Soundtracks
- Thread starter Onhell
- Start date
Maiden Voyages
Invader
This is a great thread. Movie Soundtracks are a real passion. Ive seen Hans Zimmer live at Wembley Arena and he was awesome. Ive also seen Danny Elfman live at the Royal Albert Hall & he was great too. Also at the RAH Ive been performances of John Williams music & the late great James Horner + a showing of Aliens with a live orchestra. Yes... that was as awesome as it sounds (not advertised but Sigourney Weaver & James Cameron came on stage after the final credits).
You guys know your stuff. I would love to see Thomas Newman but have never seen any live performances. From Road to Perdition to Shawshank Redemption to American Beauty to Finding Nemo.
My top 5 composers would be:
John Williams
James Horner
Hans Zimmer
Thomas Newman
John Barry
You guys know your stuff. I would love to see Thomas Newman but have never seen any live performances. From Road to Perdition to Shawshank Redemption to American Beauty to Finding Nemo.
My top 5 composers would be:
John Williams
James Horner
Hans Zimmer
Thomas Newman
John Barry
Maiden Voyages
Invader
Interstellar is a masterpiece I thought
AncientMariner_Essex
Ancient Mariner
You can’t have a conversation like this and not mention John Carpenter 
Not only one of my favourite directors ever but he creates the soundtracks to pretty much all of his films bar the odd exception. Obviously Halloween is his most iconic but up until ghosts of mars (which I think is his only real turd) every film he made was magic and part of that was the soundtracks. The standouts to me would be Halloween, the thing, the fog, escape from New York and they live. Followed very closely by big trouble in little China and escape from LA. Really enjoyed Vampires too, both the film and soundtrack.
He’s released some albums of selected highlights from his soundtracks and has recently even toured playing them.
Not only one of my favourite directors ever but he creates the soundtracks to pretty much all of his films bar the odd exception. Obviously Halloween is his most iconic but up until ghosts of mars (which I think is his only real turd) every film he made was magic and part of that was the soundtracks. The standouts to me would be Halloween, the thing, the fog, escape from New York and they live. Followed very closely by big trouble in little China and escape from LA. Really enjoyed Vampires too, both the film and soundtrack.
He’s released some albums of selected highlights from his soundtracks and has recently even toured playing them.
JudasMyGuide
The resident reactionary recalcitrant
Also, I don't think this one has been mentioned:
I know the movie was somewhat controversial, for some because of the basic premise, for others because of the change of narrative structure (and, well, its genre) during the third act… But it always worked for me. I'm not generally a Danny Boyle fan, but I have seen this particular flick many times over and it almost always gets an emotional response from me. However, this is not the place/thread to talk about the various themes and qualities. I'm just dropping it here to mention the Murphy / Underworld score.
At times, it's downright trivial (the chord sequence in Adagio in D Minor has been used many times over, in soundtracks even - from Brad Fiedel's Terminator theme to Jesper Kyd's Hitman 2 (47 Makes a Decision)), you might accuse it of cheap sentiment (well, there's a lot of sentiment, I just don't find it cheap), but it supplements the film in the best possible way. Boyle actually managed to capture the sight of Sun itself in a way that's awe-inspiring, thrilling and slightly unnerving. You completely understand how some of the people on the crew (and on the previous crew) started (almost) worshipping it - you see it's wrong, but you can't help but wonder… Boyle totally manages to give this credibility. And as you watch the Icarus II crew get too close to our closest star, saving the mankind itself in the process, this plays:
If this is not epic, nothing is. Just as with Zimmer's Journey to the Line - it was overused in trailers for a reason. You don't keep stuff like this solely in the great movie that almost no-one goes to see.
It's all the more evident in the end - other movies might end with a great speech or gestures, here you mostly end with a single understated line by Murphy, the final shot, which is also as understated as possible, given the circumstances, and memories of this score. If you haven't seen this movie, go see it! Go see it on BluRay, on a large ass screen, with a good sound system. I mean it. Even if you hated the story or the characters or the themes, you'd still were in for a treat and the score really helps with that.
Yeah, I know some might say it's simplistic, electronic, sappy, whatever, but - and I don't say this lightly - combined with the visuals of the film the whole is a worthy rival to the Leone/Morricone duo. And I'm dead serious about it.
"Only dream I ever have … is it the surface of the Sun?"
I know the movie was somewhat controversial, for some because of the basic premise, for others because of the change of narrative structure (and, well, its genre) during the third act… But it always worked for me. I'm not generally a Danny Boyle fan, but I have seen this particular flick many times over and it almost always gets an emotional response from me. However, this is not the place/thread to talk about the various themes and qualities. I'm just dropping it here to mention the Murphy / Underworld score.
At times, it's downright trivial (the chord sequence in Adagio in D Minor has been used many times over, in soundtracks even - from Brad Fiedel's Terminator theme to Jesper Kyd's Hitman 2 (47 Makes a Decision)), you might accuse it of cheap sentiment (well, there's a lot of sentiment, I just don't find it cheap), but it supplements the film in the best possible way. Boyle actually managed to capture the sight of Sun itself in a way that's awe-inspiring, thrilling and slightly unnerving. You completely understand how some of the people on the crew (and on the previous crew) started (almost) worshipping it - you see it's wrong, but you can't help but wonder… Boyle totally manages to give this credibility. And as you watch the Icarus II crew get too close to our closest star, saving the mankind itself in the process, this plays:
If this is not epic, nothing is. Just as with Zimmer's Journey to the Line - it was overused in trailers for a reason. You don't keep stuff like this solely in the great movie that almost no-one goes to see.
It's all the more evident in the end - other movies might end with a great speech or gestures, here you mostly end with a single understated line by Murphy, the final shot, which is also as understated as possible, given the circumstances, and memories of this score. If you haven't seen this movie, go see it! Go see it on BluRay, on a large ass screen, with a good sound system. I mean it. Even if you hated the story or the characters or the themes, you'd still were in for a treat and the score really helps with that.
Yeah, I know some might say it's simplistic, electronic, sappy, whatever, but - and I don't say this lightly - combined with the visuals of the film the whole is a worthy rival to the Leone/Morricone duo. And I'm dead serious about it.
"Only dream I ever have … is it the surface of the Sun?"
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MrKnickerbocker
clap hands
The music of Twin Peaks is truly something incredible. It's beautiful, menacing, yet usually very simplistic. Haunting and creeping to the end.
Saapanael
Ancient Mariner
Yup, when I first heard it, some elements reminded me of Dream Theater's Eve (or vice versa, because DT did it later), perhaps the chord changes or general soundscape. Must be an early 90's thing.