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The Composers, Scores, and the Chewers Who Love Them Thread - Page 19

post #901 of 1226
I must say I'm partial to "I Don't Think Now Is The Best Time" because of every theme on showcase in that cue. It's just so fun to listen to.

And then "One Day" of course because of the love theme on pure display.
post #902 of 1226
Quote:
Originally Posted by Jim Barg View Post
Kinda sad that Bear McCreary is leaving Human Target, happy that there's going to be a 3-disc set released of his music.
His music for this show was fantastic. If they're getting rid of him, that's not a good sign for the next season.
post #903 of 1226
Pop Zeus, Also, there are...2 new cast members of, The Human Target, and they are both women. There is a new, showrunner, and of course that horrible, Friday Night time slot! It is almost as if the network were horrified, that the guest actresses were mostly...Eye Candy, and not vital part of the series.
post #904 of 1226
I hate that the composer is being replaced, I hope the very cool opening credits are left intact, but I guess it is not likely.
post #905 of 1226
The Whole Wide World by Harry Gregson-Williams is absolutely beautiful. It's probably my favorite score from him.
post #906 of 1226
The pop culture blog Popdose put up a badass mix that you all should listen to.

The writer specifically tried to chose unfamiliar work, but I still own most of these (500+ scores in my collection). Which is pretty sad. Oh, well.
post #907 of 1226
Should that Brazil track count as Kamen? It's a cover of the song.
post #908 of 1226
If I recall, the entire score is based off of that melody, and the CD has him listed as the composer, so... yes?
post #909 of 1226
I guess it's the version most people know, so he did something right. See also Die Hard, eh.
post #910 of 1226
Michael Kamen, scored...All 4 Lethal Weapon films, as well!
post #911 of 1226
Yes but my favorite Kamen will always be Robin Hood: Prince of Thieves.
post #912 of 1226
Quote:
Originally Posted by duke fleed View Post
Michael Kamen, scored...All 4 Lethal Weapon films, as well!
And he based those off of Eric Clapton's theme, if memory serves. He was an inspired arranger, but did he have any memorable original work?

ETA: Prince of Thieves? I'm willing to be convinced. All I recall is the Bryan Addams song.
post #913 of 1226
Baron Munchausen, maybe?
post #914 of 1226
I'll take it.
post #915 of 1226
How about...The Iron Giant?
post #916 of 1226
Quote:
Originally Posted by Hammerhead View Post

ETA: Prince of Thieves? I'm willing to be convinced. All I recall is the Bryan Addams song.
LOL! Yeah that's my most hated part think that Kamen has done. Ironic, huh?

Quote:
Originally Posted by duke fleed View Post
How about...The Iron Giant?
Strong work no doubt. It's right up there next to Robin.
post #917 of 1226
Quote:
Originally Posted by Hammerhead View Post
And he based those off of Eric Clapton's theme, if memory serves. He was an inspired arranger, but did he have any memorable original work?

ETA: Prince of Thieves? I'm willing to be convinced. All I recall is the Bryan Addams song.
Still not as awesome as the Munchausen score. Too bad that sucker's way out of print (the day I found a CD copy in the library was a good one). Here's a suite someone made on YouTube.
post #918 of 1226
How is it that there are 19 pages of a 4 year old thread about composers, and not one person has mentioned Elliot Goldenthal yet? Seriously?
post #919 of 1226
Quote:
Originally Posted by Splitfocus View Post
How is it that there are 19 pages of a 4 year old thread about composers, and not one person has mentioned Elliot Goldenthal yet? Seriously?
Never really been a fan. Not that I dislike his work, I just don't particularly enjoy it.
post #920 of 1226
Same. Although when his Batman scores get reissued, I'll definitely buy them.
post #921 of 1226
Personally, I've always held Goldenthal to be a bit more esoteric than mainstream film scoring was generally built to handle(from the point of view of bottom-line studio thinking). Even something as early and minimal as PET SEMATARY has a complex thematic structure that seems to be straining to fly beyond the b-movie constraints of the film itself. Whenever he's come up, I tended to fall back on descriptors like "too mature" and "philosophical" for the films they tend to accompany. The strong influence of John Corigliano on him is palpable.

