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The Composers, Scores, and the Chewers Who Love Them Thread - Page 18

post #851 of 1226
Quote:
Originally Posted by Jonathan Banks is my hero View Post
You can get some of it on iTunes, including the piece famously used in the STAR TREK trailer.
Yeah the album is called "Invincible", and the first track is the "Freedom Fighters" cue.

http://www.amazon.com/Invincible/dp/...9124765&sr=8-1
post #852 of 1226
Batman AND Krull being reissued by La-La Land at Comic-Con. Woohoo! (And Krull is only $20!)
post #853 of 1226
I would like to give a shout out to P.S. I Love You by John Powell. Snicker all you want, but the main theme is infectious.
post #854 of 1226
Even Powell's score for Gigli is pretty fun. Haven't heard his work for PS I Love You, but you'll hear no snickers from me.
post #855 of 1226
Quote:
Originally Posted by TaylorF View Post
I would like to give a shout out to P.S. I Love You by John Powell. Snicker all you want, but the main theme is infectious.
It's the only thing I enjoyed about that film.
post #856 of 1226
Quote:
Originally Posted by Jim Barg View Post
Batman AND Krull being reissued by La-La Land at Comic-Con. Woohoo! (And Krull is only $20!)
That KRULL appears to be the one I already have, but I'll wait to hear if they've done some polishing (the bass has always been a bit lacking on the cues that were not originally on the lp).

I hope I don't have to break my vow of not buying yet another KRULL ever again.
post #857 of 1226
Hell, every other release is OOP, and I just have it as a CDR. So I'd love to have a better-quality (or so they say) version.

Not to mention The Flash will be on sale too, so I'm looking at $70 easy (Bats + Krull + The Flash) to the La-La folks. Normally I'd be happy with just a HQ download from reputable boards (sue me, I'm typically poor), but as it's a limited issue, I'm happy to give them my money. As long as I get it before I leave for the US in late August.
post #858 of 1226
The is what one of the main La La guys said about the release of Krull:

Quote:
Regarding Krull, we did it for 5 reasons:

1. It was OOP
2. Sony said "Hell Yeah!"
3. The Supertracks one was $40... this version will be $19.98
4. Jeff Bond's new Liner Notes
5. To replace that damn ugly 2 disc clamshell box. UGH! I hated those things for 2 disc sets!

As for the sound, it sounds better, but not it's a great leap in technology. If you have the other version and you have the extra dollars then pick this one up. If you don't have the other one, then buy this Horner masterpiece asap! It's one of his greatest scores EVER!

MV
post #859 of 1226
Well, I'm a bit of a sucker for liner notage. And, yeah, if you didn't manage to snag the prior expanded release, I'd absolutely champion it. I remember the thrill of finally getting that Battle In The Swamp cue.

Hokey as it sounds, it warms my heart to see this score get so much well-deserved love over so many decades. To this day, while watching fantasy and period movies, I catch myself often saying "Yeah, this is pretty decent, but it would kill with KRULL laid over it!" I think maybe Debney's CUTTHROAT ISLAND comes the closest to that kind of through-the-roof spirited vibe. Newman's THE PHANTOM, as well. Korngold unbound!

And that FLASH release is great. Sounds incredible and is really well sequenced for a television score album. Easily a must-buy.
post #860 of 1226
Yeah, La-La did a great job with the Dragonslayer reissue, and as the previous Krull releases had sparse notes, I'm looking forward to those.

I've not heard/seen The Phantom, so I can't speak to it. But if it's as Korngoldy awesome as Cutthroat Island... sign me up.
post #861 of 1226
John Debney's Iron Man 2 score is...Awe-Inspiring and Awesome!
post #862 of 1226
Re-watched the Illusionist the other night, I completely forgot that Philip Glass did the score.
post #863 of 1226
Kinda sad that Bear McCreary is leaving Human Target, happy that there's going to be a 3-disc set released of his music.
post #864 of 1226
I'm surprised at the lack of discussion of the Inception score in here, considering the way the movie is setting the rest of the board on fire. Not that I love it unconditionally, but it's effective. The booming tension-inducing sections are great pieces of music. Unfortunately, much of the rest of it sounds like new-age relaxation tapes. The album does have a handful of tracks that make it worth the purchase, though.
post #865 of 1226
Got up this morning, pulled out my Star Trek blu and cranked that bastard. Giacchino's score gives me a boner. Just saying.
post #866 of 1226
Quote:
Originally Posted by Greg David View Post
I'm surprised at the lack of discussion of the Inception score in here, considering the way the movie is setting the rest of the board on fire. Not that I love it unconditionally, but it's effective. The booming tension-inducing sections are great pieces of music. Unfortunately, much of the rest of it sounds like new-age relaxation tapes. The album does have a handful of tracks that make it worth the purchase, though.
I've listened to it a few times but I'm still letting it sink in. I think it's quite good and effective for the film but ultimately, it feels like the kind of score we're going to be hearing a lot more of in upcoming temp tracks and trailers, because it doesn't have much of an identity of its own. That's probably why Zimmer is such a marketing-friendly composer. Big, sweeping, moody, emotional music...that could work with many, many films (and trailers and TV spots and websites and...)

