Yes, exactly... Shopgirl was a true surprise!barrybrooks8 wrote:I've said it before, but the score to Shopgirl is both haunting and beautiful, and at the same time, extremely sad, and very out of place.
Beautifully bittersweet...
I never would have thought... - Things that you didn't expect...
But yes, it was a beautiful sumer day. -
barrybrooks8
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'Rushmore' knocked me me the fuck down when I heard the use of music in that film, both in soundtrack and Mark Mothersbaugh's original score.
Carter Burwell and Jon Brion music in 'Being John Malkovich' and 'Eternal Sunshine...' are among the saddest scores I've ever heard.
I was wholly unprepared for John Williams' score for 'Catch Me If You Can' but his work on 'A.I.' genuinely disarmed me. It finds just the right notes in an unruly production, creating a sense of broken glass and chimes.
Recently, I loved the score to 'Brick' quite a bit.
Carter Burwell and Jon Brion music in 'Being John Malkovich' and 'Eternal Sunshine...' are among the saddest scores I've ever heard.
I was wholly unprepared for John Williams' score for 'Catch Me If You Can' but his work on 'A.I.' genuinely disarmed me. It finds just the right notes in an unruly production, creating a sense of broken glass and chimes.
Recently, I loved the score to 'Brick' quite a bit.
"How's the despair?"
Exactly what i thoughtOscarGuy wrote:For me, John Williams' breakout score was Catch Me If You Can. While there are some Williams elements in the score, the opening theme was a complete departure for him stylistically and musically. No rampant horn usage is always a surprise when listening to Williams.
you know about it??Big Magilla wrote:Speaking of film scores, what exactly are you doing on The Reader?
By the way I checked out your resume on the IMDB. Nice picture.
Well, i m a music score consultant, i have composed the score concept and some parts of it are going to be used for the final score.
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OscarGuy
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For me, John Williams' breakout score was Catch Me If You Can. While there are some Williams elements in the score, the opening theme was a complete departure for him stylistically and musically. No rampant horn usage is always a surprise when listening to Williams.
Wesley Lovell
"Any society that would give up a little liberty to gain a little security will deserve neither and lose both." - Benjamin Franklin
"Any society that would give up a little liberty to gain a little security will deserve neither and lose both." - Benjamin Franklin
Usually-bombastic Danny Elfman's lovely romantic score to Black Beauty was a wonderful surprise (though I still have not seen the film). John Williams' score to A.I. was astonishingly modern for a guy whose career had, the occasional Images aside (which I had not heard at the time), been very old-school in its bent. Hans Zimmer's the Thin Red Line was far more affecting than anything I'd heard from him up to that point or after. If I think of more I'll post...
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Big Magilla
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What are the biggest surprises you have experienced by watching movies or listening the film music?
For example, i really didn't expect such colossal and magnificent score by Howard Shore for Lord of the Rings who surely was a good composer before that trilogy, but his scores were always out of interest, based only on dark chords..
Next, i also didn't expect a tremendous score from The Passion of the Christ by a comedy-composer John Debney...
I have to think about the rest...
For example, i really didn't expect such colossal and magnificent score by Howard Shore for Lord of the Rings who surely was a good composer before that trilogy, but his scores were always out of interest, based only on dark chords..
Next, i also didn't expect a tremendous score from The Passion of the Christ by a comedy-composer John Debney...
I have to think about the rest...