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Film music?
And is film music a minor art? ( anyway it is considered so, and mostly " inspired "from classical music )
My wiew? Mostly the romantic period from Waxman to Rōzsa, and yes I take it mostly as a " minor " art. Mostly.
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One alltime favorite is the Miles Davis score from Siesta. I also enjoy most of the work of Danny Elfman. He is pretty creative and can always present something new, incredibly supportive and interesting to a film.
Sleepy Hollow very Baroque was good as Big Fish was.
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Hermann is unsurpassed, a true master-the SACD of Hermann's film music with Salonen and the L.A. Philharmonic is superb, BTW.Several have mentioned Franz Waxmen, I concur-my favorite is his wonderful score for James Whale's Bride of Frankenstein.
Thomas Newman has written some memorable film music-I'm reminded of how well his music supports the scene in Shawshank Redemption where Andy DuFresne emerges from the sewer pipe in the rain.
I've always loved Randy Newman's film music-some of my favorites are the scores for The Natural, Ragtime, Avalon and both Toy Story
films.
Simon Garfunkel tune......
Elsa Lanchester was wonderful in! As In " Witnesss for Prosecution."
Andy? I just look at it for the x time, still improving. I love this one.
And Avalon.
May you have a good and happy New Year,
Patrick
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"WHO!?" I hear you sayWell, he has done more original Soundtracks in the last few years than just about anyone and they are all good, got his start with "Blood Simple" and has scored most Coen Brothers films since
Grins
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Ok I saw some of the films where he did do the music. But the best I can remember was the wonderful old song from "The Daughter General ". I bought the disc. As I plan to see " The Man..." again I will take care of the music particulary...
Thank you for the link!
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a little off topic, but Scorsese seems to have the knack in placing songs in his films in a way that just gets you so excited to hear the music. Not just picking good songs, but melding them into the scene just so.Remember Robert De Niro's head hitting the pillow to "Be My Baby" in Mean Streets?
Remember the songs at the end of Goodfellas when Ray Liotta starts getting high and paranoid? Then the end of "Layla" kicks in?
I love directors who love music and can dig up just the right (sometimes long-forgotten) song -- Woody Allen and Cameron Crowe come to mind too.
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Today, with all the hard competition in the music business, it's almost impossible to come up with anything totally original. So we haven't. However, this disc was made with the accent on heavy music.
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Woody Allen mixes of Jazz and Classical I particulary love ( Hanna...)
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for The Lord of The Rings, The Two Towers and The Return of The King ...a TRUE masterpiece!Also, Bernard Herrmann, Elmer Bernstein, Erich Korngold, Danny Elfman, Dmitri Tiomkin, Jerry Goldsmith and John Williams.
AuPh
I wonder... After reflexion I would say it can.
LOTR had a musical score?
Oh yes you are right!
Still loves me?
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;^)
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nt
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At least I'd still have one good ear and 20/20 vision in your presumptive scenario. So, what's your excuse? Don't bother answering, it's a rhetorical question; besides, the Film Asylum doesn't provide Braille translation! ;^)
And a disgusting noise at that. A continuous crescendo with no variations.About the worst I have ever heard.
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nt
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If you want to talk nuisance, THAT'S the place to start, Mr. patrick-pot-calling-the-kettle-black! ;^)
Wholeheartedly agree !Shore has no place being mentioned with these true masters of cinema scoring; Bernard Herrmann, Elmer Bernstein, Erich Korngold, Danny Elfman, Dmitri Tiomkin, Jerry Goldsmith and John Williams
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;^)
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(nt)
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Mon Dieu how low can we go ?
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;^)
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I like David Shires' score for "The Conversation" and Clint Mansell's Score for "π"
Did start fulminantly but ended nowhere...I remember vaguely that the score was refreshing of something new, if I may say so...
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Patrick - I'll have to go back and watch that film and listen to the
score, vaguely recall something frenetic? As for ending, believe it
was subtle vis-a-vis 'big bang', possibly something along lines of
Henri Poincare's notion stressing interrelationships between numbers,
instead of numbers per se? ~AH
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Yes the same for me, something frenetic but also captivating. As for the end I lost interessed at about half of the film, so I may have misse the point you are mentioning, I should get it another go...Maybe I will do, but the list of films I want is SOOOO long, and time...Time....Actually I prefer reading at the moment, somehow it is so cosy...
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...has any other single movie unleashed a whole musical movement?clark
and I forgot it completely!
