PASSIONADA
Music Composed by Harry Gregson-Williams

FREDDY VS. JASON
Music Composed by Graeme Revell

GIGLI
Music Composed by John Powell

JEEPERS CREEPERS 2
Music Composed by Bennett Salvay

See for yourselves... http://www.varesesarabande.com/upcoming.asp

Cheers,

STEVE

Given the subject matter, this could prove interesting. As long as HGW's buddies stay out of it.

Hell yeah!

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Originally posted by Crono/Kyp:
That's sick Jeff.

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????????

Was there really any doubt that Varese, Masters of Horror, would put this one out?

Sure it's a pretty dry summer so far from Varese, but that's fine. It lets me play catch-up, ever so slightly...

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The prolific composer John Powell delivers a contemporary, lovely, bittersweet score that beautifully supports the troubled romance.

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*cough* *hurl* *hurl* *gag* *dry-heave*

John Powell is... prolific?

Goldsmith: Prolific.
Williams: Prolific.
John Powell: Not prolific.

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Originally posted by jonathan_little:

John Powell is... prolific?

Goldsmith: [b]Prolific.
Williams: Prolific.
John Powell: Not prolific.

[/B]

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Originally posted by justin boggan:
Ah! Attack of the MV drones.

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AHHHHHH! Attack of the Bashers...

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Originally posted by justin boggan:
Ah! Attack of the MV drones.

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Well, don't &^%£$* buy them then!

Of the four announced titles, two are by people with MV associations. While I'm not sure about HGW's solo work (I don't have a lot), I do like a lot of Powell's (I've always liked FACE-OFF).

And why shouldn't John Powell score a romantic comedy? (He's already done one - TWO WEEKS NOTICE - which I never bothered to see.) I'd like to see him try other genres than action flicks and blockbusters. There was once a time when Jerry Goldsmith was only known for his work in a few genres (TV horror and westerns, if memory serves), but aren't you glad he got the chance to shine in so many other fields?

I'm not that keen on Revell, really. But then, it isn't really a Jason movie without Harry Manfredini.

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Originally posted by Richard Street:
And why shouldn't John Powell score a romantic comedy?

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Rather easy answer actually: because no one should ever score romantic comedies.

Romantic comedies are the absolute wasteland of film composers. They all sound exactly the same, and are 100% interchangeable. George Fenton's Summer Catch score could perfectly replace James Newton Howard's My Best Friend's Wedding which could easily fit into My Big Fat Greek Wedding which could most likely (99.9% probability) be the score for Gigli, and other than film score crazies like ourselves, no one would ever notice any difference.

You can probably sell the score for Fenton's You've Got Mail to someone looking for As Good as it Gets, and they probably will never notice that what they bought was different from what they wanted.

Other than film score connoisseurs like us (I object to being included as a crazy), no-one would be able to tell the difference between a whole bunch of scores across every genre. I'm sure you could slap Horner's STAR TREK scores over something like WING COMMANDER and few would be aware of it. I'm sure you could plaster Marco Beltrami's music for SCREAM over the latest HALLOWEEN instalment and no-one else would care ... (hang on a minute...) .

If we're going to use library music for romcoms, why not action movies? Horror? Historical epics, when they could just dig out the CLEOPATRA CDs?

And to suggest there's not much difference between Powell's romantic comedy scores and Fenton's or Howard's is like saying that AIR FORCE ONE and FACE/OFF sound similar, because they come from films of a similar genre. Or THE ROBE, SPARTACUS and SOLOMON AND SHEBA. (Oh, how I love arguing from extremes...)

I don't much like romantic comedies as films, basically because it's very unlikely there'll be anything particularly innovative or surprising in them. (Also I tend to go to cinemas on my own, and romcoms are primarily date movies.) I've picked up a few scores from them though: YOU'VE GOT MAIL is quite nice, nothing special, but nice to have. So is Edelman's WHILE YOU WERE SLEEPING: not a film I ever want to see, but the CD is fine. More importantly, they don't sound even slightly similar. Neither of them sound like Zimmer's NINE MONTHS.

