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Originally posted by Dinko:
Sheesh... this is like buying tickets for a Pink Floyd concert and learning two days before the show that PF was replaced by Britney Aguilera.

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What's so bad about Philip Glass?

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Originally posted by ESB:
They have been replaced by Philip Glass:
http://www.james-newton-howard.com

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Let's credit the first source shall we: http://www.musicfromthemovies.com/article.asp?ID=243

:-)

mikael

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Originally posted by Dinko:
Sheesh... this is like buying tickets for a Pink Floyd concert and learning two days before the show that PF was replaced by Britney Aguilera.

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Originally posted by Hornerfan:
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by Dinko:
[b]Sheesh... this is like buying tickets for a Pink Floyd concert and learning two days before the show that PF was replaced by Britney Aguilera. <HR size=1></BLOCKQUOTE>

What's so bad about Philip Glass?

Mike[/B]

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He just bangs around on his synthizier just pushing the same note 5 times before moving up a few keys and hitting that note a few more times and then goes for another key.
No themes, no style, no **** !

You certainly haven`t heard Candyman, Itaipu, The Civil Wars, Akhnaten, The Hours etc. by the way you describe his music. Your description is barely applicable to his early experimental work, and that is a good 20 years out of date.It`s always useful to do a bit of research before making blanket assumptions like that.

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Originally posted by pietari:
Jeff, I assume you have heard very little of Glass` music or have just read what other bashers have said about him.

You certainly haven`t heard Candyman, Itaipu, The Civil Wars, Akhnaten, The Hours etc. by the way you describe his music. Your description is barely applicable to his early experimental work, and that is a good 20 years out of date.It`s always useful to do a bit of research before making blanket assumptions like that.

[Message edited by pietari on 02-11-2004]

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Originally posted by ESB:

What I remember of him is that his early film scores seemed a bit too atonal for my taste. But I must say that I haven't followed his work lately (didn't bother to). We'll see what he delivers for Secret Window. But I doubt it will be in the same league as what JNH has been writing these last years for thriller scores.

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This news about Secret Window is very dissapointing. Personally, I used to really like Philip Glass' work, but after he The Hours and Naqouyqatsi I've been disinterested in anything and everything he's done. For instance, The Fog of War sounds like everything else I've heard from him—Philip is no genius, as some would like to believe; he repeats himself so much with those strings that it's crazy, and becomes annoying to listen to (I saw him play last year here in Ottawa, Canada, and was impressed—alas, it was just him and a piano, so he couldn't pull any fast ones with those bloody strings!). Far and away, his best work was done for Kundun, and that's because he used more than just an orchestra—the instruments from Tibet worked wonders, as did the chanting monks, especially in "Escape to India". But, as far as him doing Secret Window, who cares, it's not going to be near the callibur of Hans Zimmer and James Newton Howard, and I'm delighted to say.

Totally unrelated, but I just read that Mel Gibson thinks his wife is going to hell because she's of a different faith than him, and that's what his preaches (apparently) and that he was so depressed he had to make The Passion of the Christ! HAHA! Too funny!

Geez! Now, I remember why we shouldn't give a damn about personalities: It's insane and a waste of time. OK, peace!

quote:

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Originally posted by pietari:
Jeff, I assume you have heard very little of Glass` music or have just read what other bashers have said about him.

You certainly haven`t heard Candyman, Itaipu, The Civil Wars, Akhnaten, The Hours etc. by the way you describe his music. Your description is barely applicable to his early experimental work, and that is a good 20 years out of date.It`s always useful to do a bit of research before making blanket assumptions like that.

[Message edited by pietari on 02-11-2004]

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I do have candyman. Boring music!

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He just bangs around on his synthizier just pushing the same note 5 times before moving up a few keys and hitting that note a few more times and then goes for another key.
No themes, no style, no ****

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*Sigh*
Jeez, Jeff. Firstly, Philip Glass uses two notes, not just one.

No themes? His music is kinda thematic. A little predictable, but still a bit thematic.

No style? Okay, I'm confused. I don't know if you mean no style in a fashionable sense, or not a recognisable style, because if its recognisable stlye then I disagree with you as Glass is recognisable. Too recognisable because he's been writing the same music for about thirty years. Actually, last I heard, he's patented the minor third. So, if any of you are thinking about using a minor third anywhere in a piece that you're writing, think again unless you want to get sued.

No ****? That's funny, because I'd say it was all (or mostly) ****.

