Since this is the first one, let's make it real interesting shall we?

Which scores from your favorite composer do you think is the worst? If you can't find any (perhaps your fav never composed a BAD score), pick someone else.

Ghee...hear I come up with a topic, and I can't even decide for myself.

Let me think here...

"The People under the stairs"
I bought the cd and through it out (believe it or not)
Oh yes, a score I recently bought and I hated it (didn't throw it away though),"Drop Zone" by Zimmer. I know a lot of you loved that one,but you guys are entiteled to one mistake per year
Anyway, let the discussion begin...

You know who...

~Jeron

I'd have to say that the score I was dissapointed with the most recently was Patrick Doyle's music for "Great Expectations." I can't say why really, just that it didn't "do" anything for me.

Perhaps my expectations were too great?

Anyway, here are my nominees--

K2 by Hans Zimmer (not really THE soundtrack, it's the inspired by stuff)

Air Force One by Goldsmith

I really want to say the Matrix, even though this is my first (and for many) Don Davis score....but Universal Soldier: The Return doesn't sound very enticing.

Matt, I really canīt figure out why you think GWH doesīnt fit the movie. I think it fits perfectly.

And let me throw that one back at you: What kind of score would have fitted better?

SFT

Elfman's score fit perfectly. And if it means anything to you, I don't think Goldsmith could have done a better job.

Are you just going to sit there and let Norman say that Air Force One deserves a Raspberry?!? I thought if anyone would have had something to say about that, it would be you.

Shame, shame, shame. I'm disappointed!

~Jeron

PS - Was that better, Jonathan? Did I rise to the occasion? and hmmmm... I sure am opening a lot of posts saying "what?!" a lot... I've gotta stop that. Makes me look like a raving lunatic.

NP - Schindler's List (5/5)

If I had to pick a score that I really did not like from a composer, I'd have to say Executive Decision by Jerry Goldsmith. he has done better and you all know it.

Jeron not a word from for

--Crono/Kyp
Writer/Director/Producer

~Jeron

Hey, the theme was great, the release by Varese just did not to it justice.

--Crono/Kyp
Writer/Director/Producer

Why I chose Entrapment is because it is one soundtrack which I recently bought and I hardly played it completely for more than 3 times. The only redeeming factor for this score are those slow and sentimental cues (track 3, etc.)

And one more reason why I did not like this score is that it is rather dull to my liking, and it costs slightly more than any other CDs I bought.

Perhaps I should give it another listen just to justify things a little.

In any case, I do apologize. Sometimes I get the names of all you Elfman-haters mixed up(!)

(That was a joke)

Anyway, I corrected it so there...

HAPPY?

First: Elfman's GWH is a fricking masterpiece, and I'm not even that big of a fan of the man. The score fit the film like a glove and it is always enjoysome to listen to .

How anyone can say that Air Force One sucked (even you Norman although we see eye to eye when it comes to wrestling), is incomprehensable. It is sad. It is terrible. The only bad thing about the cd is it's too darn short.

Excecutive Decition (the hell with the spelling), is adequate by Goldsmith standarts. It would be a masterpiece had it been composed by someone else.

By the way, I've seen the life performance of Air Force One as composed by Goldsmith himself at the Hollywood Bowl earlier this year. The man has an incredible energy for his age.

Please, don't anyone ever compare a Goldsmith score with Drop Zone. That is fricking embarrasing.

However, I believe my all-time raspberry award goes to...
ROBOCOP!!!!!! TWO that is.

I award Eric Serra with my Worst Composer Raspberry Award. Runner Up : Trevor Rabin

My award for Most Forgettable Score goes to..

William's ROSEWOOD

My award for One of The Most Intolerable Scores Ever goes to...

Shore's NAKED LUNCH

That's all I can come up with for now.

(By the way. I really like Executive Decision, but I would rather hear it performed by a larger orchestra.)

Air Force One to me was dull (Okay, okay, The Hijacking was cool) because from trac 2 on, it suffered from the typical "background filler" syndrome. This was the case with The Matrix. All tracks from the Matrix except probably 6,7, and 10 suffered this problem. It didn't help either that I listen to most of my scores in the car with the window down (which means I can rarely hear quiet cues, which dominates the Matrix). Yeah, I probably would have a different feel if I listened to it in a quieter setting, but I honestly don't think the outcome would be that different.