To suggest also that composers can display originality and orchestrational innovation except in the romcom genre is perhaps even more absurd. Though many of these movies boast song-based soundtracks (MAID IN MANHATTAN, anything by Nora bloody Ephron), the composer's opportunities may be limited somewhat, but I still don't buy the idea that all their abilities just vanish due to the genre they're working on.

So, hogwash.

One other thing. I forgot that Powell has already had a stab at comedy - RAT RACE - and done a damn good job. In fact that's probably my favourite Powell score to date. Why this and the romcom experience he's acquired so far should stop him doing another one, I don't know.

NP: ESCAPE FROM NEW YORK (John Carpenter, as it happens, but of course it could have been anybody. I mean, really, who's to know? And who cares anyway, but us Crazies?)

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Originally posted by HadrianD:
Goldsmith is NOT a prolific composer for this year and neither is John Williams. THINK ABOUT IT!

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I assumed that people would read between the lines and notice that I'm not talking about this year or last year. I know many people here (e.g. you) are caught up with the past 5 years of film music as if it's all that exists in the world. I'm talking about the past few decades where Williams and Goldsmith (and Morricone, Bernstein, and whoever else) have composed dozens of scores. Powell has composed, what? Thirty whopping scores over the past couple of decades? OK, he's a new composer. So that means twenty or thirty years down the road and if Powell has unfortunately been given the right to infect a hundred movies with his scores, then you can call him prolific. Until then, it seems to me that he's a newbie in the big scheme of things.

And for you to assume of any MV lover as being ignorant of other musice is to say that you're as ignorant as you say I am. I'll say this, that most people who like Hans Zimmer and his friends (since the beginning) has a wide range of musical preference. I bet you wouldn't even cared when I say that my musical background exten back to 2nd grade when I first chosen the violin to play? And I know what's the different between a Bach double concerto and a Mozart violin concerto. And just because you enjoy orchestral composers doesn't make you better. So PLEASE! get off your high horse and learn something about not making assumptions about people (e.g. Me) whom you know nothing about.

With pleasure!

Bashing? Don't buy them?

Score after score of MV guys while scores that we want don't see the light of day. I didn't bash. It's just MV by a land slide in that freakin' list.

John Powell could be someone good, he just needs more ... practice.

Klaus Badelt - If I remember correctly and I don't believe I am, he did Ned Kelly. And from the clips I heard it was a good score. But K-19 just wasn't up my alley. What he needs to do is get out of that expansive rent ridden MV complex and go his own way. With K-19 on belt, he can get work. Brian Tyler shot up with COTD and Timeline, showing with just a little recognition you can get stuff if you are good and I have a fealing Badelt will be good one day. Just drop the MV place and the curse word lashing Zimmer and take a path with out heavt electronics.

I have never heard anything by Zimmer that I liked. With maybe the exception of "The Lion King", but it's been about 7 years since I have seen that. It's right there if I want to in my cousin's daughter's movie collection, I just don't feel like hearing Elton John. Who coincidently is also better than Zimmer and I listen to film & tv score 99.9% of the time. ;-)

I'm glad you've seen the light of other film music besides MV clones. I'm glad your musical background goes back to the 2nd grade and that you chose to play violin at that age. I'm glad you can identify the difference between a Bach double concerto and a Mozart violin concerto.

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Originally posted by justin boggan:
Score after score of MV guys while scores that we want don't see the light of day. I didn't bash. It's just MV by a land slide in that freakin' list.

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Score after score? There are two scores there, by people who've done enough outside MV to not be considered MV any more. That's not a landslide. If you count the upcoming SWAT (Elliot Goldenthal) which is supposedly upcoming from Varese, that's a two to three MINORITY...

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John Powell could be someone good, he just needs more ... practice.

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Which he's getting with GIGLI.

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Klaus Badelt - If I remember correctly and I don't believe I am, he did Ned Kelly. And from the clips I heard it was a good score.

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Has that been released yet? (I know it's not on Varese, and there's no sign of the film in the UK yet).

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I have never heard anything by Zimmer that I liked. With maybe the exception of "The Lion King", but it's been about 7 years since I have seen that.