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Worst I can not think of one! But I have the feeling than it must have been more than one.
Saturday Night Fever? Disco???
Well let us know....
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The Harder They Come! It gave us reggae music.We had disco well before that movie you mentioned.
of New Age Electronic applied to film. I usually enjoy the contemparary sounds of this genere music over the much ballyhooed "classical" approach of full orchestra.
Tangerim Dream...I remember in the 80īs. It was cool then, is it still today? I will recheck.
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nope
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Grins
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For my ears. Miles improvised it as you may know while watching the film. Outstanding.
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Part of this was originally released in 1958 on one side of the album "Jazz Track". The complete recording was released a few years ago.Miles' music also appears in "Siesta", "Dingo", and "Finding Forrester" and of course there's that rap on Miles (with a tune from "Bitches Brew" in the background) in last summer's "Collateral".
Much Miles can be found on the DVD of the documentary, "The Miles Davis Story"
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I have of course, the music* for " Ascenseur pour LīEchafaud ", I think every French has it!
And nobody will ever forget the Russian Jeanne Moreau! Nor in her role " Jules & Jim.
Thank you for your details and precisions.
in Glorious MONO
There has been a recent re-release as a "complete sessions" LP boxed set where the "reverb" that was added to the original mastering has been removed
Not really that great a film; but then Siesta and Dingo were truly awfulGrins
but "Dingo" has some great music.
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--but "Dingo" has some great music.They credit Chuck Findley for half the tpt parts. I think it was more than that.
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What a beautfiul theme. For a POS movie.
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Yes, absolutely.
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Patrick,Lawrence of Arabia...Great Escape...Ten Commandments...
The first time I really felt I had the HT dialed in to the exact sound that I wanted, I played the Superbit version of Lawrence and it was magical.
I think film music is not as minor art but a very sophisticated and challenging one.
Would films such as West Side Story, Gone with the Wind, LOA even come close without such wonderful music? I think not.
Imagine Jaws without the music?
Tosh
"I think this place is restricted Wang, so don't tell them you're Jewish"
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Laurence IS magical. Body and soul meet at the point of no return on the dunes. Perfect moment.
I think it is a minor art because it needs moving motion to live on.
Of course there are many exceptions. Jaws? Beethoven has been robed. That is my point.
WSStory...Well that was Leonard....
with the most catchy theme song; Year of Living Dangerously?
When you buy the soundtrack, the theme song IS NOT ON IT. Great theme, buy the soundtrack, NOT THERE! Varese Sarabend is the rip-off label.
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and the unheard score from 1984.
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I check his work on IMDb, he had such a great range! Incroyable. Yes he belong to the very best. And did work with the best.
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~AH
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Hey Audiohead, if you haven't seen it yet check out The Outer Limits soundtrack on GNP/Crescendo... 3 complete suites of OL music plus intro/outro themes and control voice... liner notes by series writer/producer Joe Stefano and mastered by Bernie Gundren. (sp?). Superb quality cd with incredible music that is still ahead of its time.
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Yo, I'm familiar with that soundtrack, especially as I've seen
and listened to OL 1st season episodes many times over. As you
probably know, Harry Lubin took over music 2nd season. Of course,
those episodes are in mono. Still incredible though. Many Thanks,
~AH
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If you list the films that they did you will find many many masterpieces and important ones. Bernie's work in particular is instantly recognizable (well, maybe not "The Devil and Daniel Webster", which IMHO is atypical Herrmen).
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Steiner belong in my list, For Herrman I am more reserved, is repetetiveness is sometimes...nerving, but no doubt he belong in the list.
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I'm not exactly a film historian, but to me the first really remarkable soundtrack in history is Steiner's score for King Kong. It was years before Prokofiev, Copland, Berstein (Leonard), or Walton. Truly an amazing piece of work that was indispensible to the film as a whole.Hermann repeats himself from film to film, but they all do. There's never a doubt as to who wrote the music even after just a few bars of a Roza score, for example. If I'm not mistaken, Hermann lifted a section of his score from The Five Fingers whole and dropped it into Jason and the Argonauts for the skeleton fight at the end of the movie. Having said that, I think Hermann's score for Psycho has got to be one of the three or four leading prime candidates for the film score as art that you'll ever hear.
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Me also ( not a film historian ) I will never mixe pleasure with work he-he...
I meant more, in the case of Hermann, the repetitiveness in the same film itself, effective but quite enerving sometimes.
But my quest as for " is film music enoughof a music to stand on his own as such " still not really being answered.
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