quote:

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Originally posted by scoreguy16:
[b]Just wondering, what's POE?

Clayton

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Isn't that the guy from Con Air?

NP- Prince of Eygpt

quote:

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Originally posted by scoreguy16:
Just wondering, what's POE?

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Prince of Egypt

This, once again, is my problem with scores by "committee."

Anyway....

quote:

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Originally posted by scoreguy16:
Just wondering, what's POE? I remember when Harry Gregson-Williams had a promo out. Armageddon was on there and that ended up having a complete released (well, almost complete. It's still missing one track)

Clayton

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Originally posted by Bond1965:
Remember the days when you knew who wrote a film score?

This, once again, is my problem with scores by "committee."

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quote:

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Originally posted by HadrianD:
Eh, knowledge is such a fragile thing. For example, we know that Max Steiner wrote Gone With The Wind, but then does many people "know" that he had "arrangers" working for him also to finish writing in time for release???? There are so much more to every story. Remember Air Force One? We used to marvel at the fact that Jerry wrote sooo much score w/in 10 days, when it turns out that McNeely contributed a substantial portion to the final result.

Anyway....

Harry did send out a promo/sampler with select cues from Prince of Egypt, similar to when he sent out a promo/sampler that had his Armageddon stuff.
Too bad Steve didn't release an sampler. Maybe he'll do so after he gets bigger or something

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Gee...thanks for the history lesson.

I know "ghost writing" exists silly...I just think it's sad that Zimmer, et. al. take on assignments and then use a "team" to write the score.

I know Michael Kamen used every orchestrator in Hollywood to complete "Robin Hood" and that David Newman did too to write "I Love Trouble" in 10 days.

But a real class act is John Scott...here's a guy who wrote over 70 mins of music for "Lionheart" in less than 2 weeks and even orchestrated it too. ALL BY HIMSELF!

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Originally posted by Justin:
Speaking of promos and not to get off the original topic here, but I wonder if there will be an expanded or complete release of Black Hawk Down. That had quite a bit of music in the film that wasn't released. I wonder who composed that unreleased music?

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Well... the tracks on the album aren't even the final tracks in the film......

and there were quite a bunch of composers working on the score, all of whom are mentioned in the album (under "Black Hawk Down Band" or something like that)

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Originally posted by scoreguy16:
Between tracks 32 and 33 on disc one, there was a cue with a very emotional string part. It was when A.J. finds Oscar dead.

Clayton

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REALLLLLY????

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Originally posted by Bond1965:
Gee...thanks for the history lesson.

I know "ghost writing" exists silly...I just think it's sad that Zimmer, et. al. take on assignments and then use a "team" to write the score.

I know Michael Kamen used every orchestrator in Hollywood to complete "Robin Hood" and that David Newman did too to write "I Love Trouble" in 10 days.

But a real class act is John Scott...here's a guy who wrote over 70 mins of music for "Lionheart" in less than 2 weeks and even orchestrated it too. ALL BY HIMSELF!

James

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quote:

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Originally posted by HadrianD:
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by Bond1965:
[b] Gee...thanks for the history lesson.

I know "ghost writing" exists silly...I just think it's sad that Zimmer, et. al. take on assignments and then use a "team" to write the score.

I know Michael Kamen used every orchestrator in Hollywood to complete "Robin Hood" and that David Newman did too to write "I Love Trouble" in 10 days.

But a real class act is John Scott...here's a guy who wrote over 70 mins of music for "Lionheart" in less than 2 weeks and even orchestrated it too. ALL BY HIMSELF!

James<HR size=1></BLOCKQUOTE>

But the fact is that WE KNOW that Hans uses additional composers. My point was that there are composers who'd rather not care about letting people know such fact. I've always maintained, that, at least with Hans, you'd know if he had help. [/B]

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And my point is how do you know who wrote what??? I mean unless you have a cue sheet right in front of you the lines are blurred. I am listening to "Shrek" right now and I can't tell you who wrote what.

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Originally posted by Bond1965:
I can't tell you who wrote what.

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Well... does it really matter THAT much? I mean.... HGW wrote the "Fairy Tale" theme, and the rest of the score just came together collaboratively.....

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Originally posted by dgoldwas:
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by Bond1965:
[b]I can't tell you who wrote what.<HR size=1></BLOCKQUOTE>

Well... does it really matter THAT much? I mean.... HGW wrote the "Fairy Tale" theme, and the rest of the score just came together collaboratively.....

Dan[/B]

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Only to the fanboys who are going on & on about some composer who I have never really heard of because anything he writes is attributed to Hans Zimmer or credited on a film or CD as "Additional music by".

I'm sure these guys are talented...but I don't understand why everyone is so crazy about them. They don't have any individual musical "voice" that I hear.

God...it's times like these that I miss Alex North, Georges Delerue, Bernard Herrmann, Franz Waxman, etc. Now THERE were musical "voices!"

Clayton

I highly doubt anybody at Media Ventures will ever reach the heights of Goldsmith, Williams, Horner (at one point), Morricone, etc...

