Extract 1 sounds like Chicken Run.
Extract 2 sounds almost exactly like The Postman.

But we'll see!

quote:

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Originally posted by JoeInSanDiego:
I agree...anyone who thinks Cutthroat Island is the bottom of the barrel has no clue as to what good old fashioned rousing film music can do!!!

Joe

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Joe"

I'd refer back to jonathan little's post as to what is actually GOOD old fashioned film music.

As for the HOURS...well, as far as Philip Glass goes, it's actually quite good.

He's done better for like Mishima or Kundun, and even Hamburger Hill, but I still think he's very pompus about his music, how he talks about their meaning etc. etc. ... he ain't foolin' me.

I'll buy Sinbad. I have to admit, it sounds like a motherload of other scores, so it's not very original. But what the hell? Harry Gregson-Williams sounds like Hans Zimmer most of the time, but never peeps about it. In fact, he said that Jerry Goldsmith hadn't done a good score since Basic Instinct, which is total nonsense, oh, and also, that he doesn't really listen to soundtracks.

Don't like it? Find another corner of the web to circle jerk in.

And I do own The Hours.

Saying Cutthroat Island is the "bottom of the barrel" and not "good old fashioned rousing film music" is ridiculous. The part that gives that argument no legitimacy is the "old fashioned" comment. Music does change and "old fashioned" is what it is, "old fashioned"; there's not a damn thing new about it. Say you wanted that "old fashioned" sound; so, you add in The Sea Hawk instead of John Debney, or The Advnetures of Robin Hood; the film was already retarted, and you can bet the audience would recognize this "old fashioned" sound in a modern day monkey actioneer.

And I do own The Hours. (Oh, you renegade SPQR! Playing The Hours after I slam it for being boring, and you too, by the way... sorry) HAHA!

Saying Cutthroat Island is the "bottom of the barrel" and not "good old fashioned rousing film music" is ridiculous. The part that gives that argument no legitimacy is the "old fashioned" comment. Music does change and "old fashioned" is what it is, "old fashioned"; there's not a damn thing new about it. Say you wanted that "old fashioned" sound; so, you add in The Sea Hawk instead of John Debney, or The Advnetures of Robin Hood; the film was already retarted, and you can bet the audience would recognize this "old fashioned" sound in a modern day monkey actioneer.

But then, it's not as fun with permission, is it? All's fair in war and art, though. I'm sure in your heart of hearts, you sleep comfortable with your tastes, wheverever you believe them to be in relation to anyone else.

In the longish history of seafaring movies and their scores, Debney's artless, wall-to-wall bombast pales in comparison to his predecessors. Emphasis on artless. Cutthroat Island is more of the same. Just LOUDER.

And, if that's your thing...well...be happy. For now. But, in 30 years when you slap this one on your virtual media player you're gonna say to yourself: "hmmph, folly of youth I guess. Where'd I put the Korngold?"

NP: Pirates - Philippe Sarde (uhm...actual music)

L:

You've always cracked me up. Hectoring one moment. Sermonizing the next. Hyporcrite.

... I never cared for Korngold's scores. I sort of mildly like that Previn CD, but I still don't care about exploring further. His music has always seemed 'old fashioned' and past its prime.
I would take Cutthroat Island any time over The Sea Hawk or Captain Blood.

Nothing is more amusing than a person who spits on someone's work simply because of who they are or who they are affiliated with.

Sad state of being.

quote:

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Originally posted by Dinko:
Now Steiner or (A.) Newman... those I like. But Korngold's film music sounds, well... old, and boring.

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See, I can't get into (most of) the music of Steiner or Newman. I guess Korngold's music does sound "old," since it was composed in the 1930s and 40s. I don't think his music sounds any older than, say, Gone with the Wind. I'm not sure where the "boring" thing comes from. Must be Previn's fault.

Quill, 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. The truth is, I already know what to expect from these guys and they deliver it consistently every time: it's crap.

But then again, some of you may feel that I might not know good music if it bite me in the ass.

IMHO

Regards,
Jonathan F. Little

The movie looks to be entertaining with pretty good animation, but I'll hold judgement until I get a chance to watch it.

quote:

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Originally posted by Lancelot:
Aw, go find yourself a copy of "The Hours" and step off.

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What's wrong with "The Hours?" Both the film and the score are maginficent. Glass' music works perfectly with the film. I just watched it again last night on DVD.

As for "Sinbad," I haven't heard it yet (except for those little excerpts) and while it sounds okay...it's nothing spectacular. I'll wait until I hear the whole thing to reserve final judgement, but it does sound a bit like left over Hans Zimmer to me.

Still, there are those who prefer venting off, in the sake of either clarifying your persepctive in your postion amongst those you percieve to be idiots, or just being plain bored and willing to start some sh-t....either seems to be eventually worthless, because you either tire of writing, or something better comes along.

Guess it comes down to what you feel the usefulness of this board is--whether to promote film music, to promote what music you feel others should prefer, or merely to laugh at those who don't prefer it.

quote:

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Originally posted by jonathan_little:
Must be Previn's fault.

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My real complaint with Zimmer isn't that he sounds like Zimmer. I LOVE it when HE writes music that sounds like himself as much as when he tries something new (i.e. "Hannibal" and "Thin Red Line") I think what has gotten most "fans" up in arms about Zimmer and the other composers out of Media Ventures is that there are so many cooks in the kitchen you can't tell who did what.

I was listening to "Regarding Henry" the other day and was thinking how much fun that CD is to listen to. (I'd LOVE to hear the score Delerue wrote for that film. I'm sure it's much too emotional for most people.) So I'm obviously not against Zimmer...just wish he'd take less assignments and do more "solo" work on important films.

