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Originally posted by Widescreen:
The only one I was turned off by was Bird Gerhl, a song Antony and the Johnsons (I think that's the band)- couldn't stand the singer's voice.

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Oh my God. That's only like the most original voice we've had in pop music IN YEARS. I find myself completely mesmerized by his voice. And the songs have a very melancholic, lofty quality to them. But to each his own.

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Originally posted by Kris:
We did talk about "Soul of The Ultimate Nation" by Howard Shore.

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I can't talk about SUN yet, as it has not yet arrived in the mail; but I'm sure as that baby poops itself onto my doorstep, I'll bring that thread back to the top.

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Originally posted by Kris:
I'm not yet excited about the "V For Vendetta" score. I am really looking foward to the movie though. Is there any early word on the score?

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Yeah, there is. Here: http://www.soundtrack.net/soundtracks/database/?id=4257

On a bit of a side note, I've been a long time fan of Alan Moore and V was always one of my favorite of his books; not to mention Dave Lloyd's impressive, barren artwork. After From Hell was released, I became instantly attached to Trevor Jones' score because it fit the material on paper so well . . . unfortunately the film didn't deliver except for a few key moments. When The League of Gentleman was announced, I had really high hopes because the GN is so impressive, and Stephen Norrington as a director was promising; and then Trevor Jones was announced as compopser and I jumped for joy and started to pick his stuff up like crazy and mix and match it with a lot of Moore's work. Unfortunately, League remains one of the worst films ever and made Alan Moore an even-more cynical old coot of a bastard and has now caused him to virtually disown his properties as movies; and in ways I agree with him, League was THAT bad. But Jones' score was rip-roaring adventurous and awesome, again. When I re-read V, I coupled it with Jones' score for Dark City and those two went together like peas and carrots; it was a match made in Heaven in my ears and eyes. So, skip ahead a few years and V the movie is announced and I become skeptical because of what it is, but then the cast comes along and everyone is quite prestigious. The Wachowski's are writing, that's impressive no matter how terrible the Matrix sequels were; and their AD from those films, James McTiegue, is directing. So far, everything was looking promising . . . except for Joel Silver producing because he IS hit or miss. So basically, I've been equally psyched and bitter about this film for the past year; but the trailers have been promising and the reviews are really impressive and noteworthy so I'm first in line after work on Friday. As much as I wish Trevor Jones would have gotten scoring duties (it would keep it in the family, but there's always the future of Watchmen) but Dario Marianelli is an equally talented composer, albeit new "on-the-scene". So this score is a big deal to me, expect a lot of analysis in the next week; I'm gonna get nutz on it.

* You may noticed that I failed to mention Constantine and for various reasons: yes, Alan Moore can be credited with creating the character; but he has little involvement in how the character has evolved throughout the years, a trait I give solely to writer Jamie Delano. And secondly, I greatly enjoyed the film, and I am a devout Hellblazer fan and I can't see why a good majority of the fans can't see past the change of location (John is never solely in Liverpool for his entire life, he's always drifting), change of appearance (so what? he's still in a trench coat and smokes more cigarettes than Edward R. Murrow), and change of nationality (I faced this fact, no one could ever play the British John Constantine unless it was Sting right after Stormy Monday and Lynch's Dune or Sean Bean after Stormy Monday . . . no one!); and I personally thought Keanu Reeves played the character the way he is. Which is more than just a bastard and con man, but a conflicted bastard and con man.