Rabin also scores Steve Miner's western(!) "Texas Rangers".

quote:

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Originally posted by Jon:

I think Trevor Rabin now has become an "A-composer"!

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Indeed. "A" for Awful...

quote:

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Originally posted by Lancelot:
That's unnecessary.

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Uhhh... forgive me dady...

You know Al, maybe this Rabin should learn how to compose for especial efects and explosion first...

Jeron

Justin and someother people.

GIVE THE GUY A CHANCE!

--Kyp
Writer/AVID Editor

Jeron

NP- Switchback (Poledouris)

I saw the trailer for pearl harbour about a month ago. And I'm 90% sure that it said Rabin would be scoring it. However, with the media venture group, these things can change quickly, as you all know. I figured it would be zimmer though since his "Journey to the Line" worked really really well with the trailer. In fact it is the best trailer I have ever seen, I had to go home that night and mix FDR's speech with with "Journey to the line" to recreate the trailer in a sense. Anyway, I think we should all give Rabin a chance, I really think this could be his breakthrough.
Rich D.

I've seen Zimmer's name on the PEARL HARBOR trailer, have not seen the SIXTH DAY trailer at all, but have no problem believing it's Rabin. He's going to be a hot composer for a while, no question, but any number of composers flame out after a few years, no matter how many hits. If he means to be in this for the long haul, he must pick his projects wisely, and most critically, he must do good work. Even this is no guarantee. In the 1970s, David Shire was considered to be a breakout composer -- what happened to him? (He owned a piece of the phenomenally successful SATURDAY NIGHT FEVER album, that might be one reason he doesn't seem to be begging for work.) Where's one of the preeminent composers of the 1960s, Laurence Rosenthal? He's stuck in TV movies, rarely considered for anything even of the scope of YOUNG INDY (and I believe he got that job through the largesse of his friend John Williams). Basil Poledouris and John Scott don't often work on projects that reflect the scope of their talent. Well, no great film composer always does ... and Rabin is far from being great. Might he become so? Never say never ... but I'm thinking that the whole Media Ventures phenomenon is going to redound upon itself. Too many of these guys, all sounding too much alike (and I do like Zimmer, John Powell and Harry Gregson-Williams). But the thing is, styles change. Will MV change with them? Zimmer more or less created this sound, and in his own scores is largely moving away from it, to more classical expressions (THE THIN RED LINE score in particular represents a kind of "statement of purpose" as far as his personal and career development, and I've no doubt PEARL HARBOR will be of a similar tone). He leaves behind him a series of sound-alike drones who are mimicking a style that is now, some dozen years after RAIN MAN and BLACK RAIN, beginning to sound dated.

Clay G.

If the studio issues a new preview, then the theater will attach it to a new movie.

*Amendments:
1. That children's movie previews accompany children's movies. (i.e., no "Basic Instinct" previews on "The Little Mermaid".)
2. That studio previews are attached to those studio's films.

NOTE: This post has been toned down for those of you who get upset when I (or the other guy who doesn't like Media Ventures) mention that Enemy Of The State is one of the best examples of why kindergartners should not be allowed to play with synthesizers.

Shaun

I wonder if the policy doesn't stem from Zimmer's own long experience as a collaborator: he started in films with the late Stanley Myers, then boosted the career of co-composer Mark Mancina, has hardly ever done a film without contributions from someone else (and even stranger, to my mind, has provided "additional music" to films for which you'd expect HIM to be the primary composer ... e.g. WHITE SQUALL by Jeff Rona. Or the additional stuff he and Mancina cooked up to augment Gary Chang's SNIPER. Of course Zimmer seems to have very little ego about the work he does, I've never seen a pretentious quote from him. When he says he'd just as soon hear one of his friends score a movie than do it himself, I believe him.)

On the other hand, I heard that he did at least THREE HOURS of music for THE THIN RED LINE, for director Terence Malick to pick and choose from, and did all that solo. (There are still "additional music" credits for that one too, though, aren't there?)

