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JS is obviously somewhere in the Baltic states; his IP ends in .KZ.
The entire world does not revolve around United States English.
Ryan
If it was recorded in Los Angeles, then there is no name for the orchestra. Union musicians in L.A. record the film scores. They are individually contracted players.
Ryan
According to Shirley Walker, the chorus in “Descent Into Mystery” is merely singing combinations of scales of “doh, ray, me, fah, soh, lah, te, doh”, etc.
Ryan
It was from THE LORD OF THE DANCE, of all places, by Ronan Hardiman.
As for the film versions vs. OST versions, the difference probably lies in mixing. I don’t know where you can find the film versions, so enjoy the OST tracks if you can.
Ryan
It was already clearly established that there was no Ottman/Elfman feud.
But thanks for the link anyways.
Ryan
Thanks for the link. I like the fact that Elfman is upfront and makes no bones about his process. He isn’t hiding anything and is secure enough in his abilities — particularly a good thing now that he is swimming in shark infested classical music waters.
Ryan
It isn’t performed until the end of February. What news would there be?
As of two weeks ago there were no plans to release the piece on CD.
Ryan
One song won’t do it. But in the case of THE AVIATOR, there was more songs than score, or at least an amount of songs which made Howard Shore’s music ineligible for Oscar (think the Academy is out to get him?)
Ryan
I’m not saying that Debney wrote a note for note, but what I am saying is it’s more likely that he was inspired by this very famous classical work than he was GLORY, a civil war drama that features only one reference to this particular motif and a score that was very unlikely on the PASSION temp track. It’s a widely regarded opinion that Horner lifted from RVW’s Tallis piece, not just my private theory.
Ryan
I don’t agree, so there!
Maybe in the movie it works fine, but on disc, it overstays it’s welcome.
Ryan
He was there and famously was over Jim Cameron’s shoulder… So he got lots of camera time.
Here’s a sidenote: the Academy recently amended it’s rules for original scores. They must now be a significant portion of the film’s musical content and cannot be diluted by songs. Had this rule been in place in ’98, THE FULL MONTY would have been uneligible and Elfman’s MEN IN BLACK probably would have won the “Best Original Comedy Score”. A category that has sadly been dropped.
Ryan