But agreed about his BATMAN scores. They're big, they're brassy and the orchestration is simply gorgeous; taking the implied "operatic" sense of the series to it's ultimate conclusion. Goldenthal, perhaps alone among the scads of people working on these, seemed to get the joke with those two Bat-films.
post #922 of 1226
Quote:
Originally Posted by soylentgreen View Post
But agreed about his BATMAN scores. They're big, they're brassy and the orchestration is simply gorgeous; taking the implied "operatic" sense of the series to it's ultimate conclusion. Goldenthal, perhaps alone among the scads of people working on these, seemed to get the joke with those two Bat-films.
They were a joke to me. Does that count?
post #923 of 1226
Splitfocus, Elliot Goldenthal's score's for both Batman Forever, and Batman and Robin, are worse...than the films, he composed the score for.
post #924 of 1226
Quote:
Originally Posted by TaylorF View Post
They were a joke to me. Does that count?
Yeah, agreed. Especially after Elfman's groundbreaking, insta-classic scores. Goldenthal's score for BATMAN FOREVER was shrill and a painful chore to listen to, particularly apart from in context.
post #925 of 1226
Quote:
Originally Posted by soylentgreen View Post
But agreed about his BATMAN scores. They're big, they're brassy and the orchestration is simply gorgeous; taking the implied "operatic" sense of the series to it's ultimate conclusion. Goldenthal, perhaps alone among the scads of people working on these, seemed to get the joke with those two Bat-films.
Exactly. If anything, the comparison should be not to Elfman but to Nelson Riddle.
post #926 of 1226
I think my favorite Goldenthal score remains the first one of his I ever heard: ALIEN 3. There's some truly masterful work in this score, ranging from delicate moments (like the quiet moments with Ripley and Clemons) to hugely operatic heights (such as the furnace cremation/dogburster montage.) One of my all-time favorite motifs is the one Goldenthal came up with for Weyland-Yutani, which isn't included on the soundtrack album. Thank goodness for the isolated music tracks on the upcoming ALIEN ANTHOLOGY Blu-ray set.

I also enjoy his work on DEMOLITION MAN and, yes, both of his BATMAN films. He doesn't compose comfort food scores. He always swings for the fences, brutally at times, and I love that about his music.
post #927 of 1226
Quote:
Originally Posted by Jonathan Banks is my hero View Post
Exactly. If anything, the comparison should be not to Elfman but to Nelson Riddle.
I never thought of it that way, but yes.
post #928 of 1226
I'm quite fond of his score for Interview With the Vampire. Its big, overstated, operatic style is one of the things that helped that movie rise above the book.
post #929 of 1226
Quote:
Originally Posted by Litmus Configuration View Post
I think my favorite Goldenthal score remains the first one of his I ever heard: ALIEN 3. There's some truly masterful work in this score, ranging from delicate moments (like the quiet moments with Ripley and Clemons) to hugely operatic heights (such as the furnace cremation/dogburster montage.) One of my all-time favorite motifs is the one Goldenthal came up with for Weyland-Yutani, which isn't included on the soundtrack album. Thank goodness for the isolated music tracks on the upcoming ALIEN ANTHOLOGY Blu-ray set.

I also enjoy his work on DEMOLITION MAN and, yes, both of his BATMAN films. He doesn't compose comfort food scores. He always swings for the fences, brutally at times, and I love that about his music.
My thoughts exactly. His music can definitely be very abstract and bombastic and aggressive, but it's never overtly manipulative like the music of many of the other composers that have been mentioned in this thread.
post #930 of 1226
post #931 of 1226
I love the score for KENNETH BRANAGH'S MARY SHELLY'S FRANKENSTEIN

Especially during the climatic resurrection sequence it's just a joy to listen to.
post #932 of 1226
I will be attending the Fans of Film Music event tomorrow in Burbank, CA. Should anyone have a question that they would like answered from the likes of John Debney, John Ottman, Tyler Bates or any of the other composers, let me know and I'll try to get it asked.
post #933 of 1226
Quote:
Originally Posted by Princess Kate View Post
I love the score for KENNETH BRANAGH'S MARY SHELLY'S FRANKENSTEIN

Especially during the climatic resurrection sequence it's just a joy to listen to.
If you like Patrick Doyle then you owe it to yourself to check out Branagh's HENRY V. I love the hell out of that score. And the movie's dynamite. I'm in the Branagh over Olivier camp as far as HENRY V goes.
post #934 of 1226
John Ottman is the coolest! He is so honest when talking to him, I think it has helped me understand his music much more. Now to re-listen to X2.
post #935 of 1226
Honestly, I doubt that there's anything Ottman could say that would make me appreciate his music. His work is symptomatic of the modern movement to do away with melody and theme, and just coat the soundtrack in mood noise. I don't like it.
post #936 of 1226
Have you listened to Astro Boy? And my meaning was more about interpretation of the music. Not liking it or whatever you are commenting on. John Powell does the same thing with a lot of his live action scores as do many other composers.
post #937 of 1226
John Barry's long-awaited complete score to THE DEEP, finally available in a 2-CD set:

http://store.intrada.com/s.nl/it.A/id.6707/.f

Limited to 3000 copies. Intrada's recent 3000 unit release of PREDATOR apparently sold out in 21 hours, I believe.

