Malte Müller
Forumsvar Lagt Inn
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Innlegg
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Yes, the sounds make sense in general. I just found it didn’t leave enough room for breathing. It was all just loud in the first movie.
Besides that I like both movies a lot (actually I do like Lynch’s version, too), although I didn’t buy the character development in the 2nd, too rushed.
I like Morricone’s as well but it is just more challanging as Goldsmith’s to me. I have a some special connection to Stockhausen’s KONTAKTE as I proof-read a doctoral thesis of a friend some years ago (for typos, not really the content ;-)).
Also I can even find noises interesting as overlaying noise e.g. from machines (put your ear on your fridge while it is working) can create dissantant rhythmic sounds.
It might be VAT taxes. If you do business with private persons on other countries you cannot use reverse charge applicable for businesses but sometimes have to register for VAT in that country. For EU countries there is a way to register in your local tax authorities but it is really bureaucratic overhead already. Might be more complicated in other countries. For that reason I as a freelancer I refuse to work for private persons outside Germany.
I feel similar. Morricone seems rather hard to listen to. Much more edgy that the others. Maybe partly because it seems more chamber music like and often maybe also rather improvised?
I am also no super fan but like quite a lot by him. I have no real order but EDWARD SCISSORHANDS, NIGHTMARE BEFORE CHRISTMANS (also love the movie), MIDNIGHT RUN and BEETLEJUICE are on the list. And a bunch of his TV themes like SIMPSONS, THE FLASH and TALES FROM THE CRYPT maybe. Probably also BATMAN as I think that was the score I got aware of him.
His newer output in scores often leaves me rather cold. But the concert I know so far works are indeed great.
I indeed have less than I wanted ;): The same Star Wars and Indy Boxes and the Charles Gerhardt Box a few years ago. Not sure if those count as boxes already but I have a 3CD Laurie Johnson with THE PROFESSIONALS (jewel cases but in a paperbox) and a the pre-FSM box BEN-HUR 2CD Edition (same format as teh SW and Delerue, how that is called escapes me right now…).
Part 2 was a bit better or better spotted. But in part 1 I often wished the music wouldn’t overpower everything for example in rather calm desert scenes.
Sadly not unexpected. Somehow glad that I decided not tried to “invest” in tickets (It was hard to get through anyway, a friend of mine tried and failed)
I do like Zimmer often but I am not a fan of him like I am of Goldsmith or Williams. He’s good suited for best of playlists. For example I don’t rank GLADIATOR that high althought there are some nice tracks. And I tend to like his earlier stuff more than the newer ones.
Having said that, he does sometimes surprise me. I might be the only person in the world to say this, but my favourite Zimmer score is the small drama comedy SPANGLISH, which is so beautiful and lyrical. Highly recommended.
Do you know his Irish-celtic influenced score to EVERLASTING PIECE? I found that surprising as well.
Over here that was one of the Christmas mini series. Great fun score. Yes, there was a release: https://www.discogs.com/release/3211107-Christian-Bruhn-Jack-Holborn-Die-Musik-Von-Christian-Bruhn-Aus-Der-Gleichnamigen-Fernsehserie
I thought it was still available digitally but seems not so. But you find parts on Youtube.
Yeah, the droney stuff is not that interesting but I guess you can say it works in its film. Well, minimum requiremennt for a film score 😉
Ah, I heard of Medimops but never used it. Guess I should try that, too. Our public library here has a bargain store as well were you can buy things they don’t want to add to their archive or sorted out. Often not the best condition and lacking booklets (they put all CDs in plastic envelopes) but can still be used/ripped.
