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The Composers, Scores, and the Chewers Who Love Them Thread
Oh when those fifes kick in, it's instant goosebumps for me.

Speaking of Independence Day, that fanfare into the end credits has to be at least half the reason people reacted to that film the way they did. How could you not leave on a high with that playing as you left? Plus Arnold's "ominous aliens are coming" theme is so totally a riff on Willams' Poseidon Adventure theme, it makes the film's '70s disaster movie aesthetic all the more obvious.
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(07-04-2021, 03:47 PM)Richard Dickson Wrote: Plus Arnold's "ominous aliens are coming" theme is so totally a riff on Willams' Poseidon Adventure theme

I had never made this connection before right now, but it completely is!
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Arnold's one-two punch with STARGATE and INDEPENDENCE DAY fucking rocks, even if he is directly channeling Williams.
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Followed the next year by TOMORROW NEVER DIES.

That was a really good run for Arnold.
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so weird that the sequel didn’t bring Arnold back

but probably better off considering how resurgence turned out
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Apparently there was some kind of fairly major falling out between Arnold and Emmerich on THE PATRIOT. Hence Williams coming in.

I believe Arnold said he flat-out wasn't asked back for ID4:2.
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“you changed, man! It used to be about the music!!”

“I said BUZZ OFF!!!”

(hurls whiskey bottle)

“eeuuughhhhhh...”
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That's the correct response.
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Morricone (translated): "DUDE. DO YOU EVEN MOVIE, FOOL?"
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Just want to alert everyone that Marco Beltrami(and Brandon Roberts)'s score for FEAR STREET PART TWO: 1978 is terrific.

Been listening to the album today, and it’s easily the most fun horror score since Roque Banos’ EVIL DEAD from 2013.  The instrumentation and rhythmic choices Beltrami makes are such a refreshing throwback, totally unlike the kind of droning nothing that dominates most modern horror scoring.  There’s personality here, which is incredibly refreshing; it’s unafraid to go big (really BIG) often, but there’s also quite a bit of heart in the quieter moments, too.

It’s also a quite affectionate homage to Jerry Goldsmith’s thriller/horror techniques (particularly those he employed in his OMEN trilogy and ALIEN scores), which I appreciate, too.

The album’s a great 40-minute listen, but here’s just a small taste:






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This is excellent analysis.  A few other scores may have supplanted JURASSIC PARK as my all-time favorites, but I think it's still probably the score that is most important to me (having seen the movie and heard the music at an extremely formative and impressionable age), and this piece really digs into why the music is so effective on an emotional level. 


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(07-17-2021, 06:57 PM)Belloq87 Wrote: This is excellent analysis.  A few other scores may have supplanted JURASSIC PARK as my all-time favorites, but I think it's still probably the score that is most important to me (having seen the movie and heard the music at an extremely formative and impressionable age), and this piece really digs into why the music is so effective on an emotional level. 

That's a great channel in general.  He did this breakdown of three pieces of music from each generation of Star Wars that's pretty insightful.



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I will definitely be spending some time going through his older videos.
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Rewatched RAISE THE TITANIC recently, and I was particularly taken by John Barry's score.  Not only does it have a phenomenal main theme and good suspense material, but then there's also stuff like this, a cue with a one-off melody played as one of the characters walks through the grimy, waterlogged ship after she's been brought to the surface:




This is "wistfulness" distilled in musical form, and it's gorgeous.
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I'm generally extremely reluctant to promote my own work, but in this case, I think it's relevant!

Last year, one of my good friends from college asked me if I'd be interested in co-hosting a film score podcast with her, as the subject is one of the things we initially connected over when we met, and we're both very opinionated.  I said yes, and now, many months later, we're getting closer to dropping our first episode.  We've already recorded a "first season" of 5 - 6 episodes, and some final tweaks are being made.  We've tried to find somewhat fresh ways into looking at various composers beyond just running down "favorite" cues, and it's been a lot of fun so far (hopefully that translates to the listening experience!).

I'm not yet sure which venues/services the show will be landing on, but I will post episodes here when they drop... assuming anybody wants to hear them!

