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Posted: Tue Oct 21, 2008 4:25 am
by dreaMaker
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.
Yes, exactly... Shopgirl was a true surprise!
Beautifully bittersweet...
Posted: Tue Oct 21, 2008 4:24 am
by dreaMaker
Greg wrote:dreaMaker, it looks like your picture was taken while you were lying on the beach.
actually, i was lying on a boat 
But yes, it was a beautiful sumer day. 
Posted: Mon Oct 20, 2008 11:09 pm
by barrybrooks8
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.
Posted: Mon Oct 20, 2008 5:53 pm
by Greg
dreaMaker, it looks like your picture was taken while you were lying on the beach.
Posted: Mon Oct 20, 2008 4:50 pm
by Sabin
'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.
Posted: Mon Oct 20, 2008 3:38 pm
by dreaMaker
Big Magilla wrote:By the way I checked out your resume on the IMDB. Nice picture.
Oh, and thanks for the compliment
Posted: Mon Oct 20, 2008 3:34 pm
by dreaMaker
OscarGuy 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.
Exactly what i thought
Posted: Mon Oct 20, 2008 3:33 pm
by dreaMaker
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.
you know about it??
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.
Posted: Mon Oct 20, 2008 11:18 am
by OscarGuy
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.
Posted: Mon Oct 20, 2008 11:11 am
by rain Bard
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...
Posted: Mon Oct 20, 2008 10:45 am
by Big Magilla
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.
Posted: Mon Oct 20, 2008 10:03 am
by dreaMaker
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...