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Author	Topic: Christopher Young is scoring 13 Ghosts?

Dylan Oscar® Winner	Hi, According to the IMDB, Christopher Young is the composer for the new horror film remake "13 Ghosts." But I heard someone else was writing the score.....has the previous composer's score been rejected?
posted 09-30-2001 09:56 AM PT (US)

Crono/Kyp Oscar® Winner	Good old John Frizzell is on that project. Varese is releasing the soundtrack on the 30th of Oct. --Brian NP: Durango
posted 09-30-2001 10:27 AM PT (US)

Dylan Oscar® Winner	That's what I heard, but what if John's score has been rejected? I guess Varese's plans would fall apart somewhat.
posted 09-30-2001 10:36 AM PT (US)

James Oscar® Winner	Was Don Davis ever attached to this film, or was that somebody's guesswork? Not that I mind. Don Davis writes great horror music, but I want more diversity from him. John Frizzel's score should be interesting.
posted 09-30-2001 11:03 AM PT (US)

wistiti Oscar® Winner	I think Davis was attached to the project after the rumors died that Mark Mancina would be scoring it. I seem to remember he talked about scoring this movie. I think it was the Soundtrack.net interview. Or maybe the one at musicfromthemovies.com As for rejected scores, I would trust the Varese website more than the IMDB. If Young was ever trully attached to this project (Dan can confirm this one way or the other I suppose), my guess is Frizzell's score replaced Young's, rather than Young's replacing Frizzell's.
posted 09-30-2001 11:09 AM PT (US)

Al Oscar® Winner	A rejected Christopher Young horror score?
posted 09-30-2001 12:47 PM PT (US)

OHMSS76 Oscar® Winner	Calling Dan Goldwasser.....Dan, your needed in the building.....please confirm if I need to see this film(Young or Davis score) or avoid(Frizzell ) NP:007(Barry) Sean
posted 09-30-2001 01:15 PM PT (US)

Jeron Oscar® Winner	Oh come on, Frizzell does some great work! And the film looks like it'll be a lot of fun!
posted 09-30-2001 01:34 PM PT (US)

Graham Watt Oscar® Winner	I'm looking forward to this movie, though I know nothing about it. Is it a remake of the old William Castle film? I also see that Alan Silvestri is up to do the new Zemeckis movie Macabre. Is that ANOTHER Castle remake? Whatever, I love those old Bill Castle things, indeed I thought that the remake of House On Haunted Hill was about as scary as the original, which is saying something when you consider that I saw the Vincent Price version on TV when I was impressionable and 10. Don Davis did a pretty good score there (the remake, not the Von Dexter one!)
posted 09-30-2001 01:51 PM PT (US)

dgoldwas Oscar® Winner	quote: Originally posted by OHMSS76: Calling Dan Goldwasser.....Dan, your needed in the building.....please confirm if I need to see this film(Young or Davis score) or avoid(Frizzell ) Sorry - I've been dealing with computer issues, otherwise I would have posted to this sooner! As far as I was aware, Christopher Young WAS scoring this film. Apparently, he is no longer doing so (at least, according to Varese)! I'll confirm either way this week. As for Don Davis, yes, Don was indeed signed on to THIRTEEN GHOSTS for the better part of a year, and then managed to get out of the project - at which point it went to Young. Dan
posted 09-30-2001 03:07 PM PT (US)

spitfire Oscar® Nominee	Gianni Frizzelli is scoring the film. Varese Sarabande's listing is correct. Should be as lifeless, character-less a score as "Dante's Peak", "Alien Ressurection" and "I Know What You Did"... Ryan G
posted 09-30-2001 04:41 PM PT (US)

Jeron Oscar® Winner	I found Alien Resurrection and Dante's Peak both to have wonderfully dark, thematic scores. Frizzell's style isn't for everyone, I guess, though I see nothing wrong with it for this film. I'm sure he'll do a great job. Spitfire, I'm absolutely lost as to why you think the guy composes lifeless, characterless music... care to enlighten me?
posted 09-30-2001 04:48 PM PT (US)

Dylan Oscar® Winner	This is interesting. I saw the trailer for this film and it doesn't look very good. First of all, it looks like the ghosts also haunt a junkyard. It doesn't look fun or very inventive.....but we'll have to wait and see I guess.
posted 09-30-2001 04:53 PM PT (US)

