catch-22, but for some reason, with Williams it always feels more disappointing. For Emmerich's film, as I'm increasingly appreciating, he's honed his trademark "American sound" (for lack of a better way of putting it) to a much more matured end. On it's own it's vivd and alive, but in the film it really jives with the narrative in a way that, at least to myself, seems to reign in the more cartoonish Emmerich-y elements like some kind of aural ballast.
I knew it had succeeded when I was hearing the theme as a sports underscore by October 2000. It's very rare that a score lives up to my expectations right away like that, as I was ready to go buy that score as soon as the credits rolled at the beginning.

All right, so who's dropping the $100 on the Uber-Spartacus set? C'mon, be honest.
post #830 of 1226
You have no idea how much I want to. But I still don't have the Superman uberset, and I think I'd pick that one up first. I'm also still missing the Two Towers expanded release. So I'm backlogged on ubersets.
post #831 of 1226
You can't be a soundtrack geek celebrating the Fourth of July without playing this at least once, LOUD...

Some excerpts: http://www.youtube.com/watch?v=d1guZk2hXUo
post #832 of 1226
Quote:
Originally Posted by Greg David View Post
You have no idea how much I want to. But I still don't have the Superman uberset, and I think I'd pick that one up first. I'm also still missing the Two Towers expanded release. So I'm backlogged on ubersets.
Right, and if I had to guess, the Superman set would go first. I know Spartacus is beloved, but there's no way they'll blow through 5000 copies that quickly.
post #833 of 1226
Quote:
Originally Posted by Litmus Configuration View Post
You can't be a soundtrack geek celebrating the Fourth of July without playing this at least once, LOUD...

Some excerpts: http://www.youtube.com/watch?v=d1guZk2hXUo
Damn, I knew I forgot something. Making up for it now.

Here's a question: why has there never been an expanded release on CD? I would think that there'd be enough interest to make it financially viable. Was it because the isolated score was put on the laserdisc/DVD?

And if that was the case, anyone know how many other Williams scores were given the isolated treatment?
post #834 of 1226
Quote:
Originally Posted by Greg David View Post
Screen Archives is going to put me in the poor house.
Hear, hear!
post #835 of 1226
Litmus Configuration, The score to 1941 is...Classic! I love the film as well!
post #836 of 1226
Help, fellow score junkies! I need to find and/or identify a piece of music that was somewhat popular in the '80s, used for a variety of TV commercials. The only commercial I know about for sure was a teaser TV spot for the 1982 miniseries MARCO POLO. I think it might have also been used for a (Seiko?) watch commercial. It sounds kind of like Vangelis or Tomita, but I'm not sure if it was one of theirs. I know that's not a lot to go on but if anyone has any advice, I'd really appreciate it.
post #837 of 1226
Quote:
Originally Posted by Litmus Configuration View Post
Help, fellow score junkies! I need to find and/or identify a piece of music that was somewhat popular in the '80s, used for a variety of TV commercials. The only commercial I know about for sure was a teaser TV spot for the 1982 miniseries MARCO POLO. I think it might have also been used for a (Seiko?) watch commercial. It sounds kind of like Vangelis or Tomita, but I'm not sure if it was one of theirs. I know that's not a lot to go on but if anyone has any advice, I'd really appreciate it.
You made me curious, so I checked YouTube for the Marco Polo mini you mentioned and found the score by Morricone, but I don't think that's what you're after: http://www.youtube.com/watch?v=IkjiOUocLFg

Maybe browsing the other clips might lead to your answer?
post #838 of 1226
If you haven't found it yet, post some of the tv commercial clips. I'm not real sure which clips you are looking at.
post #839 of 1226
Quote:
Originally Posted by Litmus Configuration View Post
Help, fellow score junkies! I need to find and/or identify a piece of music that was somewhat popular in the '80s, used for a variety of TV commercials. The only commercial I know about for sure was a teaser TV spot for the 1982 miniseries MARCO POLO. I think it might have also been used for a (Seiko?) watch commercial. It sounds kind of like Vangelis or Tomita, but I'm not sure if it was one of theirs. I know that's not a lot to go on but if anyone has any advice, I'd really appreciate it.
Litmus, you may be familiar with this site already but you should poke around Adtunes.Com. It's an invaluable resource for things like this.

I took a look around there just now but didn't find much for Seiko. (But found a thread wherein I learned that not only were people looking for the music from the Pristiq ads, but the company itself offers the cue!)