Believe it or not, I'm actually a big Zimmer fan. I know the paragraph above sounds like a slam but I really do enjoy his scores for the most part.
post #867 of 1226
I lament the ubiquitous way Zimmer's style has taken over more than I hate on Zimmer himself. As much as I slam that 'sound,' I also really like Zimmer's scores.
post #868 of 1226
I'm in exactly the same place with Zimmer. I enjoy his work a lot, but most of his scores lack any real identity from film to film. The Lion King is one of the few that sounds like anything other than just "Zimmer".

But he doesn't annoy me on that score nearly as much as Ottman.
post #869 of 1226
His work on The Prince of Egypt is glorious. I even love his score for As Good As It Gets.
post #870 of 1226
Quote:
Originally Posted by Greg David View Post
But he doesn't annoy me on that score nearly as much as Ottman.
What did Ottman do on The Lion King?

EDIT: Okay I think you are talking in general about John Ottman.
post #871 of 1226
I think Greg's just talking about how Ottman's scores lack an identity. I was also confused by his use of the word 'score.' Not in a thread about scores, Greg!

Unless Ottman DID work on The Lion King under Zimmer... That would be news to me.
post #872 of 1226
Quote:
Originally Posted by Bay_Ridah26 View Post
Tangerine Dream did not score "Fright Night". The Fright Night score was done by Brad Fiedel. Brad also did the scores for both "Terminator" and "Terminator 2: Judgment Day". His "The Terminator Theme" for the original film is classic.
I just rewatched 1989's True Believer, and the Fiedel's theme for that film was in my head for years. I wondered where he went after 1999, and Kreeper said in the B Action thread that he retired on T2 money and opened a surf shop. WTF.
post #873 of 1226
Note to myself: do not use the same word twice in one post to mean two different things.
post #874 of 1226
Greg's got the score now!
post #875 of 1226
Hey all, so I'm a huge fan of Alan Menken and my favorite score of his, is the Oscar winning The Little Mermaid.

Well if any of you are fans of it than you know the soundtrack seems to be lacking a fullness to the sound. It comes off somewhat flat, lacking air for the instruments to breath. 2 re-releases and still no remaster or remix.

So I edited 5 of the orchestral tracks and would like those that want to, to listen to them and give me a little feedback. These are original vs. new edit videos. You will hear the original and then the new edit of the same section of music.

(You will have to forgive the crudeness of the videos as I put them together extremely fast. Also, there is some quality loss in the youtube conversion, so if you would like a lossless copy of the edited track let me know.)

http://www.youtube.com/watch?v=AbGyZGosGw8
http://www.youtube.com/watch?v=bcJrS0p3HrY
http://www.youtube.com/watch?v=dwHyMlfhAqw
http://www.youtube.com/watch?v=D9UsoHAlr0U
http://www.youtube.com/watch?v=5wn5juAwuV0
post #876 of 1226
I love John Ottman's score for...X2 X-Men United! It is indeed...X-Cellent!
post #877 of 1226
Agreed, Duke. It's hard to believe how much it towers over the first and third one. I know there are alot of Michael Kamen fans out there that might feel otherwise but I thought the first X-MEN score was terribly bland. From him it was a disappointment.

I've never been one to really give a damn about Marvel comic properties, certainly the X-Men bunch (as far as movies go, the group dynamic is my wife's domain...I like loners!), but Ottman's score went a long, long way towards bringing me into the film.
post #878 of 1226
Quote:
Originally Posted by Greg David View Post
I'm in exactly the same place with Zimmer. I enjoy his work a lot, but most of his scores lack any real identity from film to film. The Lion King is one of the few that sounds like anything other than just "Zimmer".
It always bugged the hell out of me when Elton John and Tim Rice would get all the credit for the Lion King soundtrack when I think it's Zimmer's score that really brings that film to life. The songs are really pretty terrible.
post #879 of 1226
I don't agree at all with the X-Men score discussion there. Powell's score > all imo. While X2 is easily the best film, I don't think it's the best score.
post #880 of 1226
Quote:
Originally Posted by Richard Dickson View Post
It always bugged the hell out of me when Elton John and Tim Rice would get all the credit for the Lion King soundtrack when I think it's Zimmer's score that really brings that film to life. The songs are really pretty terrible.
Zimmer also stepped in and monkeyed with the instrumentation in the songs, apparently. They wanted them to sound of a piece with the score.
Quote:
Originally Posted by TaylorF View Post
I don't agree at all with the X-Men score discussion there. Powell's score > all imo. While X2 is easily the best film, I don't think it's the best score.
I fully agree. Powell's Phoenix theme is the best musical identity the series has. As I think I've commented before, Ottman has no sense of melody or theme. He creates musical wallpaper that evokes mood. It works just fine in the film, I suppose, but it's bland as hell to listen to on its own.
post #881 of 1226
Quote:
Originally Posted by Greg David View Post
Zimmer also stepped in and monkeyed with the instrumentation in the songs, apparently. They wanted them to sound of a piece with the score.
I remember hearing that. And it's pretty evident when you listen to the awful single version of "Can You Feel the Love Tonight" that Zimmer really did some work there.
post #882 of 1226
Rewatched Batman yesterday. That score still rocks, can't wait to grab the CD. Also, based on the sound clips I heard via the trailer, I'd love to listen to more of Williams' How To Steal A Million. I have a weak spot for bouncy scores like that.
post #883 of 1226
How To Steal a Million is a great little film all around. I've always liked Williams in Mischief Mode-- see also Family Plot and The Witches of Eastwick.
post #884 of 1226
Quote:
Originally Posted by Hammerhead View Post
How To Steal a Million is a great little film all around. I've always liked Williams in Mischief Mode-- see also Family Plot and The Witches of Eastwick.
Yeah, I might take a pass at the DVD when I go back to the States in a few weeks.

