What are you listening to now?
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We have THE PAINTED VEIL in common. The others, for me, are GIRL WITH A PEARL EARRING, L’ENNEMI INTIME, LARGO WINCH, THE KING’S SPEECH, THE TREE OF LIFE, ARGO and THE MONUMENTS MEN.
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I thought this is just a thread of what we’re listening to at the moment, not separated by genre?Sigh…it was just a joke pointing back to the FSM situation some years ago when the now playing thread got flooded with classical and jazz, and very little other things.
Don’t worry, Jon, I didn’t really think it was a “serious” complaint, I was just wondering actually whether there are segregated threads here, though I tend to always post in the “general” ones anyway.
Unpopular opinion, but for me Desplat’s two Harry Potter scores are among his best works.
Apart from that I mostly put on one of his two live albums AIRLINES and PARIS – HOLLYWOOD when I am in the mood for his music.
Apart from that I mostly put on one of his two live albums AIRLINES and PARIS – HOLLYWOOD when I am in the mood for his music.
Ah, I wasn’t aware that the Paris-Hollywood concert on arte had a release. That’s a good best of indeed, his music seems to work better in themes and suites form I think.
As usual the video is not the same as official releases: The video has SHAPE OF WATER and SYRIANA that are not on the album and the album has GHOST WRITER (great main title) and BIRTH that are not in the video.
The album has SHAPE OF WATER and SYRIANA. It’s two discs.
Edit: Sorry, my bad. SYRIANA is there, but not SHAPE OF WATER. I mixed that up with Airlines.
Something I enjoy when the weather is right:
Sitting outside, drinking a good beer, listening to some music (on headphones in this case) and reading liner notes.
Today, it’s THE BOYS FROM BRAZIL by Jerry Goldsmith.Looks very nice indeed, Nicolai! The kind of thing I could do too, back when my hearing and health were okay.
I had completely forgotten about that Sting score for THE LIVING SEA. I saw it several places in the 90s, but never picked it up. That track is lovely, I want to hear more. I’ll try to find that.
Oh, adamski sounds familiar, had to look up though and apparently only knew that hit “Killer”. Which is the type of music I hated back then 🙂 This track sounds much more advanced.
Just yesterday was listening to these Henze scores DIE LIEBE DES SWANN (SWANN IN LOVE) / DIE VERLORENE EHRE DER KATHARINA BLUM (THE LOST HONOR OF KATHARINA BLUM):
https://www.discogs.com/de/release/3088766-Hans-Werner-Henze-Un-Amour-De-Swann-Bande-Originale-Du-Film
Pretty modernistic stuff.Final Analysis – George Fenton
I am not super familiar with Fenton’s other work. But this is great. Right up my alley!
Yes, that’s a fine one. Fenton has many erotic/sensual/romantic films on his resume, and there are others I put ahead of that – like WHITE PALACE, first and foremost, but also CHINA MOON or DANGEROUS BEAUTY, for example. But yes — FINAL ANALYSIS has a lot of stuff going for it.
Oh, adamski sounds familiar, had to look up though and apparently only knew that hit “Killer”. Which is the type of music I hated back then 🙂 This track sounds much more advanced.
Yes not bad for a 24-year old in 1992 😎
Williams’ last score before his career went stratospheric with STAR WARS (opening only one month earlier). While there are some hints in the orchestration of what was to come, this is more related to the tenser sections of his disaster movie scores (of which it is a part, arguably) than the coming blockbusters. Mood, suspense, and tension is the name of the game here, and what there is of melody is limited to a few shorter motifs rather than any real themes. But there is great rhythmic drive in many of the cues, so it’s never dull.
This is one of my all time favorite John Williams scores. Yes, I love STAR WARS music, JAWS, etc., I’m not against the greats and classics and mainstream, but PRESUMED INNOCENT really ranks high for me in Williams’ output. Push it and I’d take it over E.T. or HOME ALONE or a number of more universally revered film scores.
On PRESUMED INNOCENT there are about three great tracks that more or less sum up the whole score quite well.
I like BLACK SUNDAY as well, but rather listen just to the last third of the score as it has all the highlights.
On PRESUMED INNOCENT there are about three great tracks that more or less sum up the whole score quite well.
It’s a rather “mono” thematic score so all centers on the main theme to me anyway.
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