Poking around YouTube netted some Seiko commercials all of which sound more like library tracks from the usual house sources where the composers were tasked to sound "just like" a contemporary song or artist. (Being a Romero fan, I spent a good deal of years learning just how widespread these nondescript and ephemeral cues can be.)

I'm almost positive I know the cue your referring to; my brain hardwired a disturbing amount of musical memories from the 70s and 80s.
post #840 of 1226
I recently rewatched it, and though I've always been a fan, I was reminded of the superlative score to WATERWORLD. I am a fan of the cool island drum music , but the grand adventure theme "Ba-da-dum-de-de-de-dadaDum!" is also a blast. It is some of my favorite film music ever, especially the music from the opening pan down to the trimaran
post #841 of 1226
ObiJuan: Thanks for the thought, but yeah, what I'm looking for isn't in any of the YouTube MARCO POLO searches.

Taylor: If I had clips, it would be easier. I might even be able to Shazam it. But I've got no reference except my memory on this.

Soylent: Thanks for the link to Adtunes. I'll see what I can dig up there. And yeah, I bet you'll be familiar with this cue, or at least have a nostalgia rush when you hear it.
post #842 of 1226
Quote:
Originally Posted by Litmus Configuration View Post
Taylor: If I had clips, it would be easier. I might even be able to Shazam it. But I've got no reference except my memory on this.
So none of these commercials are on youtube? Man that sucks...I wish I could help you.
post #843 of 1226
I'd like to give a quick shout out to Craig Safans work on The Last Starfighter, one of the great forgotten and/or under-rated movie scores to come out of the eighties. That score was at least 3 times better than that film deserved, but really elevated the material all round. I heard it for the first time in years this morning, and it's really impressive how it holds up. The thing is actually pretty fucking great - to the point it's actually made me want to watch the film again for the first time in over 20 years.
post #844 of 1226
God I wish the soundtrack for Howling 3 was ANYWHERE to be found.
post #845 of 1226
Quote:
Originally Posted by The Rain Dog View Post
I'd like to give a quick shout out to Craig Safans work on The Last Starfighter
Yeah that is a really good score. More than anything imo, it has a great main theme that Safan really gets a lot of use out of. I'm lucky enough to have the score in my iTunes for my listening pleasure
post #846 of 1226
Quote:
Originally Posted by TaylorF View Post
Yeah that is a really good score. More than anything imo, it has a great main theme that Safan really gets a lot of use out of. I'm lucky enough to have the score in my iTunes for my listening pleasure
"I love you, Alex Rogan!" Chills, still, and a lot of that is due to the cue. The only reason I don't own this one is that the CD was always ridiculously expensive.
post #847 of 1226
Two Steps From Hell does amazing work, you'll most likely recognize their works in trailers like Star Trek and Wall-E for example. Unfortunately their music is only available for licensing. Which is a shame really.
post #848 of 1226
Here's one for the collected knowledge here: I know the music for Monty Python and the Holy Grail was all stock music from the DeWolfe library. But what are the specific pieces? Wikipedia mentions "The Flying Messenger" as the piece that accompanies Lancelot's attack on the castle, but I'm looking for the march that plays whenever the knights are riding around the countryside and the piece that accompanies Arthur and Bedeviere's voyage on the boat near the end.

EDIT: Never mind, IMDB actually has a pretty extensive listing, didn't think they'd have that.
post #849 of 1226
Quote:
Originally Posted by MoonBaseNick View Post
Two Steps From Hell does amazing work, you'll most likely recognize their works in trailers like Star Trek and Wall-E for example. Unfortunately their music is only available for licensing. Which is a shame really.
You can get some of it on iTunes, including the piece famously used in the STAR TREK trailer.
post #850 of 1226
Quote:
Originally Posted by The Rain Dog View Post
I'd like to give a quick shout out to Craig Safans work on The Last Starfighter, one of the great forgotten and/or under-rated movie scores to come out of the eighties. That score was at least 3 times better than that film deserved, but really elevated the material all round. I heard it for the first time in years this morning, and it's really impressive how it holds up. The thing is actually pretty fucking great - to the point it's actually made me want to watch the film again for the first time in over 20 years.
This was one of my first soundtrack CD purchases twelve years ago. Fantastic.

Holy shit! I'd no idea the CD had gone out of print.
New Posts  All Forums:Forum Nav:
  Return Home
  Back to Forum: Movie Miscellany
CHUD.com Community › Forums › THE MAIN SEWER › Movie Miscellany › The Composers, Scores, and the Chewers Who Love Them Thread