(thats not meant to be a four star rating, either )

[Message edited by Richard on 02-11-2004]<HR size=1></BLOCKQUOTE>

Hey, what i've heard of his in teh past, was not thermatic, not any damn style to it and just overall boring.. I really don't care if he writes a oscar nominated score for Secret Window. I've seen other boring crap nominated.
You can thing I'm full of **** if you want. What I said was my own opinion. If you did not like my opinion, then oh well. Don't be a hypocrite and say I'm the one who is full or mostly full of **** just because I don't find anything worth while from his scores.

Jeff

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Originally posted by Jeff78:
<BLOCKQUOTE><font size=1 face=arial>quote:</font>Hey, what i've heard of his in teh past, was not thermatic, not any damn style to it and just overall boring.. I really don't care if he writes a oscar nominated score for Secret Window. I've seen other boring crap nominated.
You can thing I'm full of **** if you want. What I said was my own opinion. If you did not like my opinion, then oh well. Don't be a hypocrite and say I'm the one who is full or mostly full of **** just because I don't find anything worth while from his scores.

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No problem with you not liking him, but to say he has no style is pushing things, especially if we're comparing him with James Newton Howard! Indeed, the main problem I have with him is that he has such a powerful style that I've begun to get rather tired of it, since one score by Glass these days seems very much like ones that came before. I'm no fan of Candyman, but there are certainly some things he's written for film that make for outstanding albums, not least of which The Hours, but it was a lousy film score, plastered over the film like syrup.

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Originally posted by Southall:
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by Jeff78:
[b] <BLOCKQUOTE><font size=1 face=arial>quote:</font>Hey, what i've heard of his in teh past, was not thermatic, not any damn style to it and just overall boring.. I really don't care if he writes a oscar nominated score for Secret Window. I've seen other boring crap nominated.
You can thing I'm full of **** if you want. What I said was my own opinion. If you did not like my opinion, then oh well. Don't be a hypocrite and say I'm the one who is full or mostly full of **** just because I don't find anything worth while from his scores.

<HR size=1></BLOCKQUOTE>

No problem with you not liking him, but to say he has no style is pushing things, especially if we're comparing him with James Newton Howard! Indeed, the main problem I have with him is that he has such a powerful style that I've begun to get rather tired of it, since one score by Glass these days seems very much like ones that came before. I'm no fan of Candyman, but there are certainly some things he's written for film that make for outstanding albums, not least of which The Hours, but it was a lousy film score, plastered over the film like syrup.

Frankly though, one of the biggest problems with film music today is how predictable it all is, and Glass working on Secret Window is a genuinely surprising announcement, just as Debney working on The Passion was. I'm much more interested in hearing how Glass tackles a new kind of film (for him) than hearing Howard retread territory he has covered many times before. Dreamcatcher is probably the dullest and weakest score by a major composer of 2003, and I could live without Dreamcatcher Mk2.[/B]

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I thought my tone might have been more evident, but I guess I was unclear. Sorry. The whole ****! thing was a reference to Glass.

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Originally posted by Jeff78:
He just bangs around on his synthizier just pushing the same note 5 times before moving up a few keys and hitting that note a few more times and then goes for another key.
No themes, no style, no **** !

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That's about as accurate as saying all Bernard Herrmann ever did was repeat the same couple of chords ad nauseum in different sections of the orchestra.

Even ignoring how much more romantic and melodic Glass's music has gotten in the past ten years or so, he can do more with an arpeggio than most composers can do with a fully developed theme. His original style grew out of ideals of simplicity and moderation, and looking at his career since then is really rather fascinating. There's a philosophical notion that to have an original thought, to truly create your own style, you have to strip away every preconception you have and go for the most rudimentary idea you can think of, and then build up your other ideas from that foundation. (E.g., Rene Descartes going all the way back to "I think, therefore I am" and starting from there without any of the assumptions that had been accepted by that time.) This is essentially what Glass did with his music. He stripped it to its barest form and then let his music evolve from there. There were no major leaps, no big steps or works you can point to and say "This is where it all changed," but comparing The Hours or Naqoyqatsi to something like Music in Fifths or The North Star will show you just how much Glass has evolved since he first arrived on the scene.

James Newton Howard would have probably written a very good score for this film. Hopefully Glass will too. Despite the defense I just put forward, I do feel that on the whole Glass scores generally work much better on CD than they do in the film (the Qatsi scores are an exception). I feel the opposite with James Newton Howard, whose thriller scores (in my opinion) work much better in the film than on CD.

It'll be very interesting to hear, and I'm anxious to find out what this sounds like, especially since Glass usually only likes to work on a film if its edited to his music. At this stage I can't imagine that's going to be the case with Secret Window.

Now I'm just waiting for Glass to score a comedy.

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Originally posted by Richard:
No no no, I was mostly agreeing with you, Jeff.

