Thor Joachim Haga
Forumsvar Lagt Inn
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Innlegg
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I like unusual approaches, or perhaps challenges, to generic conventions. Same as I found the contemporary pop songs cute in KING ARTHUR, for example. LADYHAWKE managed to balance that line between conventional and unusual JUST right, in my opinion.
I did. Several times. It’s also my favourite videogame of all time. Amazing mood. Would have been cool if Spielberg made a film out of it, as he wrote the story.
Incidentally, Schifrin seems to be working on a new concert piece to celebrate a historical Argentinian event. That was a nice surprise, I thought he had completely retired, and the recent pics I’ve seen have been of a very frail, wheelchair-bound man.
Such a wonderful, playful synthwave score that I recommend. Somehow, it passed me by when it came out in 2015, but I was alerted to it recently.
Land, Bajakian and McConnell are legends. Especially Land. THE DIG is still the best videogame score ever written, as far as I’m concerned.
That’s a great box. I don’t have it, but I have some of the titles individually. In some cases, the only version I’d like to own of said score. Like THE SILVER CHALICE (although I also have the suite on the LEGENDS OF set) and YOUNG BESS.
I envy you Vienna/Williams, Jim, as I do everyone who went there. I had a relatively cheap “standing ticket”, but had to cancel for financial reasons. But Berlin in 2021 was great — love that beer pub we went to.
Obviously, I disagree with that. All of the important bits of the film are scored traditionally symphonically (with one of the most gorgeous love themes ever written), or with medieval tropes. The backbeat is only used for goofy action setpieces and transportation scenes, in which case it works wonderfully as a pace setter, and in line with the tone.
Goldsmith used to be pretty regular in my top 10, but he’s now edged slightly off. Still like him a lot, with 70-80 titles in my collection, but his is not a sound I gravitate towards anymore. He’s now located in what I call “Waiting Room No. 1”.
Always loved these ethno-orchestral/east-west hybrid scores, and Rosenthal delivers for this relatively unknown 1979 effort.
