badadadam
ba ba ba badadam
badadadam....

Yes, Sid, my mummy dear, I can eat my kippers for breakfast!

[This message has been edited by Thor (edited 03 May 2000).]

come here! I'm gonna eat ya!
get in my belly!

NE: THE MUMMY (nononono, NP, but you guys are making me hungry)

Williams => McNeely
Having worked on both Star Wars and Indiana Jones with outstanding success, McNeely appears to be the pinch-composer of choice for Lucas. Can Spielberg be far behind? If we assume both he and Williams remain in good health, it's more than likely that Spielberg will outlive his longtime collaborator. Then what?

Goldsmith => Broughton
"Baby's Day Out," "Tombstone," and "Lost in Space" ... I wouldn't change these scores a whit, especially the fantastic LIS. An achievement of Goldsmithian scope and complexity. It makes me want to know the history between these two.

Rosenman => Goldenthall
It's widely known that Goldenthall is virtually the only member of the younger generation of composers that Rosenman respects. He's made that plain. And Goldenthall's often atonal/dissonant sound and orchestration squares nicely with Rosenman's own frequently post-modern sensibilities.

Horner => Debney
Horner's relatively young, but stagnating quickly, IMHO. Debney seems to have the same rambunctious energy that Horner once possessed. Both have an infectious ability for Mickey-Mousing ... and cooincidentally have oft been employed by the Mouse. Both also seem to have a knack for knock-your-socks-off orchestration. (Willow, Cutthroat Island.)

Herrmann => Elfman
Well why not? Elfman did a fabulous job adapting Psycho. And he's proven he has Herrmann's talent for thickly layered orchestration and rhythms in true Herrmannesque form. In addition, his long-time partnership with Burton (one of today's most enigmatic directors) is more than a little reminiscent of Herrmann's longtime collaboration with Hitchcock (one of yesterday's most enigmatic directors.)

Bernstein => Shaiman
This may seem like a long-shot to some of you, but just look at the evidence. Both are incredibly talented Jack-of-all-Trades. Shaiman nailed Bernstein's Western style in the City Slickers pictures. And with romantic comedies and oddball ventures (come on, now, Bernstein's had plenty ... Heavy Metal? Wild Wild West?) and hard-core dramas, I can't think of a more appropriate follower of the Bernstein tradition than Mr. Shaiman. Now Shaiman just needs a biblical epic ... oh wait, "South Park"

Barry => Arnold
Like it or not, Roc, this looks like the way the wind is blowing! For better or for worse, Barry likes Arnold. And I can't really blame him. Arnold has a long way to go before he ever fills Barry's shoes, but I sense a lot of diversity and talent just waiting to explode beyond the Evil Twins and their Action Epics.

Zimmer => Peanut Gallery
One big happy family.

Any thoughts? Any other prospective match-ups? C'mon ... I haven't done Morricone, Tiomkin, Ifukube and a host of others. And Ravell, Serra, Davis, Newton-Howard, Shore and a whole posse of others are still waiting in the wings, lonely film-score orphans.

(Man, I've got to stop editing this post! Hey! I can edit out some of the edits! )

I really consider Broughton as an entity in and of himself... except for that little score entitled, "The Boy Who Could Fly." When I initially heard this, I had to do a triple take. Sounded very similar to something Williams could have done.

LOL, and your mention of "The Evil Twins and their Action Epics." That had me rolling.

quote:

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Originally posted by Jeron:
Wedge, you really do know how to make a person laugh! ... LOL, and your mention of "The Evil Twins and their Action Epics." That had me rolling.

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quote:

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(by the way, JJH, didja know Goldsmith was the first composer for BABY'S DAY OUT? The old scheduling thing -- as with TOMBSTONE and LOST IN SPACE, he referred Broughton)

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I did not know that. weird, wild stuff.

How about Bite the Bullett by maestro North?

NP -- The Shoes of the Fishermancoincidentally. good North LP. We need to push for a CD release.

quote:

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Originally posted by H Rocco:
From a more practical point of view, I've noticed that CDRs -- at least, the handful that I own -- tend to be gold in color. This means they can be handily camouflaged by a layer of peanut butter, and you can ignore, for the moment, the fact that they are not, in fact, proper food. (Although the peanut butter is. Come to think of it, if you've already got peanut butter, what are you doing eating CDRs? I must try and think this through a bit more.)

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Actually, depending on the dye type, the color of CDR's varies. The golden discs are quite expensive, whereas green and blue CDR's are significantly cheaper. Thus, mixing different types of media, you may have enough variety to be satisfied even without peanut butter.

In fact, I still have tons of ruined CDR's from the time when the burner I used was defect. I've always wanted to make a mobile of them, but maybe I'll try to eat one of them. Crunchy CD, anyone?

quote:

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Originally posted by Thor:
Take a look at my girlfriend,
she's the only one I got [actually, I got none]
she's not much of a girlfriend
never seems to get a lot
take a jumbo
cross the water
like to see america
see the girls in
california
I'm hopin' it's gonna come true
but there's not a lot I can do
yeah

badadadam
ba ba ba badadam
badadadam....

Yes, Sid, my mummy dear, I can eat my kippers for breakfast!

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Is that logical?.............

You know, Weird Al has some eminently palatable (or not) titles..

Wedge, funny thing about Mr. Ifukube -- he's outlived most of his pupils (the famous ones that is, I imagine his conductor, who's roughly my age, is still around). Ifukube's most famous student was Toshiro Mayuzumi, who scored John Huston's THE BIBLE and REFLECTIONS IN A GOLDEN EYE. He died of cancer quite a few years ago. He was arguably even more famous for his TV appearances and his friendship with the notorious fascist novelist Yukio Mishima, with whom he shared a great many opinions. Never met the fellow.

Extending your thought: Alfred Newman got Jerry Goldsmith his job at Fox.

Elmer Bernstein thinks Patrick Doyle is the best of the "younger" composers (at his age, who the hell ISN'T younger than Elmer Bernstein?)