Matt, regarding the Enigma bit, well, I thought "The Eyes of Truth" was much much better than "Spybreak" (which I do have, and I don't think it sounds bad, but it sounds too generic in terms of techno). And I didn't say The Cross of Changes was the score, merely a "soundtrack," sub-ing in for Davis' score. It was just more fitting for me. Another thing for me is that the Lobby fight had this whole majestic feel to it. I understand the Matrix is a Sci-Fi flick, and maybe that's why Davis' score was so appropriate and you guys seem to like it so much, but The Matrix to me was more than just another sci-fi movie, it was more of a small innovating epic which required a little touch of New Age music.

Call me a sell-out, but I enjoy melodic scores with memorable themes, particularly Zimmer's "short but sweet" approach to his themes.

Oh yeah, sorry Jeron....Air Force One just isn't tops in my book...!

I didn't like The Matrix the first time I listened to it either. I listened to it before I saw the movie and I was expecting an action packed Science Fiction score, and I was dissapointed with the score. Then I saw the movie and the way the W brothers recreated the story of Jesus told through Sci-Fi was awesome. After that I began to really enjoy the score, I think it fit perfectly with what the W brothers were trying to say.

BTW, my raspberry goes to "Hoosiers". I bought this score, after searching very hard, because all I heard from people is how great it was. Sorry Jeron, but this Goldsmith score, I didn't like.

AUDACITY...YOU HAVE THE AUDACITY TO GIVE THE AWARD TO "HOOSIERS"??
DID YOU FALL ON YOUR HEAD? ARE YOU SNIFFING SOME DRUGS? TO MUCH LIQUOR THIS MORNING?

I'm gonna have a heart attack.....

Calm down Scotty boy...

Okay,I can take people disliking Air Force One and so on,but Hoosiers. It's a wonderful score. The basketball parts are amazing. I mean you can hear the bouncing ball. Really. I only have the tape and am looking for the cd. I know it's a British release and it's called First Shot I think.

Audacity you sadden me .

Scott

Scott

The Matrix is the story of Jesus. Watch it closely and pay attention to the little things. The first hint is what the druggie in the very beggining says to Neo. Something like you are my savior... I can't think of it off the top of my head. Trust me if a non-religious guy like me can see it, others should have no problem.

As for Hoosiers, I just didn't like it. To me it sounded like a bad Harold Faltermeyer score. But this is what I will do I will give Hoosiers a more thurough listen if you will watch The Matrix and look harder. Lawrence Fishburn's name is Morpheus, I mean come on they spell it out for ya

In the category of all time worst score by a great composers the Nominees are:

Rent-A-Cop by Jerry Goldsmith
1941 by John Williams
Legal Eagles by Elmer Bernstien
Robocop 2 by Leonard Rosenman
Game of Death by John Barry

And the winner is... Rent-A-Cop by Jerry Goldsmith!

The nominees for worst score by a good or occassionally decent composer are:

Robin Hood:Prince of Thieves by Micheal Kamen
The Postman by James Newton Howard
Legends of the Fall by James Horner
Conan the Destroyer by Basil Poledouris
Death Becomes Her - by Alan Silvestri

and the winner is... James Horner for Legends of the Fall!

Let me lay it out for you. The hero receives a "call to adventure." He resists answering the "call" as he collects a small band of friends who help him. One of these friends will become his mentor -- sometimes a father-figure. The father-figure emphasizes the "call" and trains the hero for his upcoming battle with evil.

A lot of different things happen next, depending on the myth. In Matrix, the father-figure is in danger and the hero must descend into the underworld to save him. When he does, he obtains "the elixir," in this case, knowledge to free mankind.

The hero acheives a type of atonement where he becomes at-one with whatever he has been fighting and conquers it.

You may recognize this heroic cycle (or parts of it) in Star Wars, Willow, The Dark Crystal, The Omega Man, The Guns of Navaronne, The Good, The Bad and The Ugly, Jason and the Argonauts, The Story of Christ, Gilagamesh, etc.

It's a pretty standard story line, very effective, very evocative.

I'll go back to my TA class now.

C-ya all later