And as for the other guys...it would be nice if they could develop their own unique voices rather than being asked to do a "Zimmer" copy...but you know how it goes in Hollywood. Everyone wants the temp track.

The thing about "The Hours," is that it is a unique score for a unique film. It's not really "program" music. It doesn't underline the film's moments the way a normal film score would. On the DVD, there is a 7 minute piece about the score and they state that they tempted the film with Philipp Glass' music and it worked. As is well noted, at least 2 other composers tried to score that film and were let go because what they wrote didn't suit what the filmmakers were after (a "Traditional" film score.)

"Sinbad" is going to obviously be in the "traditional" film score mode and I'm sure it will suit it's film just fine. I'm eagerly looking forward to seeing the film and hearing how Gregson-Williams does with the score.

Who are the other two composers who were let go from THE HOURS? Was this decision made by the director, or was it meddling from the Weinsteins? I had heard the director went a few rounds with Harvey Weinstein. I liked the film and the Philip Glass score; am planning to pick up the DVD and look forward to the featurette on the score.

quote:

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Originally posted by Bob Bowd:
James:

Who are the other two composers who were let go from THE HOURS? Was this decision made by the director, or was it meddling from the Weinsteins? I had heard the director went a few rounds with Harvey Weinstein. I liked the film and the Philip Glass score; am planning to pick up the DVD and look forward to the featurette on the score.

Bob

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Both Stephen Warbeck (who did director Daltry's "Billy Elliot") and Michael Nyman worked on scores for "The Hours." I believe there was an L.A. Times article on Glass and his score back around the time the film was released that mentioned this. You may be able to access it online still (and it might require you register w/ the site.)

Also, somewhere I read an interview with Nyman who mentioned his involvement with the film. He was quite annoyed that his work was not used. I'm not sure if he got to the recording stage on the project.

It's obvious that after using Glass in the temp score that they wanted something in that mold and went to Nyman to get it. I think Glass was probably unavailable at first and then was able to score the film so they went directly to the source for the score.

The film went through a long process where there were several reshoots and had a long post-production process. This is a case where it probably benefited the film in the long run. The ending sequence was totally reshot (an older actress played Laura Brown) and the Jeff Daniels part was originally shot with a different actor (Zeljko Ivanek). The director's commentary on the DVD also mentions a couple of other brief scenes that were reshot (one in particular involved Claire Danes & Meryl Streep on the bed talking.)

Anyway...hope that helped you. Now back to discussion on "Sinbad" & Harry Gregson-Williams.

quote:

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Hey Lance...I am sure HG-W did a fine job on "Sinbad." I guess I just feel it's probably wrong to drag a score like "The Hours" into this discussion because it's not even in the same realm as "Sinbad."

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You mean...film music(?)
I'm certain I know what you imply, and yet, the distinction isn't made on the shelves of music stores. In as much as a composer wrote music to accompany a film--they're both in the same "realm".

quote:

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The thing about "The Hours," is that it is a unique score for a unique film. It's not really "program" music.

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Let's all take a stroll back to the beginnings of this thread shall we and see where things went astray.

Lancelot: Aw, go find yourself a copy of "The Hours" and step off.

JoeinSanDiego: anyone who thinks Cutthroat Island is the bottom of the barrel has no clue as to what good old fashioned rousing film music can do!!

workaluk: i must say that anyone who says this score is "the bottom of the bucket",must have a very strange humor

sean: Unless you're boring SPQR. Are you boring, SPQR?

Because of this: (and note that my comment is the third to pan the clips)

"And I thought Cutthroat Island was the bottom of the bucket. I guess it's deeper than I thought."

Where is the reference to "idiots"?

Where am I laughing at others.

Is this a comment directed at anyone specifically? No.

Am I making the impersonal, personal? No.

Am I slandering anyone? No.

But L doesn't respond to the comment. No, he responds to what he believes is the implication of the comment (as is his historical weakness), and, in turn, makes the impersonal, personal. And then the chorus chimes in following L's lead and makes it more personal. And this is even before I opted to make sport of it all, because, if anyone with a long memory knows, L just can't help but pretend play, ak, Lancelot, the fabled hypocrite of lore. What's surprising (well, maybe not), a number of you don't even perceive the difference, recognize this pattern of behaviour, or even seem to care. Witness Quill's Pat Robertson imitation.

The funniest thing though, I own a copy of Cutthroat Island. I even play it on an occassional blue moon. It helps to remind me of what I think bad film music sounds like.

Epilogue:

L, you were hyporcite 2 years ago when we last crossed each others path, and you're still a hypocrite.
But, this was sorta amusing...another round...let's say June 24 2005?

Thanks for the information regarding THE HOURS.

In relation to Harry Gregson Williams, I am sure he will adequately provide ethnic colour and rousing adventure motifs for SINBAD [although I prefer my Sinbad scored by either Rozsa or Herrmann]. I liked some of his Asian colour [and the boy soloist] in SPY GAME, although I found the score a little incoherent. Also, I have always felt the big orchestral feel in some of the cues in MUPPET TREASURE ISLAND was more attributable to Gregson-Williams than Zimmer. At least they don't sound like the Zimmer I was used to hearing during that period in his career. I noticed the great Conrad Pope [and a small army of others] worked on the orchestrations, so some of the deftness in the orchestral pallette may be his work. I don't anticipate anything earth shattering in SINBAD, but I am sure it will be serviceable.

Thanks again.