Forum Replies Created
- Posts
I haven’t heard the third installment of the Pirates score, but I have to say the second part pretty much worked. It certainly was an improvement over the cringe-inducing Badelt score (my humble opinion and my bleeding ears
). So… I don’t know about ‘heartless’. But even if so, it certainly won’t hurt if a brilliant orchestrator puts some magic into it, will it? Working on something is not mainly endorsing it the way it is , but rather making it better.
So.. yay. I guess. If it’s true.Very, very cool.
I remember our commencement addresses at the Academy: Yaaaawn.
How fabulous would one like THAT be?I bet they did – it’s one hell of a motif: concise and memorable. :-] I just have the earliet recollection of it in multiple Horner works.
I’d be on the fence as to which of the Batman scores to put on the very top, but I guess it’d have to be the sequel – I think it’s hard to beat the ‘thematic content’ of it, absolutely gorgeous. “Selina Transforms” (the second part) is one of my favourite Elfman cues, ever.
Yet another doubt – I ‘m not sure, personally, if Men In Black is a superhero flick. Is it?What else… I think the Hulk score is wonderful, in how different it is – the otherworldly sound of it, and the energy.
I haven’t gotten into the Spiderman scores as of yet, but then again I was never a humongous fan of the movies. (wrong time, I guess)So for me the list looks thusly:
1. Batman Returns
2. Batman
3. Hulk
4. Darkman (I only JUST got the CD! It’s really growing on me . My first impressions weren’t ecstatic – something along the lines of: “oh… ‘early’ Elfman with lots of Batman quotes. eh…” but *wrong!* Sure, lots of signature phrases are there, but I’m getting a whole new feel from it – it’s much more raw and powerful. I just love the main motiv/theme, those four repeated notes and the answer to them in the lower register (I might be wrong, but they are *kinda* lifted from “Alecander Nevsky”, ‘battle on ice’ in particular. Incidentally, I always thought James Horner borrowed this Prokofiev theme in about every SECOND film he ever scored. Remember his Klingon theme in Starterk III? These are the four notes I’m talking about. )
I doth ramble. Sorry.Um… I do, ocassionally.
*has no idea aboit “Death Proof”, though and as much as loves Tarantino, hates most Rodriguez she’s ever seen so…* (end of unnecessary info)Is the score any good? (I haven’t heard it).
(Danny possibly felt sorry for a prospective composer who would have to deal with a director who’d be very precious with his long-written movie [judging from Rodriguez’s fear of handing it over], and suggested a best solution for everyone)
*hopes for an isolated score dvd*
Yes, I’m an optimist. And I’m kinda mean, too, considering someone might fork out 500$ for this.
(a little voice: As great as all of those were Serenada Schizophrana tops them all.)
Wait! Who said that?!
*looks around*I think I’d actually agree with you on the acting continuity bit – it’d be strange seeing anybody else but McKellen as Gandalf, and so on and so forth.
The more I read this thread, the more I do think that maybe musical theme continuity would be great. I’m just all for shaking things up and fresh, new stuff.
For example – we have something like the Alien Trinogy – three absolutely brilliant scores which don’t have much to do with one another, accompanying three very different movies (oh, right , there were four , but don’t get me started on that one…), and yet it doesn’t really break them apart for the fans (well, I can only speak for myself, that’s true :-]). As opposed to this, I consider the Ring ttrilogy as one humongously long film. But the Hobbit could stray, stylistically, as far as it pleases, in my book.
I doth ramble – sorry, late hour.I know that.
I was commenting on Donnie_Darko’s remark, that Shore is an obvious choice and if not, his themes should be reused – I think none of the two are totally absolutely necessary, in my humble opinion, when you think of this new film. I do enjoy continuity… but I think the material is different enough not to consider this strictly a ‘prequel’.Exactly – with all respect, the Hobbit is a completely different cup of tea than the trilogy. Yes, there is a continuity, but that’s just a completeky different tale, and a different tone. As much as Shore’s music for LotR was fab, I don’t see exactly why he ought to be an obvious choice for Hobbit.
Considering it did sell for quite a bit of money (can’t remember how much) it’s as good a donation for charity as any. But I agree that that’s not anything I’d actually spend my money on.
I’d much rather have it Peter-Gabriel-style and have Swatch design a watch that plays a tune of his, written especially for the occassion.Thank you! That was fantastic.
Execpt I’ll hear a typing sound now everytime I hear the Spiderman theme.
lmao. Er… let’s remind him of the solo album, rather, shall we?
I remember him mentioning, around the time of Charlie songs, that he still does enjoy the odd vocal performance he can record.
It would be incredibly cool if he decided to make a solo album… of any kind, really. That doesn’t mean he has to tour, or go anywhere near a stage. I’m guessing it’s all a matter of squeezing things in into the humongous Elfman Schedule. If anything, Danny doesn’t seem to be a person short of ideas, and the way he spoke of Serenada – that there are dozens of things he thinks of as ‘it would be great to do THIS at some point“, so all we’re waiting for is an oportunity and a time window. Oh, man… go ahead… or something.I just got the Deep Sea (2D?) DVD, and it’s great – mostly because I saw the original IMAX film way before listening to Serenada Schizophrana as a whole, so only now I was able to compare the way the piece was adjusted to the film. It’s very interesting to see familiar motives often thoroughly rearranged, while some remained exactly the same.
I wish they had isolated score on this one as well. Ah, well.