My feeling is that Zimmer is trying to recast himself as a more "classical" film composer, and is leaving the synth gimmicks (which I have enjoyed) to the next generation. It seems that Mancina (not an MV guy, I know, but he WAS Zimmer's original acolyte) and Rabin are heading the pack of "the guys you hire when you want a Zimmer score and you can't get him." This may be detrimental to their progress as musicians, but everybody has to start somewhere (just as Goldsmith toiled as an ersatz Herrmann, Waxman and even Moross at the start of his career -- and Williams briefly seemed to be heading the way of Mancini.)

Clay G.

PS-Harry Gregson-Williams wrote a lot of cues for The Prince Of Egypt.
NP Braveheart (James Horner)

[Message edited by scoreboy13 on 09-25-2000]

Clay G.

Jeron

I like Backdraft, chunks of Armageddon, Antz, what I've heard of Chicken Run, Rain Man, Black Rain, The Thin Red Line (not exactly thematic, but a relatively smooth listen) and Speed. Aside from the two animated scores, everything Media Ventures has done sounds like all of the above. It's my opinion (and the opinion of most people on this board over the age of 25---it's hard to not make that a put-down, but it's not exactly meant that way).

scoreboy13 wrote:
"They CAN write alone too. It just gets EXTREMELY time consuming."

I'm not debating the fact that film scoring is time-consuming. Tell that to John Williams, Jerry Goldsmith, Christopher Young, Danny Elfman, and everybody else who write scores ALONE. The Media Ventures crew, to my knowledge, has not proven that they can write alone, too. I'd be happy to be proven wrong (with a recent example).

scoreboy13 wrote:
"Every time I see you post something, it is always (in a sense) saying that Media Ventures sux."

Hey, hey! I NEVER said that Media Ventures "sux". If you EVER catch me using "sux" in a sentence, I will kill myself. I have said that they "suck", but that's just my feeling after listening to something like Enemy Of The State or The Replacement Killers or Jack Frost. It's my opinion. You have the right to defend Media Ventures, I have the right to dismiss them as a fad.

scoreboy13 wrote:
"Excuse me, but did the score to that film fit it EXTREMELY WELL?! Would you like some big orchestra playing while you see a satalite chasing a guy?"

Actually, I didn't think that the score fit at all. There are electronics that enhance the orchestra (see Jerry Goldsmith or Elliot Goldenthal; not a big fan of Goldenthal, but he knows what he's doing) and electronics that take the PLACE of the orchestra. I'm not into that kind of thing. It's just my preference to hear the spirit of a human being playing an actual instrument, rather than a person pressing buttons to simulate it. Anyway...

scoreboy13 wrote:
"If you don't have anything nice to say, don't say anything at all."?

Good point, man. Still, Media Ventures bugs me, and it's easier to be the "angry old man" about it than to just accept that they're (in my mind) ruining good scoring opportunities for others.

And as far as being "creative and innovative", it was innovative in 1988, with Rain Man. The closest thing we have to innovative nowadays is the score for Fight Club.

Shaun

NP---Are you ready for some football?!?

quote:

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Originally posted by scoreguy15:
First of all, It's DADDY. Second, Trevor Rabin bla, bla, bla...

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Well, I could have said PAPAI ou PAPAIZINHO, but I am afraid some of you monolingual people wouldn't be able to understand...

Clay G.

Frankly, folks, we're all allowed to express our opinions here. Shaun isn't attacking YOU for liking this stuff, Scoreboy. He's just saying - and for the record, I mostly agree - that he hates most of Media Ventures' output. What's wrong with that? Besides, for every person around her like Shaun or myself that dislikes the MV Product, there are plenty of others who'll validate the view of MV as some scoring paradigm. They certainly jump in, grumpy as hell, when that Product is demeaned in any way.........

I think Rocco said it around here elsewhere recently (and I have said a similar thing to Rocco in person!): I am most worried about what MV REPRESENTS. The economies of scale being what they are, I am fearful of a future in which movies are scored entirely by production houses modeled after MV. C'mon, folks: the biggest single supporter of this outfit is Jerry Bruckheimer, who literally spends tens of millions of dollars in "above the title" fees to land the stars for his movies. He turned to MV because he thinks that Zimmer is better than John Williams?

No.

He intially turned to MV because of cost efficiency, flexibility, and for the ability to "program" these guys to reproduce sound quickly (and, although I can't prove it, almost certainly because they can be counted on to more-or-less stay close to the temp track).He did this not because of aesthetic concerns, but economic ones.