Zimmer has come close, but I'll be truly shocked if anyone else does.

Maybe they work together because they simply don't have enough ideas within themselves. Who knows; but it's certainly disconcerting.

Additional Arrangements: Justin Burnett, Toby Chu

So, it is apparent that he did, in fact, not pen the entire score.

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Originally posted by sean:
Now, James, you sound like your talking in the past, like all those people who think there have been no good songs written since the '60s (not that you're one of them, but you seem to be leaning in that direction with the "Now there's a guy who did..." whatever!). If you miss the composers you mentioned, then why not pop in a couple of their tracks and relax? That's simple enough, isn't it. If collaboration bugs you, then why not stop watching films and stop listening to soundtracks, since you think it sucks so much, because film and film music is all about collaboration.

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Collaboration is not the issue here. I'm just wondering how someone even knows how good someone like Steve Jablonsky's work is? I mean I can't tell what he wrote on any of these MV scores. He isn't credited with any individual tracks...so how does one know???
And they all sound the same...it's like cookie cutter scoring.

FYI...you have NO IDEA where my tastes run. I have A LOT of Zimmer (et. al.) CDs, as well as Korngold, Williams, Young, Arnold, Bennett, Barry, Goldsmith, Armstrong, Jarre, Horner. My tastes run all over the map.

I'm just saying that I think it would be nice to actual hear something original rather than 20 guys that all sound exactly the same. But hey...the market dictates that. That's all anyone wants is something that is the same and not too noticable or catchy. That's why Danny Elfman's "Spider-man" score doesn't make you leave the theater humming a "theme". Heaven forbid you don't hear some god awful song as you leave the theater.

And back to collaboration and "Old School" film scoring...all you Media Ventures fans better start thanking ONE MAN for those guys. And it ain't Hans Zimmer...it's the late Stanley Myers. Myers was the one who gave Zimmer his break and co-credited him (and Richard Harvey at times) on his scores. That's where I believe Zimmer got the idea to pass the torch and help others break into the business. But you know what...you can tell which parts of a score Stanley Myers wrote and which parts he didn't. Because he was wise enough to let Zimmer develop his own voice and not sound exactly like a clone of himself.

Once again into the fire,

Getting to the Meyer's thing, what's wrong with Zimmer doing that but wanting the music in the film to flow???

Clayton

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Originally posted by scoreguy16:
I have my ways of knowing. Pearl Harbor's soundtrack features 3 tracks of Jablonsky's perfect score. Attack, War and Heart Of A Volunteer are all his in case you're wondering. But he didn't write the Japanese Theme featured at the beginning of Attack.

Getting to the Meyer's thing, what's wrong with Zimmer doing that but wanting the music in the film to flow???

Clayton

[Message edited by scoreguy16 on 05-10-2002]

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Perfect score? Umm...okay I know that is your opinion but how come it takes a committee to sound like a rehash of John Barry & Ennio Morricone? I wouldn't call "Pearl Harbor" a perfect score...but then I only have the CD to go by which is an awful representation of the whole score. The movie was so bad I couldn't stand to sit through it again.

As for Myers (note the spelling, at least he had the good sense to credit the cues Zimmer wrote and not leave a vague "additional arrangements" credit on his recordings. You have to hunt the credits to see the "team" that did the work and they don't get individual credit for the cues they wrote on the CD.

At least Quincy Jones gave each person cue by cue credit on "The Color Purple" when he used 12 guys to basically rip off Georges Delerue's "Our Mother's House."

How come it takes so many people to write something that one composer wrote to begin with? I know their are temp scores, but come on!

Stirring the pot yet again,

James

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Originally posted by scoreguy16:
Just wondering, why are you even posting here Bond? This is about the Pearl Harbor promo and whether it exists or not. It's not about whether you like the score/movie. And I also happened to love the film too. And there's really no such thing as a perfect score because not everyone will like it. So to me, this score is perfect, to you, you're bitching about it so you must have a problem with it. Fine... move on. As for the rest of us that like it, lets hope there is some sort of promo with a lot more score on it or even a complete.

Clayton

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Sorry...I should have read your profile. Didn't see you love Michael Bay/Jerry Bruckheimer.

I rest my case.

By the way...had the displeasure of seeing Mr. Bay at a Hollywood Reporter Film Music Seminar shortly after "Armeggedeon" was released. That man is really a piece of work. He told a foul mouthed story about working with Trevor Rabin while Rabin was in the audience with his young son. What little respect I had for Mr. Bay was lost then.

As for the subject thread, if you've been on these message boards for any length of time you would see that they have a life of their own.

I'm just stating my opinion. I have yet to have anyone explain to me how they can tell these composers apart to warrant such raves and admiration.

James

Can you go more into that instance where Bay foul-talked Rabin with him and his son in the audience? From what I've seen/read, Bay seems like nothing less than a hard-on-bastard, so I'd love to hear this story that makes me disrespect the guy more than I already do.