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I don't think Zimmer's recent works have been that impressive; GLADIATOR in particular (apart from the battle sequence) and BLACK HAWK DOWN. But a lot of his earlier stuff is well worth hearing: DROP ZONE, REGARDING HENRY, BEYOND RANGOON, and THE HOUSE OF THE SPIRITS.

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It's right there if I want to in my cousin's daughter's movie collection, I just don't feel like hearing Elton John. Who coincidently is also better than Zimmer and I listen to film & tv score 99.9% of the time. ;-)

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I would not accept as a gift a 100% copper-bottomed All-Time-Classic Oscar-winning score by Jerry Goldsmith if it included a whole eight seconds of Elton John's tedious honking. He makes Trevor Rabin sound like Miklos Rosza.

It's entirely possible to have a valid, intelligent argument over the merits of Hans Zimmer vs. the merits of Miklos Rozsa without anyone resorting to "bashing" or being accused of acting superior (regardless of whether or not they are). There are some people, like myself, who think that most (not all) of the music produced at Media Ventures is disposable and generally inferior to that of the composers I do like. That does NOT mean I think people who like MV are inferior to me, or that I automatically assume they don't know what they're talking about.

I know there are plenty of intelligent people who feel that they have legitimate reasons Zimmer & Co. are just as valid as anything else in film music, and smart people should easily accept that and be more than willing to debate it....And I mean actually debate, not just take turns attacking. I don't understand people who don't understand that.

In any case, to the real topic at hand, I have high hopes for John Powell. Gigli is something I'm pretty sure I'll pass on, but Powell has a nice well of talent inside him nonetheless. What I find interesting about this flick is the way Sony's marketing it as a romantic comedy (which it is, in part) and seems to be barely mentioning that Affleck plays a hitman who kidnaps the mentally retarded son of a district attorney (the trailer shows you he's mixed up in something shady, but you're never really sure what). My understanding is that the "romantic" part of this comedy is actually just a subplot, though my understanding could be way off.

Passionada sounds like it could be interesting. The other two, well...at least film scores are being released at all. Who knows, both could be surprising.

Oh, and RICHARD, just so we're caught up... Powell has scored two romantic comedies. The other was Forces of Nature (which was fine). And if you want comedies in general, he's actually had plenty of that: The In-Laws, The Adventures of Pluto Nash, Evolution, Shrek, Just Visiting, Chicken Run, Antz...there might be more I'm forgetting. This is probably the best showcase for his talents, actually. The three he did with Harry are wonderful, and Evolution certainly had its moments.

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Originally posted by James:
Oh, and RICHARD, just so we're caught up... Powell has scored two romantic comedies. The other was Forces of Nature (which was fine). And if you want comedies in general, he's actually had plenty of that ..... and Evolution certainly had its moments.

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I forgot about FORCES OF NATURE; I never saw it and there wasn't a score CD. EVOLUTION is pretty good, but I was classing that among the blockbusters.

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Originally posted by Richard Street:
I forgot about FORCES OF NATURE; I never saw it and there wasn't a score CD. EVOLUTION is pretty good, but I was classing that among the blockbusters.

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That makes sense. You could probably say the same about Pluto Nash, even though the movie flopped.

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Originally posted by Matthew:
Varese is also releasing Elliot Goldenthal's score for the upcoming [b]S.W.A.T.. Unsure about the release date though. [/B]

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Originally posted by Wickenstein:
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by Matthew:
[b]Varese is also releasing Elliot Goldenthal's score for the upcoming [b]S.W.A.T.. Unsure about the release date though. [/B]<HR size=1></BLOCKQUOTE>

Sweet deal if it's true. I've been dying for some news on this release and lack of it was starting to worry me. Where did you hear varese had the rights to it?[/B]

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On their official website!

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Originally posted by Wickenstein:
Thanks for the info Thanks also to Varese, since no other label probably wanted to release this score.

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Or could at this point.

Music Composed by Elliot Goldenthal

SAMUEL L. JACKSON
COLIN FARRELL

Also featuring:

SAMUEL JACKSON
performed by Hot Action Cop

TIME IS RUNNING OUT
performed by Apollo Four Forty

plus an exciting remix of the classic original television S.W.A.T. Theme
performed by Danny Saber

In the explosive action-thriller S.W.A.T. starring Samuel L. Jackson and Colin Farrell, and inspired by the ’70s television series, Farrell is Jim Street, an L.A.P.D. officer desperate for another chance to wear the privileged S.W.A.T. uniform. He gets the chance when team commander Hondo (Jackson) is assigned to recruit and train five top-notch officers for a new Special Weapons and Tactics unit (S.W.A.T.).

