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Originally posted by Alwin:
How's K-19: The Widowmaker compared to Crimson Tide?

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The Time Machine is only good if you hate Jerry Goldsmith. I think Goldsmith is the best composer of all time. Anyway, what I means is that Time Machine is just one big rip-off of Goldsmith's spectacular score for The Edge.

Egaylibrium is probably his best, though it's very much in the sound of Hans Zimmer. I think that scene is funny in the movie where American Psycho is trying to John Woo the fat bad guy and the fat bad guy is using his Egaylibrium skills to dodge mad amounts of bullets... eeeeerrrrrr

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Originally posted by Alwin:
How's K-19: The Widowmaker compared to Crimson Tide?

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Those two should also not be compared to The Hunt for Red October; which is the best nuclear-rogue-submarine film of all time. And it's a fantatsic Basil Poledouris score.

Sean-ikaze, Basic is one of the worst written scripts (along with Identity, Donnie Darko, and Kill Bill Vol. 2) in the past half-decade. Why John McTeirnan even touched it is beyond my realm of comprehension. Good to see you found a computer in the Land Down Under . . . unless you swam to Antartica after all.

Now, back on topic.

NP> Michael Giacchino's Lost Season 2 (****/*****)

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Originally posted by nuts_score:
Those two should also not be compared to The Hunt for Red October; which is the best nuclear-rogue-submarine film of all time.

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Nah. DAS BOOT is better.

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Originally posted by Thor:
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by nuts_score:
[b] Those two should also not be compared to The Hunt for Red October; which is the best nuclear-rogue-submarine film of all time. <HR size=1></BLOCKQUOTE>

Nah. DAS BOOT is better.

[/B]

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Did the Germans discover nuclear power?

That aside, I still find HUNT to be a more enjoyable film than DAS BOOT. The traumatic experience of seeing the Director's Cut of BOOT in a cinema - the claustrophobia, the despair - will live with me for a long time. I never need to see that film again. :S

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Originally posted by nuts_score:
Good to see you found a computer in the Land Down Under . . . unless you swam to Antartica after all.

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Originally posted by Alwin:
How's K-19: The Widowmaker compared to Crimson Tide?

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K19 is more lyrical. Badelt opts for less bombast, and more tune. There's a couple of themes wandering around in various permutations. They sound slavonic in concept. There's a melancholic side to the score and some woodwind writing that reminds me of the Russian classical school (Rimsky-Korsakov, Glazunov, Balakirev).
Badelt also wrote a fine Russian-sounding power anthem for chorus and orchestra.

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Originally posted by franz_conrad:
Is Sean in my country??!

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Unfortunately, he's in mine.

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Originally posted by Dinko:
And yes, sean, the structure of many cues on Pirates 1 does have an old pre-romantic era dance feel to it.

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I can sense it in Zimmer's theme for Jack Sparrow in PotC 2, but I'm not getting a feel for what you're saying about Badelt's music.

Does anyone own the sheet music for Pirates? I'm curious as to what time signature many of the cues are written in. I can't seem to put a foot on it; I'm going back and forth between 2/4ths and 3/4ths.

Black Pearl 3/4: http://www.musicnotes.com/sheetmusic/scorch.asp?ppn=SC0006820

Medallion Calls 3/4: http://www.musicnotes.com/sheetmusic/scorch.asp?ppn=SC0006819

To the Pirates Cave 4/4: http://www.musicnotes.com/sheetmusic/scorch.asp?ppn=SC0006822

Underwater March 4/4: http://www.musicnotes.com/sheetmusic/scorch.asp?ppn=SC0006821

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Originally posted by Dinko:
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by Alwin:
[b]How's K-19: The Widowmaker compared to Crimson Tide?<HR size=1></BLOCKQUOTE>

I'd say the K19 CD makes for a more satisfying listen over its length. Most of the cues offer something to listen to. I find Crimson Tide, as presented on CD, to have a great opening, and a good ending, but I typically skip everything in the middle.[/B]

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All kidding aside, for aesthetic value, Rabin is capable of better composition. Being taught piano before guitar may have brought Rabin an ample oppurtunity to devlelop melody before rythym. Unfortunately, it's very rare that Rabin brings this knowledge to the forefront of his film scores. It's common knowledge around these parts that Badelt has very little musical background (like many MV alums, Zimmer included). But, being around talented individuals like Harry Gregson-Williams and John Powell (two MV proteges with outstanding musical backgrounds) might have worn off on Badelt. Sure, after a while it becomes a photocopy of a photocopy (in Badelt's case, he's a Xerox of Hans Zimmer, one that found popularity after PotC), but some people still enjoy looking at faded images. I haven't bought or listened to a Rabin album in quite a few years, but I've heard he's improving and moving away from his phantom pains of being the guitarist for Yes; which is a good sign. I think it took a while for both Danny Elfman and Richard Gibbs to move away from being Oingo Boingo and moving towards being accomplished film composers. Another example is Clint Mansell, he can't drop the Pop Will Eat Itself crap and move on to do better things; and Requiem for a Dream doesn't count; I've said many times that if you give and sheet of music to the Kronos Quartet, they make it magic. Just listen to the cues not designed for the strings to hear what I'm referring to. When Badlet's is paired with his other MV (or Remote Control) brothers, the team seems to do well for themselves; it could be a good sign for Badelt's future, but right now he's stuck in my loser pit of film composers with Ramin Djawadi (coincidence?), Clint Mansell, and, of course, Trevor Rabin.