45 replies to this topic

[JackChase007]

I just found a review for CRADLE OF LIFE, which stated that Silvestri swore not to use any of his unused PIRATES material for the Croft project, and he didnt.

I wonder if his PIRATES score is floating around somewhere...

[Kingdom Come]

Other scores I can recommend:

Wilde [Debbie Wiseman]
The Prince Of Tides [James Newton Howard]
Shadowlands [George Fenton]
Blade Runner [Vangelis]
Somewhere In Time [J.Barry] [New recording with many extra cues - HUGELY RECOMMENDED]
Legends Of The Fall [James Horner]

[Rich Douglas]

Thats cool about silvestri... to be honest, Im not sure if he did in fact get past the writing stage and into the recording stage for Pirates, who knows. I do know that Jerry Goldsmith's rejected Timeline score was fully recorded, so keep an eye out for that bootleg to pop up soon. All great choices Gk!

Rich

[JackChase007]

Yeah, wouldn't that be great. Apparantly Randy Newman's rejected score for AIR FORCE ONE is in circulation, so why not Goldsmith's for TIMELINE?

[Robinson]

Originally posted by Jaelle
Well, it's nice to hear someone saying this.  You're not alone.

I'm also puzzled by how much praise David Arnold gets on these boards.  I find him absolutely bland, I NEVER notice the music in Brosnan's Bond films (except the title songs, which I like very much, except for DAD).  As weak as Kamen is, I even prefer his LTK score to Arnold's.  At least I notice it, at least it manages to strike a mood in places, like the nice Spanish guitar riff theme for Sanchez (can't stand the Mexican  wedding music tho).  Watching Brosnan's films, it's like the music just isn't there, or it sounds exactly like every other action film for the last 10 years.  It never sticks out.

David Arnold's best work is still "The Young Americans" with "Zoolander" a close second.

Silvestri's underrated. My favorite cue of his comes from THE QUICK AND THE DEAD when the preacher(Russel Crowe) squares off against his first opponent. Listen to the tempo and how it heightens the tensiion as the clock strikes closer to the chime.

I think Elfman dig great work in CHICAGO while I felt he was on autopilot for SPIDER-MAN. Have Terence Blanchard (25th Hour) do the sequel and have the 60's cartoon provide the basis for the score. That music is still hip!

[JackChase007]

Well, Elfman's still signed to do SPIDER-MAN II, as far as I can tell, which is no surprise to me - he did work with Raimi previously on the first SPIDEY, as well as DARKMAN, A SIMPLE PLAN, and for a track on ARMY OF DARKNESS.

[deth]

Originally posted by JackChase007
Well, Elfman's still signed to do SPIDER-MAN II, as far as I can tell, which is no surprise to me - he did work with Raimi previously on the first SPIDEY, as well as DARKMAN, A SIMPLE PLAN, and for a track on ARMY OF DARKNESS.

isn't Elfman sort of the "designated" Super-hero composer??

[JackChase007]

It sure seems it, doesn't it?

His BATMAN scores are pretty well-received (especially the first one), and SPIDER-MAN did fairly well, I think (not to mention I loved it), but I hated THE HULK. It was just too....I dunno....generic film music, I guess.

[Kingdom Come]

Getting back to the original posting - personally, I'm not sure anything is wrong with today's composers - but there is something wrong with todays films. Can you imagine John Barry wanting to compose a score for the teenage rubbish that is spewing out of Hollywood?

[TonicBH]

It's surprising how much I don't go to movies because there's seldom ever a good film out for me. I'm kind of a guy who likes a little action, but nothing like of a xXx or Matrix style.

But regardless, I haven't heard much of any recent musical work from John Barry. And I'm serious. most recent score I've heard him compose is TLD.

Plus, going back to what someone said earlier (was it Rich?) about Silvestri using the rejected POTC for Cradle of Life... I thought it was a personal rule for him not to reuse certain parts of a score, rejected or not?

[JackChase007]

Originally posted by TonicBH
Plus, going back to what someone said earlier (was it Rich?) about Silvestri using the rejected POTC for Cradle of Life... I thought it was a personal rule for him not to reuse certain parts of a score, rejected or not?

Well, I once had read that Silvestri used some of his rejected MISSION: IMPOSSIBLE score in the Governor Schwarzenegger flick ERASER. But I had read that he vowed to himself not to use any of his PIRATES material for TOMB RAIDER. To be honest, I don't even think that he recorded anything - I think that ****head Bruckheimer dropped him before he actually got to work.

[Turn]

Originally posted by Kingdom Come
Getting back to the original posting - personally, I'm not sure anything is wrong with today's composers - but there is something wrong with todays films. Can you imagine John Barry wanting to compose a score for the teenage rubbish that is spewing out of Hollywood?

I hear you. Is there anything that came out last summer that didn't have a hip hop beat to it?

[gkgyver]

I know what you mean.
Lots of the old school composers couldn't deal with the expectations the audience of those new generation of movies has.
Actually it may be a bit daring to say this because they aren't even hired for those kind of films.

[Triton]

It doesn't seem like the film composers have the time, desire, or skill to craft a unique theme for the film and then repeat variations of it throughout the film. Now it seems like the composers are composing for particular scenes in the film, such as I need to create really frantic music for this chase scene, instead of trying to integrate each composition into the overal score for the entire film.

It also doesn't help that pop star flavors of the month are given entire creative control to the 2 to 3 minute compositions that appear over the beginning or end titles of the film. I think that the last James Bond film with a truly integrated score was The Living Daylights, at least John Barry worked with a-Ha and Chrissy Hynde.

Now I imagine that David Arnold is told not to worry about the beginning or end titles of the James Bond films, so there is no movie specific theme.

[TGO]

Let me add another name to the list...Alex North. If you ever see his Cleopatra score in a music score, buy it ASAP.

[Turn]

Originally posted by Triton
It doesn't seem like the film composers have the time, desire, or skill to craft a unique theme for the film and then repeat variations of it throughout the film. Now it seems like the composers are composing for particular scenes in the film, such as I need to create really frantic music for this chase scene, instead of trying to integrate each composition into the overal score for the entire film.

It's for this reason I savor the remastered soundtracks so much. I'd much rather hear the repeated motifs of Barry, George Martin or Bill Conti over and over in variations than a disjointed piece of Arnold music (TND aside) any time.