OHMSS76 Oscar® Winner	Hate to disagree with you Jeron, but I think that Frizzell doesn't have any distinct voice, at least when it comes to bombastic action music. Ok, maybe Jane Austin's Mafia and Killing Mrs. Tingle(I refuse to use the damned studio imposed title!) are good, but thanks to insipid studio execs, this will be a temp track joy ride, and aside from a suitably piano laden/spooky string title theme, get ready for 100mins. of brass and anvils hammering away.And Matthew Lilliard doing his borderline retard,spitting all over himself teen schtick. Just a thought on what this one will be like. I guess I'm too jaded these days to hope that the latest Joel Silver epic will have a creative score....last time that happened was Demolition Man in '93. I'm sure Frizzell is a nice guy and all, he just doesn't write very inspiring, memorable stuff. S~
posted 09-30-2001 05:18 PM PT (US)

Jeron Oscar® Winner	Oh, it's okay to disagree bud. Nothing says we have to like things the same way. I understand your argument completely, but I've grown to like Frizzell's music, so I have a hard time relating. Then again, I'm not jaded... I just enjoy the things for what they're worth, that's all. Jeron
posted 09-30-2001 06:07 PM PT (US)

James Oscar® Winner	quote: Originally posted by OHMSS76: I guess I'm too jaded these days to hope that the latest Joel Silver epic will have a creative score....last time that happened was Demolition Man in '93. Are you telling me THE MATRIX didn't have a creative score?? As for Frizzel, I'm borderline. He's done some good, some mediocre. I liked Alien Resurrection, and I loved Beavis & Butt-head Do America. James NP - Beauty & the Beast (Don Davis, *****)
posted 09-30-2001 09:02 PM PT (US)

spitfire Oscar® Nominee	Why do I think John Frizzell writes music without personality? Well all you gotta do is take his previous scores as examples. "Alien Ressurection" is devoid of any "signature" as to who the hell the composer is. It is unexciting, lacks tension and most of all, sends a series of fine film scores into the grave. "Dante's Peak" has James Newton Howard's theme going for it. Beyond that, it lacks zip. "Teaching Mrs. Tingle" is a re-tread of Elfman doing Herrmann. "Beavis & Butthead" is only notable because it's more then the film deserved, but certainly not exceptional. Then there's the dreck-filled "I Still Know What You Did..." An un-memorable and mercifully un-released horror score. There is more then enough good film music out there that no-name filler music like Frizzell's is best forgotten. I guess some people have such broad and boring tastes it doesn't matter who writes it or what it sounds like. It's just that "gimme gimme" attitude. Ryan G
posted 10-01-2001 05:00 PM PT (US)

