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Author	Topic: Best Score for a terrible movie, and vice versa....

Matt Oscar® Winner	Oooh, Andre, im hurting man. That just cut into me like a knife thru butter. Ive got to go, just posting on the same board as you is giving me the ****s worse than cafeteria food does. Dr Evil: to each his own man, i cannot fault you for not wanting to curl up with some jack daniels(tho, why you would possibly want to drink paint thinner is beyond me) and listen to T2. Its a matter of opinion, and that score is not for everyone. i can however fault you for saying that it doesnt work in the movie, and ill get back to you with my paper(currently trying to find out where the hell i put it, hehe) later tonight with a rebuttle. Its actually rather interesting, so even if you dont agree about the music there is still some cool stuff involved.
posted 02-11-2000 01:55 PM PT (US)

Klaatu Oscar® Nominee	Man, This Matt sounds like the Moviemusic.com version of Pluto from FSM. Remember him?
posted 02-11-2000 05:27 PM PT (US)

H Rocco Oscar® Winner	Jack Daniel's is paint thinner? You haven't been subjected to Kamchatta, have ya. NP: "The Miraculous Mandarin" (Bela Bartok) (I keep hearing about all the influences Bartok had over so many of my favorite film composers, I just had to take a pile of CDs out of the library to compare and contrast ... and I did love the Bartok piano pieces I studied when I was being taught piano, lo these many years ago) (So far so good!)
posted 02-11-2000 08:56 PM PT (US)

Dr.Evil Oscar® Winner	Matt: Well, you don't like Jack Daniels... Should I say that you are not an inteligent person? (Matt logistics) ND (NOW DRINKING) Guess?
posted 02-12-2000 08:01 AM PT (US)

Greg Bryant Oscar® Winner	The vice versa (bad score/good movie) would be Mark Mancina's music for Speed. While it does work well with the movie (basically rhythmic noise to pump up the tension level) for exactly that same reason it's terrible when it stands by itself. It's simply noise. There's no variation and very little melody to it.
posted 02-12-2000 01:53 PM PT (US)

H Rocco Oscar® Winner	Mancina's scores for Jan DeBont fall into another category altogether: scores that fail to reach their potential. Think what Goldsmith, Williams, Christopher Young, or even James Horner at his best, would have done with something like SPEED or TWISTER. Mancina had ample opportunity to show what he could do, and alas, he did. Good example: possibly DeBont's worst film to date, THE HAUNTING, benefits from a Goldsmith score that nearly ennobles the ridiculous goings-on.
posted 02-12-2000 04:09 PM PT (US)

Gae Oscar® Winner	Well I know it all boils down to personal choice but "in my opinion" I disagree with the following movies being called bad:- Capricorn One? Great movie and a great score! Waterworld? Good movie and a superb score! Darkman? Good movie and a good score! One I do agree with though is "The Swarm" Awful movie and a great score! Also being a Bond fan:- "For your Eyes only" o.k. movie but bad score (apart from the Sheena Easton song!) "Never Say Never Again" o.k. movie but awful score. Gae
posted 02-12-2000 05:34 PM PT (US)

Hard Target Oscar® Winner	Where have you been Gae. Waterworld a good movie. Well parts of it were. the parts that Kevin Reynolds directed not Kevin Costner. And James Newton Howard's which is okay could've have been better, but isn't. I would really love to hear Mark Isham's rejected score for Waterworld I'm sure it was alot better than Howard's non melodic score. For Your Eyes Only happens to be my favorite James Bond score and movie. And Bill Conti's work for his only entry in the series is definetly alot better than what Eric Serra and Michael Kamen did for the others. Excluding David Arnold who's done the Bond series justice by going back to it's roots with his Barry-ish rythms and added some excitement to a somewhat tired series. The only one I'll agree with you is Darkman which is a very underrated film and a terrific piece of techincal work. I love Elfman's work on the film, I just wish that the album included The Death of Durant piece that Jonathan Sheffer wrote for the film. And for now I can think of one film that's so bad with a really good score and that would be Mark Isham's Cool World. Forget the film, the story is interesting but it's a truely forgettable film. And the only thing that makes the film watchable is Isham's score which part of it didn't make it into the final cut. I'm sure this cd is outta print by now and it's definetly worth getting. P.O. End of Days (John Debney) /**
posted 02-13-2000 01:25 AM PT (US)

robin4 Oscar® Winner	Dude, Waterworld was good, both!
posted 02-13-2000 12:17 PM PT (US)

Ted Oscar® Winner	The 90's version of LORD OF THE FLIES was a pretty terrible movie, but it had a pretty good score composed by Phillip Sarde. --Ted
posted 02-13-2000 12:46 PM PT (US)

Audacity Oscar® Winner	HT, I can respect that you don't like the score to Waterworld, but how on Earth can you call it non melodic? Howard wrote many melodic themes for that score, including motifs for The Mariner, the atoll, the little girl, the Smokers, the whole score is full of great melody-rich themes. Track 6 "Swimming", track 9 "Speargun", track 17 "Deacon's Speach", and track 24 "Main Titles", listen to these and try to tell me that Howard can't write melody-driven themes. Audacity NP Alien (Jerry Goldsmith) I don't think I like this score anymore.
posted 02-14-2000 08:10 AM PT (US)

Thor Oscar® Winner	Audacity: Just want to say that I agree with you 100% - WATERWORLD is a fantastic score, ranging from ethnic delight to romantic grandeur to action-filled tension boosters. I could definitely do without another Isham jazz/new age conglomerate for this one!
posted 02-14-2000 09:21 AM PT (US)

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