The Film Score Thread

Hilly wrote:

The Star Trek IV score now..

Don't you dare bash Lenny Rosenman.



If this d doesn't move you, you have no soul.

I'm not bashing the man. From what I recall on the old MI6 site and some Trek places his score is looked down upon. I've always liked Star Trek IV's score. After the 'darkness' of II and III, IV needed a score to match. The main theme has pazazz and is energetic, the Whaler tense to a point and the final track, Home Again, good indeed.

Makes one wonder if he had done Star Trek III as Nimoy wanted.

The score for De Palma's 80's murder mystery horror porno BODY DOUBLE is up on my YouTube channel: https://www.youtube.com/user/CosmicApe2#g/c/26DFABC54B83545D

Awesome.

My work is done.

Tux have ya seen POINT BLANK? Truly awesome score, and some fine direction from John Boorman.

Great review ehre:

Quote :

I thought it was about time for a soundtrack so here's another favourite of mine from a great film-Johnny Mandel's score for John Boorman's cold blooded hard boiled neo-noir thriller "Point Blank".
Lee Marvin is Walker and by whatever name he is a hard, essentially sociopathic "hero", and it's up to Johnny Mandel's score to bring what humanity there is in the tale to the fore.
In keeping with Boorman's brilliant visual style - Marvin is shot in pin-sharp Panavision, forever surrounded by glass and mirrors, endlessly reflected his true self hidden even from himself - Mandel's work is filled with ingenious touches, a work which in 1967 was as much on the cutting edge as Goldsmith's Planet of the Apes the following year. Much of the score is hard, sharp, employing the 12-tone system, as uncompromising a soundscape of alienation as can be imagined. The last thing one might expect from a master of big band and jazz orchestra arrangements, and the composer of such scores as The Sandpiper (1966).
Then comes "Nostalgic Monologue", which opens with solo flute and paints a dreamy, jazz infused portrait with considerable skill, and we realise we are not so far removed from Mandel's home territory. At the other extreme "At the Window/The Bathroom" employs experiments with electric organ, distant percussion and voice treated with extreme amounts of reverb to produce a uniquely unsettling, spacey and kaleidoscopic underwater nightmare. By way of contrast the following cue "Joy Ride" is the kind of MOR string orchestral number one more usually associates with the composer, then "Might Good Times" dives straight into a rock workout. "This Way to Heaven" offers jazz piano trio and "I'll Slip into Something Comfortable" a glass of cocktail lounge samba. The remaining cues are generally lugubrious, with low woodwinds, high pitched flutes and almost subliminal synthesiser suggesting unresolvable neurosis.

http://orgyinrhythm.blogspot.com/2006/11/johnny-mandel-point-blank.html

Love POINT BLANK, and I like the score.

https://www.youtube.com/user/SoundtracksForLiving

Great YouTube music page. HD quality.

Use this to save them as MP3s:
http://www.flv2mp3.com/

Great tribute to "Sacrificial Dance" from Le Sacre du Printemps , though with Herrmann's unique orchestration. A fine example of polytonality (i.e. G minor on top of Ab minor) and metrical shifts (i.e. 7/8 to 5/4).

Sharky wrote:

Hilly wrote:

The Star Trek IV score now..

Don't you dare bash Lenny Rosenman.



If this d doesn't move you, you have no soul.

Best.

Delved around...

Mr. Brown wrote:

https://www.youtube.com/user/SoundtracksForLiving

Great YouTube music page. HD quality.

Use this to save them as MP3s:
http://www.flv2mp3.com/

Yeah, I like that channel. Cheers for the link. Got "Coed Frenzy Disco" on my iTunes now.

Gonna do this one...



Gonna hunt down a better quality version of this...

It won't let me download KLUTE. Frak.

I got KLUTE to work!!! I just think that track is sublime.

how it stirs the soul. (or some such)

Aside from Carpenter & Howarth's ASSAULT ON PRECINCT 13 and ESCAPE FROM NEW YORK, and Lalo's music for the first two DIRTY HARRY, this has gotta be one of the most punk scores ever composed. Pure uncompromising atonality in spirit of electronic pioneer Edgard Varése. I love every minute of it. Listen out for insane fuzz and ring mod on the bass.









And now for something to sooth the restless shark. God bless Sir John.

Found a very nice channel on the YouTubes. Probably not for everyone, but I like jazz stuff.

"It is time, captain."
"Yes, time indeed."

Recent interview with Elliot Goldenthal at the Ghent soundtrack awards. Starts around 10 minutes in.

http://montages.no/2011/11/filmfrelst-79-intervju-elliot-goldenthal/

Very sad to hear him these days after the accident (he banged his head on his kitchen table in December 2005 resulting in a double hematoma, and had to relearn the ability to speak).

He mentioned being bored by action movies now, so that pretty much rules him out for Bond.

Sorry to about Goldenthal. I didn't know that happened. I don't wish Hans Zimmer would hit his head, but I wish he'd get bored of action movies.

On a happer note.

Sharky wrote:

Aside from Carpenter & Howarth's ASSAULT ON PRECINCT 13 and ESCAPE FROM NEW YORK, and Lalo's music for the first two DIRTY HARRY, this has gotta be one of the most punk scores ever composed. Pure uncompromising atonality in spirit of electronic pioneer Edgard Varése. I love every minute of it. Listen out for insane fuzz and ring mod on the bass.

Charlton Heston >>>>>>> The Earth

Gave Shadows of the Empire (McNeely) a listen after some time. When I first listened years ago I couldn't quite get into it but now I'm quite keen on it. At the moment my chief scores are "Night Skies" and "Imperial City", both conjure to my mind a night-view of Coruscant maybe some times Vader brooding on Xizor. The best track for me is "Destruction of Xizor's Palace", frantic, tense and so forth.

Then dug out my Band of Brothers CD. "Parapluie" still strikes me something fierce.

I love how this track starts. The very sound.

Silly, but I grew up on these movies.

Still the most terrifying piece of music ever written for film.

Richard Rodney Bennett does it again