Jeron Oscar® Winner	quote: Originally posted by spitfire: Why do I think John Frizzell writes music without personality? Well all you gotta do is take his previous scores as examples. "Alien Ressurection" is devoid of any "signature" as to who the hell the composer is. It is unexciting, lacks tension and most of all, sends a series of fine film scores into the grave. Yikes... Well, if that's your opinion, cool dude. But here’s mine: I found Frizzell's "Resurrection" (spelled with 1 s, 2 r's) to be both thematic and exciting. The opening theme screams "Frizzell," especially after listening to the title track from Dante's Peak. It's a wonderfully dark, moving, servicable, and stylistic work. I don't think it betrays the other Alien scores at all; in fact, there's one cue in particular that blatantly pays homage to Goldsmith's hypersleep cue. And then there's the great "They Swim..." cue... that's dark, tense, exciting music, man! quote: Originally posted by spitfire: "Dante's Peak" has James Newton Howard's theme going for it. Beyond that, it lacks zip. "Teaching Mrs. Tingle" is a re-tread of Elfman doing Herrmann. "Beavis & Butthead" is only notable because it's more then the film deserved, but certainly not exceptional. Once again, opinion. What can I say? Howard's theme was nice, the finale was pretty, but certainly not the highlight of the score (for me, at least). The title track, dude! Come on, it's a riveting 5-minute piece of music, highly representative of the rest of the score. And I'll once again reiterate the fact that both "Resurrection" and "Dante's Peak" are very similar (stylistically). This doesn't hurt either score, as I think both themes as composed by Frizzell work well (not to mention, they're highly listenable!). The pulsating rhythms found in the title track accompanied by the very brief (but cool) string (cello?) solo is haunting. And what about "Teaching Mrs. Tingle"? That score had some surprisingly good music featured on it's album. "Destiny" and "Triumph," the cd's final two tracks, are great. quote: Originally posted by spitfire: Then there's the dreck-filled "I Still Know What You Did..." An un-memorable and mercifully un-released horror score. I barely remember this one... probably because it remains unavailable in any form (legit or boot). But if memory serves, I do recall comparing it with Debney's original score and not being disappointed, nor completely blown away. As you've probably figured out, I like the above mentioned scores, so I'd probably be willing to give this one a shot apart from the film. quote: Originally posted by spitfire: There is more then enough good film music out there that no-name filler music like Frizzell's is best forgotten. Yikes (again). I wish you'd fill out some kind of profile, so at least I could refer back to the things you do like. There is a lot of GOOD film music out there, but you've got to remember that your opinions are no more absolute than mine. At the core, I'm a Goldsmith freak... but I enjoy a lot more than just Jerry's music. Give me Williams, Goldenthal, Elfman, Corigliano, Shaiman, Bernstein, Folk, Arnold, Band, Broughton, Barry, Beltrami, Davis, Edelman, Debney, Doyle, Eidelman, Burwell, Morricone, Horner, Jones, JNH, Kamen, Newman, Newman, and Newman, Poledouris, Ottman, Portman, Silvestri, Scott, Ross, Revell, Shore, Serra, Young, any of the MV guys... I enjoy all of it. This doesn't mean I have low standards... it just means I've got a different appreciation for the stuff. Which is cool, we all like different things, different ways. Perhaps you're attracted to film music in a completely different way than I am, and that would certainly explain any contrasting differences in our opinions. I just find the assault on Frizzell's music ultimately undeserved. He's done some noteworthy stuff... quote: Originally posted by spitfire: I guess some people have such broad and boring tastes it doesn't matter who writes it or what it sounds like. It's just that "gimme gimme" attitude. No offense Andre (you know I love ya), but I think you've found a soul mate here... You know what I mean! As far as your comment goes, Mr. Spitfire, I think my tastes are broad (with the exception of "The Running Man!"), but they're certainly not boring. I'd like to think that my appreciation for many composers' works helps me relate to more people and contribute positive discussion where the world of film music is concerned. I have distinct likes and dislikes, just like you... but I don't ever feel compelled to voice them (that's me! I'm not suggesting you do the same... it's just a personal thing). I'm a fairly upbeat person, so I tend not to dwell on the negative. On that note, though: Who ever wanted to hear why something sucks? Isn't the point to enjoy it?... and if you don't enjoy what you're listening to, move on to something else... ::shrugs:: But hey, like I said, we've all got our own opinions... like that's news! Woohoo. [Message edited by Jeron on 10-01-2001]
posted 10-01-2001 06:12 PM PT (US)

Shaun Rutherford Oscar® Winner	Duder, the entire "Main Title" for Dante's Peak was composed by JNH. Forget where I read that. And the theme in that cue was ripped off of "Ilia's Theme" from TMP. Shaun
posted 10-01-2001 08:20 PM PT (US)

Jeron Oscar® Winner	quote: Originally posted by Shaun Rutherford: Duder, the entire "Main Title" for Dante's Peak was composed by JNH. Forget where I read that. And the theme in that cue was ripped off of "Ilia's Theme" from TMP. Shaun, I would be shocked if that were true. Stylistically, the main titles belong to Frizzell. I mean, just listen to them... that's not JNH's style of writing. As for the "Ilia's Theme" nit-pick, geesh... I can see where you'd match up a few notes, but come on. What IS THE POINT in paying attention to such trivial detail??? There's a tiny similarity... big deal. If that prevents anyone from enjoying the music, gee whiz, get a life.
posted 10-01-2001 08:27 PM PT (US)

Jeron Oscar® Winner	...and I say that in the kindest, most friendliest way possible.
posted 10-01-2001 09:18 PM PT (US)

Shaun Rutherford Oscar® Winner	What part are you telling me isn't JNH's style of writing? Just to clarify. Shaun
posted 10-01-2001 09:29 PM PT (US)

OHMSS76 Oscar® Winner	First, thanks for NOT filleting me Jeron for disagreeing...your a gent JNH is credited on the Dante's Peak album and the main title for contributing the theme, which I always assumed was the low horn music in the titles....kinda sounds like The Fugitive to me. And finally, for the record, I DID run out and buy the Alien Resurrection album after seeing the film, because I had to have that crazy horn motif in the action scenes....one of those cues is so frenetic it brings Indiana Jones and The Temple of Doom to mind. Peace und Luv, Sean
posted 10-01-2001 09:43 PM PT (US)

Jeron Oscar® Winner	It's been my understanding that everything on the disc except for track 4, "On the Porch" and track 11, "The Rescue" are composed by Frizzell. Tracks 4 and 11 contain a theme composed by JNH.
posted 10-01-2001 09:44 PM PT (US)

