quote:

---

Originally posted by sean:
Why not just not buy scores you don't like? It's perfect sense. I don't own any soundtracks I don't like, and I don't sell any of them to used places. Even The Hours, I like it! It's actually kinda anal that youy do that with scores.

---

Well... how about this:
Some people buy CDs without ever seeing the movies or hearing the CDs before buying them - they therefore cannot determine whether the music is good or bad in order to only purchase the CDs they like.

As a personal example, for most of the scores that I have, I have never seen the movies nor do I ever intend to. I just bought the CDs without hearing them in the context of their respective movies.
Given that it's often hard to hear a complete CD before buying it, it's hard to determine what's good or not before actually listening to it - which often implies buying it first.
(yes, I do know about kazaa et al, and no I don't use that)

So... we buy crap among the good stuff. Since we've bought that crap, dumping it in a used CD store: 5$ (if not 2$), as opposed to the $15 spent on purchasing the CD in the first place.
Might as well keep it and listen to it occasionally. Then when you listen to it, you realize that it was garbage before and it's garbage still. Which reminds you how much better stuff there is out there.
This is why I still keep all my Silva CDs played by the City of Prague Crapophonic: they remind me what a good orchestra does not sound like.

NP: "The Words Get Stuck In My Throat" from War of the Gargantuas

Why would someone find the need to listen to a score they despise "to remind themselves of what a bad score sounds like?" Turn it into a coaster or throw it away...but just let it go.

And though it has been amusing, I think I will let this thread go as well.

1) To the brave reader who has happened to scroll this far, you may will have noticed by now that my original challenge has still to be addressed by any one of the parties mentioned in the outline of events I provided in my charge: specifically, that these individuals willfully employed rhetorical devices to selectively impune my judgement and character without due cause or provocation.

a) Unsolicited testimony from "Standard User" jonathon_little pointedly identifies this anomaly:

"...since when is it a new thing that somebody denounces a score because it's from Media Ventures crew? I've been doing it for ages, and I'm not the only one"

b) Unsolicited testimony from Standard Userer "sean" acknowledges said breach in conduct:

"Oh, you renegade SPQR! Playing The Hours after I slam it for being boring, and you too, by the way... sorry."

2) To the reader who might be inclined to surmise: "Sheesh, Standard Userer SPQR sure has a thin skin", I would respond thusly: it is not my identity/namesake I think to be jeopordized, or, for that matter, that the abuse I sight is particularly harming to my person, but that the conventions of free and open discourse are compromised and belittled by rhetorical devices which aim to devalue a Userer in the effort to devalue the Userer's contribution. This form of intimidation is deliberate and willfull, and should be openly and actively squelched.

3) But now, the fair-minded reader might conjecture that the tools I choose to combat this intimidation seem uncomfortably akin to their own, whereby, fair-minded reader, I would remind you of this: if fair-mindedness or objective disinterest were part-and-parcel of their moral calculus, would I be holding this discussion?

To wit:

"...because she hasn't had an original thought in about that long....but she's stuck in the past..."

or

"I wonder what it must be like to wonder through life handicapped by ones ego and spite?"

Further evidence that the simplest, and seemingly, popular solution to countervail, control and exclude dissenting voices, is to define the issue at hand, not based on an original claim of misrepresentation and mistreatment, but rather whether an attribute (or attributes) which can be said to define my person in respect to the advancement of my claim, are, or can be, open for subjective debate, and thereby nullify all complaints.

4) Perhaps the reader, demurely, might implore: "but, Standard Userer SPQR, couldn't you just use a little less opprobrium in your valiant cause? Maybe, be just a little...well...nicer? You know...maybe just even ignore the slights even though we all know that what they're doing is wrong". In which case most meek reader, I can only finish with this:

War is not nice.

Barbara Bush

p.s. Writing is not necessarily something to be ashamed of, but do it in private and wash your hands afterwards.

Robert Heinlein (Now he tells me)

p.p.s Out, dammed spot! Out, I say!

Lady MacBeth

I have been posting here for a few years now, and while I frequently disagree with many folks opinions of specific scores I do not deride those opinions. What does not sit well with me is how some people come to their conclusions or how they base their opinions.

Some might suggest that it is ignorant, naive, whatever, for suggesting that you give every score an opportunity before unleashing your vehemence. Oh well...I guess I'm just too positive for my own good.

Case in point, Howard Shore never came close to impressing me in the past, so I approached his involvement in LOTR with a small measure of skepticism. Being that he is the professional artist and I am not, I gave him the benefit of the doubt. The rest in history and he is now at the top of my list.

To simply respond that there is no way any member of the MV camp could possibly compose a worthwhile score is the truly ignorant comment. I would highlight Zimmer's Thin Red Line or Badelt's K19 as perfect examples.

There is a certain classification of film today that requires their style of scoring. Sorry to say, John Williams or Jerry Goldsmith simply do not fit every manner of movie.

The inevitable response is then...well all those movies are crap as well. Not surprising.

I have not heard the Sinbad score yet, and I am guessing the detractors in this thread have not either. How about we shelve the conversation until we have. Maybe then we can have an intelligent conversation with constructive arguments.

quote:

---

Originally posted by Marselus:
I haven´t seen the movie, but listening to the music it´s like I was watching it...

---

I would just point out, as a previous poster did, that arguing in absolutes is truly flawed. To say that you hate/love all MV scores is absurd unless you have heard every single one. This would include scores not released but heard only in films. I don’t think anyone can honestly make that claim, not even their biggest supporters.

Just to go on the record:

I am not a huge MV fan, but there are certain scores they have done that I like (Crimson Tide for one). There are also many that leave me cold. I will probably pass on Sinbad until I hear it.

I like Cutthroat Island as well. I do feel that Debney has lost his way lately. I don’t think that his latest works have nearly as much in terms of depth as Cutthroat Island or Hocus Pocus.