I have to admit, even though I'm a big Barry fan, I'm not in love with his score for THE DEEP. But if you are, now's your chance. I'm still pissed I missed PREDATOR...
post #938 of 1226
Also, if you have a version of Die Hard (the Varese edition) you may want to think about selling it, unless you just want it for the sake of having it. There is a new version that will be coming out soon from La La Land. In fact the owners mentioned to someone, "You might want to sell it now."
post #939 of 1226
.

Edited by Agentsands77 - 6/4/16 at 2:48pm
post #940 of 1226
The film itself is a pile, but JNH's score for The Last Airbender is quite good.

The last track, Flow With Water, is a tour de force. One of the best tracks I've ever heard.
post #941 of 1226
Quote:
Originally Posted by Jim Barg View Post
Kinda sad that Bear McCreary is leaving Human Target, happy that there's going to be a 3-disc set released of his music.
I've been checking this site and La La Records for a release date to no avail. Anyone have any info?
post #942 of 1226
Quote:
Originally Posted by TaylorF View Post
Have you listened to Astro Boy? And my meaning was more about interpretation of the music. Not liking it or whatever you are commenting on. John Powell does the same thing with a lot of his live action scores as do many other composers.
I strenuously disagree with this last statement. John Powell actually utilizes fairly robust, consistent and recognizable themes. Listen to X-Men: The Last Stand, for instance. There's a very definite "Phoenix Theme" in each of the tracks that involve her character.
post #943 of 1226
Ottman's main theme for Astro Boy was definitely some good stuff! Fun and fanciful... full of adventure. Too bad the film it scored was completely forgettable. But otherwise, I can't say that I've ever really had much desire to visit Ottman's other work.
post #944 of 1226
Quote:
Originally Posted by Greg David View Post
I strenuously disagree with this last statement. John Powell actually utilizes fairly robust, consistent and recognizable themes. Listen to X-Men: The Last Stand, for instance. There's a very definite "Phoenix Theme" in each of the tracks that involve her character.
Omg, I hate the internet. I sometimes forget where I talk about things on different boards. I love Powell's X-Men score and am very aware of the themes. There are more themes than just the "Dark Phoenix Theme".

I'm talking specifically about the Bourne films and Green Zone. Perhaps I shouldn't have used "alot". But it isn't only Ottman...
post #945 of 1226
Not sure about Green Zone since I haven't listened to it much, but Powell's scores for the Bourne trilogy are VERY thematic while serving as fantastically propulsive action/thriller music.
post #946 of 1226
You know what's a great score? The Karate Kid Part II. Fuck you, it is. Bill Conti rocks the whole film from opening to close. The film itself is still pretty solid, but something about the score makes me connect with the film even more. The first film's score has the same Miyagi theme but also gets caught up in a bunch of pop songs and 80's synthisizers. Part II could've been a full blown martial arts epic score, taking Miyagi's theme and just going to town with it. It's probably my favorite of Conti's work.
post #947 of 1226
Quote:
Originally Posted by mcnooj82 View Post
Not sure about Green Zone since I haven't listened to it much, but Powell's scores for the Bourne trilogy are VERY thematic while serving as fantastically propulsive action/thriller music.
I guess then my issue with them is that they aren't symphonic. But I couldn't really pick out discernible themes in what I considered ambient noise.
post #948 of 1226
Recently picked up the Robin Hood: Prince of Thieves DVD for a bargain price at Giant Eagle. Unfortunately that got me a DVD that I actually had to eject and flip over 3/4 of the way through. I simply thought they forgot to burn the rest of the movie I was so confused.

Anyhoo, forgot how great the score was and picked it up since. Michael Kamen's score is great.
post #949 of 1226
I am curious if any Chewers would agree with me here: Elliot Goldenthal's BATMAN FOREVER score is better and more 'batman-y' than Elfman's famous (and admittedly rousing) BATMAN theme. To my ears, after reexamining the two, Elfman's score feels kind of generic. The Goldenthal's music feels alot weirder and more daring IMHO
post #950 of 1226
Quote:
Originally Posted by Princess Kate View Post
I am curious if any Chewers would agree with me here: Elliot Goldenthal's BATMAN FOREVER score is better and more 'batman-y' than Elfman's famous (and admittedly rousing) BATMAN theme. To my ears, after reexamining the two, Elfman's score feels kind of generic. The Goldenthal's music feels alot weirder and more daring IMHO
The bar for superhero anthems had been set by Williams' brilliant Superman score 10 years prior. Batman was Elfman's first MAJOR film score & the result is a vibrant, melodically intricate work woven with the blood & sweat of a hungry artist with alot to prove. Goldenthal's BF score may be weirder but it's also glaringly verbose to the point of parody.

Stop listening to music with your feet.
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