Key art:
[Image: 242912548-271193865022395-2178603545983207779-n.png]
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I WANNA HEAR'EM

congrats!
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Unfortunately, no talk of THE AMAZING SPIDER-MAN 2's score just yet, so keep expectations in check!
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I TRUSTED YOU!!!
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Perhaps in season two!
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Oooh shall download it and listen!
"Nooj's true feelings on any given subject are unknown and unknowable. He is the butterfly flapping its wings in Peking. He is chaos and destruction and you shall never see his true form." - Merriweather

My Steam ID: yizashigreyspear
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The first episode of the movie score podcast I'm co-hosting has arrived. This is basically just an intro to our approach to this show, as well as a preview of some of our film score opinions to set the table before future episodes dive into more specific topics. Very much just a small appetizer. And under 30 minutes!

https://open.spotify.com/show/7sfV4fq7kr...0333d248b8
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Finally!

edit: this is good!
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I like the talk about alternate/rejected scores. Besides Legend, the only other film I can think of where two official versions with alternate music exist is The Big Blue-- Eric Serra on the European release, Bill Conti on the American.
"I'd rather wake up in the middle of nowhere than in any city on Earth."--Steve McQueen
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Goldsmith has others, as well. ALIEN NATION was rejected, and then he reworked the theme he wrote for that into the main theme for THE RUSSIA HOUSE.

I would expect we'll do a dedicated "The Replacements" episode in the future.

Also, here's the companion playlist for the episode, featuring some selections from some of the scores we name-checked:

https://open.spotify.com/playlist/0Euod2...6NmRapUoN8

Now, future episodes were recorded with the intention of fully integrating actual cues into the listening experience, because we get pretty detailed talking about specific passages. I am not editing the episodes, but I would assume that will still be the case (I will confirm with my co-host!), with the additional playlist acting as a supplement to provide the full-length tracks from which our excerpts will come.
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(10-12-2021, 05:06 PM)hammerhead Wrote: I like the talk about alternate/rejected scores. Besides Legend, the only other film I can think of where two official versions with alternate music exist is The Big Blue-- Eric Serra on the European release, Bill Conti on the American.

The movie TROY.

Gabriel Yared, once upon a time, had his original score (which was rejected and replaced) online for anyone to hear. No idea what it's status is these days.
"Nooj's true feelings on any given subject are unknown and unknowable. He is the butterfly flapping its wings in Peking. He is chaos and destruction and you shall never see his true form." - Merriweather

My Steam ID: yizashigreyspear
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Yared's score is still out there.
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Used in an official release of the film it was written for, I mean.
"I'd rather wake up in the middle of nowhere than in any city on Earth."--Steve McQueen
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(10-12-2021, 11:00 PM)hammerhead Wrote: Used in an official release of the film it was written for, I mean.

In that case, yes, LEGEND is the only situation I'm familiar with off the top of my head.

Was unaware of THE BIG BLUE.
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Graeme Revell did a score for The 13th Warrior (back when it was still called Eaters of the Dead) before his was replaced with Jerry Goldsmith's.
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(10-14-2021, 08:54 AM)JMurdoch Wrote: Graeme Revell did a score for The 13th Warrior (back when it was still called Eaters of the Dead) before his was replaced with Jerry Goldsmith's.

And from the snippets available online, it's not a bad score.

Likely a casualty of the extreme tinkering that was going on with the movie.
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The official first episode of my podcast is live today, and it’s all about John Williams! More specifically, it’s focused on themes and thematic usage. If any of you get the chance, enjoy!

https://open.spotify.com/episode/4Nfzwoz...P8G-bXQjpw
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Episode 2 of the podcast is live today, and its subject is Danny Elfman! With particular emphasis on his main title pieces.

https://open.spotify.com/episode/259hrkdme4XnKV39Vf71sz
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BONUS Halloween Deep Cuts Episode!

My co-host and I offer up some slightly under-the-radar horror score selections (relative to a general audience; many here would probably be familiar with most) from the likes of John Carpenter, Danny Elfman, Christopher Young, and more.

So if anybody's looking for some spooky music to close out the Halloween Season, have a listen!
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This week's episode: we give some love to the late, great James Horner... and his curious habit of ripping himself off!
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Talent borrows, genius steals, real genius steals from self...
I'm not Avery.
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