James Oscar® Winner	John Frizzell is a fine composer. I don't think he'll go down in history as one of the greatest composers of this age, but his scores are enjoyable and I do think his music has a recognizable personality. There may be no similarities between "Beavis & Butt-head Do America" and "Alien: Resurrection," but if you compare the former to "Mafia" it's obvious that the same sense of humor is working behind both scores. My knowledge of Frizzell's work is not very extensive, but I have liked what I've heard and I do find it distinctive. quote: Originally posted by spitfire: I guess some people have such broad and boring tastes it doesn't matter who writes it or what it sounds like. It's just that "gimme gimme" attitude. Don't you think that's just a little presumptuous? Not to mention close-minded. There is nothing wrong with having broad tastes. Logically, a person's tastes are more boring when they are limited. It's much more exciting, interesting, and educational to have one hundred different foods on your plate rather than four. James NP - Brazil (*****)
posted 10-01-2001 09:59 PM PT (US)

Crono/Kyp Oscar® Winner	I agree with Jeron and James, I like Frizzell’s music. I found both "Dante's Peak" and "Alien Resurrection" go be great scores of the thriller/suspense/horror genre. I think Frizzell can bring a lot to "13 Ghosts." In a dark, gothic, thematic sense As to the JNH thing about Dante's Peak, Frizzell loves JNH's music (see "Alien Resurrection" liner notes, if I remember correctly), JNH did write the main title if I remember the credits correctly. --Brian NP: Cruel Intentions (Ottman) [Message edited by Crono/Kyp on 10-02-2001]
posted 10-02-2001 09:55 AM PT (US)

dgoldwas Oscar® Winner	From my Interview with John Frizzell: quote: Tell me a little about your relationship with James Newton Howard, people say that he's the reason you were able to score films... No, my father is the only man who could truly say that. James was going to score Dante's Peak, but there was a schedule change. He had already written a theme, but director Roger Donaldson was comfortable with me coming in and taking over. I've seen it written in different places, but I've never actually worked for James before. We're very close, and he's extremely supportive and helpful to me. He has been, and if I'm lucky, will always be, my mentor. How was it writing a score where you didn't create the theme? It made it pretty damn easy! The theme shows up in several places, and there's a lot of completely original music. It's good that most people can't distinguish his theme from my score, because it would be wrong if they didn't feel integrated. That's what we promised Roger Donaldson and I know that besides being very pleased with the music it did not feel like two minds were involved. James has the great ability to create a melodic gems ,his thematic ideas are so concise it was very easy to expand and adapt them into the film. Dan
posted 10-02-2001 01:34 PM PT (US)

Shaun Rutherford Oscar® Winner	I can't remember if I've said it already, but when I think of Frizzell, I think of the word "bland." His Beavis & Butthead score was fun, Dante's Peak was largely snore-inducing (JNH's Main Title was good enough, but the rest was amateur hour; "The Rescue" was nice in an "Alive" kinda way, though), Alien Resurrection was Frizzell trying to ape all of the 3 previous Alien scores through James Newton Howard (his themes sound like JNH filler music), and I Still Know What You Did Last Summer's theme was like Carpenter-lite. Just my rambling opinions. Jeron, I think the theme you're referring to is actually Frizzell's. JNH wrote the "dark" (Ilia's) theme. Sean, Alien Resurrection totally reminds me of Temple Of Doom! Good call! Shaun
posted 10-02-2001 03:28 PM PT (US)

Al Oscar® Winner	I'm with Shaun here. Frizzell's work is average to my ears. Nothing outstanding, nothing all that bad. He can write some pretty good themes, but most of these were tongue-in-cheek, the death theme in Mafia and a few pieces for Beavis and Butthead Do America. But since 13 Ghosts will probably be all about being over-the-top, I'm sure Frizzell will be able to pull it off. NP: Young's "The Glass House"
posted 10-02-2001 03:43 PM PT (US)

OHMSS76 Oscar® Winner	I find it funny that we can talk so much about Frizzell's career, and just keep naming the same scores! Anyone have thoughts on VR5? Rich Man's Wife? Anyway, since Beavis & Butthead came up, I had to give my take on that score....I was in love with the score when I saw the film(I'm a fan of the show to begin with), and wanted to give the filmmakers an Oscar for audaciously using a big orchestral score(recorded in London!Hallelujah!!) for the film. It made the experience a million times better...then I got the Milan album, and it just fell flat Now the only cue I ever play on it is Esquivel's Mucho Muchacha which has some great stereophonic manipulations. Still, the memory of hearing those big 'bones and tuba's under the 'Buttkong' sequence was something else... NP:UBoats(Young) Sean
posted 10-02-2001 05:27 PM PT (US)

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