It did remind me quite a bit of Family Plot (which you would think would be on CD, at this point). Never actually seen Witches... as a child of the 80s, you'd think I would have seen it at some point. The DVD has an isolated score too, IIRC.
post #885 of 1226
God I fucking love this track: http://www.youtube.com/watch?v=VkiKjqgMRek

Some people have called the Inception score bland, but I think it's Zimmer's best since Gladiator, even without the Edith Pilaf thing going for it.
post #886 of 1226
Quote:
Originally Posted by Jim Barg View Post
Never actually seen Witches... as a child of the 80s, you'd think I would have seen it at some point. The DVD has an isolated score too, IIRC.
It anticipates a lot of his Harry Potter work. Very catchy.

ETA: here you go.
post #887 of 1226
Quote:
Originally Posted by Hammerhead View Post
It anticipates a lot of his Harry Potter work. Very catchy.

ETA: here you go.
Thanks. You're not kidding, wow.
post #888 of 1226
Quote:
Originally Posted by JuddL View Post
God I fucking love this track: http://www.youtube.com/watch?v=VkiKjqgMRek

Some people have called the Inception score bland, but I think it's Zimmer's best since Gladiator, even without the Edith Pilaf thing going for it.
I only think about half of it is bland. The rest is great.
post #889 of 1226
Thinking about purchasing the score to Zomieland. Any thoughts on the score top to bottom?
post #890 of 1226
Quote:
Originally Posted by JuddL View Post
God I fucking love this track: http://www.youtube.com/watch?v=VkiKjqgMRek

Some people have called the Inception score bland, but I think it's Zimmer's best since Gladiator, even without the Edith Pilaf thing going for it.
Yes...Zimmers' best Score yet IMO
post #891 of 1226
I'd still have to go with the second Pirates of the Caribbean on that front. It's a Jerry Goldsmith situation: top-notch score for a piss-poor movie.
post #892 of 1226
I actually prefer Zimmer's score for the third Pirates movie to the second.

An even more top-notcherer score for an even pisser-poorer movie! As sloppy as the 2nd movie is, I actually enjoyed watching it. Can't say the same for At World's End.

Love the track Up is Down, as well as his wholesale lifting of Morricone in Parlay.

But you know I'm with you all the way about Powell's score for X3.
post #893 of 1226
Quote:
Originally Posted by mcnooj82 View Post
I actually prefer Zimmer's score for the third Pirates movie to the second.
Same. I love the love theme for Will and Elizabeth personally.

On a completely different note, I want to give a shout out David and Eric Wurst. They are top notch composers that are amazingly friendly. I just watched the original Fantastic Four from 1994 and their score is really much better than that film deserves!
post #894 of 1226
I actually don't own the Pirates 3 album. I guess I should fix that. I was so sick of everything Pirates after watching that miserable pile that I was turned off to the whole thing.

But given how many score albums I own for lousy films, I should look past that.
post #895 of 1226
You won't regret it! I hope...

It's the score where Zimmer (and company) finally creates a score that FEELS like an adventurous pirate movie. It still has that anonymous actiony feel that the first one suffered from (and the second one pumped up with some playfulness), but it has so much more sweep and romance to go with that adventurous energy. It's a score that really deserved a better film.

I agree on the love for Elizabeth and Will's love theme. It's use in the huge climactic track is glorious. It almost made me care about what was going on in the movie!
post #896 of 1226
I don't think anything could make me care about a romance between Orlando Bloom and Keira Knightley. It's like watching two androgynous mannequins get it on.
post #897 of 1226
Ha! That's why I said 'almost!'
post #898 of 1226
POTC: DMC is worth the price of purchase for "The Kraken" alone. Holy shit that track is awesome.

I did find POTC:AWE a more varied and textured score - but it just didn't fire me up.
post #899 of 1226
I will have to be hospitalized for shock if there's a track on the third album half as awesomely mighty as The Kraken. It's become one of my all-time favorite cues.
post #900 of 1226
Really? It IS a really cool 'badass' track, but I find it too obnoxiously aggressive to actually listen to it much. The only part of it I really love is when the harpsichord (or pipe organ?) is performing the theme. But it gets too crazy for me later on to the point of being noise.
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