I thought my tone might have been more evident, but I guess I was unclear. Sorry. The whole ****! thing was a reference to Glass.

[Message edited by Richard on 02-12-2004]

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I know Richard, I was just messing around hence the hehe

Jeff

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Originally posted by James:
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by Jeff78:
[b]He just bangs around on his synthizier just pushing the same note 5 times before moving up a few keys and hitting that note a few more times and then goes for another key.
No themes, no style, no **** !<HR size=1></BLOCKQUOTE>

That's about as accurate as saying all Bernard Herrmann ever did was repeat the same couple of chords ad nauseum in different sections of the orchestra.

Kirk[/B]

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I would not know because I do not listen to Bernard Herrmann scores. Now, of course I have heard some of his, like Pyscho and Vertigo.. but I do not care for them.
I tend to listen to the composers from my time.

Jeff

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Originally posted by Jeff78:
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by James:
[b] <BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by Jeff78:
[b]He just bangs around on his synthizier just pushing the same note 5 times before moving up a few keys and hitting that note a few more times and then goes for another key.
No themes, no style, no **** !<HR size=1></BLOCKQUOTE>

That's about as accurate as saying all Bernard Herrmann ever did was repeat the same couple of chords ad nauseum in different sections of the orchestra.

Kirk[/B]<HR size=1></blockquote>

I would not know because I do not listen to Bernard Herrmann scores. Now, of course I have heard some of his, like Pyscho and Vertigo.. but I do not care for them.
I tend to listen to the composers from my time.

Jeff

[/B]

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Your loss.

Oh...does the 78 in your screen name indicate the year you were born? If so, you must LOVE Giorgio Moroder and Harold Faltermeyer. ;-)

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Originally posted by ESB:
<BLOCKQUOTE>
It's kind of unfair and silly that everybody mentions Dreamcatcher (that wasn't *that* bad) when a lot of people know that Howard is reponsible for bringing the thriller score back to life (at least for me) with breathtaking scores like Signs, Unbreakable, The Sixth Sense en most of all Devil's Advocate. Thriller scores are inherently boring and cold but Howard pulled it off to make some very interesting scores. If there's anyone that can score excelllent thriller scores it's him. His strong point is adding a dramatic dimension to his scores and a building it up with a brilliant architecture while others would emphasize the drama much less and would score it more cold and technically from the book. But again we do not know yet what Glass will produce exactly. Although some do have a clue

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I don't think it's all that unfair or silly - it was his most recent score in the genre, after all. I like The Sixth Sense, though it works better in the film than on the album for me, and Unbreakable too; I didn't see why everyone went bananas over Signs though - didn't do anything for me at all. I agree with the other guy about JNH music working better in the film than on the album - there are exceptions of course, and he's put some good albums out, but all in all I think the emphasis is very much on the "film" in "film composer" where he's concerned - and that's what he is paid to do, so I have no problem with it - I just don't think it gives very good albums.

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Originally posted by Bond1965:
If so, you must LOVE Giorgio Moroder and Harold Faltermeyer. ;-)

James

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Why is it that everytime these two are mentioned in the same sentence it automatically reminds me of Donna Summer and not their film scores?

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Originally posted by Dinko:
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by Bond1965:
[b] If so, you must LOVE Giorgio Moroder and Harold Faltermeyer. ;-)

James<HR size=1></BLOCKQUOTE>

Why is it that everytime these two are mentioned in the same sentence it automatically reminds me of Donna Summer and not their film scores?

[/B]

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quote:

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Originally posted by Bond1965:
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by Jeff78:
[b] <BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by James:
[b] <BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by Jeff78:
[b]He just bangs around on his synthizier just pushing the same note 5 times before moving up a few keys and hitting that note a few more times and then goes for another key.
No themes, no style, no **** !<HR size=1></BLOCKQUOTE>

That's about as accurate as saying all Bernard Herrmann ever did was repeat the same couple of chords ad nauseum in different sections of the orchestra.

Kirk[/B]<HR size=1></blockquote>

I would not know because I do not listen to Bernard Herrmann scores. Now, of course I have heard some of his, like Pyscho and Vertigo.. but I do not care for them.
I tend to listen to the composers from my time.

Jeff

[/B]<HR size=1></BLOCKQUOTE>

Your loss.

Oh...does the 78 in your screen name indicate the year you were born? If so, you must LOVE Giorgio Moroder and Harold Faltermeyer. ;-)

James[/B]

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No Mr. Bond, I do not listen to them either. What I meant to say is I only tend to listen to composers from my time that has talent. Just big name composers such as John Ottman, Don Davis and Harry Manfredini among others.