After weeks of rigorous physical training, the new team is immediately thrown into action when a notorious drug lord, played by Oliver Martinez (Unfaithful), offers a $100 million reward to anyone who can free him from police custody. While accompanying the kingpin out of Los Angeles into the hands of the Feds, the S.W.A.T. team is pursued by a ruthless and well-armed band of mercenaries.

In his first score since winning an Academy Award for his music for Frida, Goldenthal creates a propulsive and highly aggressive score for this much anticipated action blockbuster.

Sony Pictures’ S.W.A.T. opens nationwide on August 8.

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Originally posted by Southall:
S.W.A.T.
Original Motion Picture Soundtrack

Music Composed by Elliot Goldenthal

SAMUEL L. JACKSON
COLIN FARRELL

Also featuring:

SAMUEL JACKSON
performed by Hot Action Cop

TIME IS RUNNING OUT
performed by Apollo Four Forty

plus an exciting remix of the classic original television S.W.A.T. Theme
performed by Danny Saber

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A song called SAMUEL JACKSON? WTF?????

Anyway...you forgot to add this:

LARA CROFT: TOMB RAIDER: THE CRADLE OF LIFE
Original Motion Picture Score

Music Composed and Conducted by Alan Silvestri

Academy Award-winner Angelina Jolie reprises her role as Lara Croft, one of the world’s most celebrated action heroines ever to hit the big screen. Facing her greatest challenges yet, the intrepid tomb raider
travels the world on a spectacular adventure that takes her to such exotic places as Hong Kong, Kenya,Tanzania, Greece and the Great Wall of China. Demonstrating her physical prowess and revealing her courage as never before, Lara proves that she will stop at nothing in her search for an infamous site known as “The Cradle of Life” … especially when it means she could save the world from the most unspeakable evil ever known.

With a brand new Tomb Raider video game just released and Angelina Jolie set to appear on the cover of almost all entertainment and fashion magazines, Tomb Raider: The Cradle of Life is set to be one of mid-summer’s biggest pictures.

The film’s enormous score for orchestra and choir was composed by Alan Silvestri and recorded at London’s famed Abbey Road Studios. Silvestri has become one of the icons of summer blockbuster film scoring and he has created a true epic here.

Paramount Pictures’ Lara Croft: Tomb Raider: The Cradle of Life opens nationwide on July 25.

Catalog #: 302 066 502 2
Release Date: 08/26/03

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Originally posted by Bond1965:
LARA CROFT: TOMB RAIDER: THE CRADLE OF LIFE
Original Motion Picture Score

Music Composed and Conducted by Alan Silvestri

Academy Award-winner Angelina Jolie reprises her role as Lara Croft, one of the world’s most celebrated action heroines ever to hit the big screen. Facing her greatest challenges yet, the intrepid tomb raider
travels the world on a spectacular adventure that takes her to such exotic places as Hong Kong, Kenya,Tanzania, Greece and the Great Wall of China. Demonstrating her physical prowess and revealing her courage as never before, Lara proves that she will stop at nothing in her search for an infamous site known as “The Cradle of Life” … especially when it means she could save the world from the most unspeakable evil ever known.

With a brand new Tomb Raider video game just released and Angelina Jolie set to appear on the cover of almost all entertainment and fashion magazines, Tomb Raider: The Cradle of Life is set to be one of mid-summer’s biggest pictures.

The film’s enormous score for orchestra and choir was composed by Alan Silvestri and recorded at London’s famed Abbey Road Studios. Silvestri has become one of the icons of summer blockbuster film scoring and he has created a true epic here.

Paramount Pictures’ Lara Croft: Tomb Raider: The Cradle of Life opens nationwide on July 25.

Catalog #: 302 066 502 2
Release Date: 08/26/03

James

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Looks like I was right. Good on me.