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That doesn't work with editors.
And I'm pretty sure if my boss brought somebody in to do half my job, I'd quit.
Phew. Made it. Gotta say, though - I think I might have injured something. The kind of something I'm going to need later in life.
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Powell is good, I agree. His Bourne music is solid and some of his other scores are quite well too. X-Men 3 let me down though. As for Bond, sure, he might pull off a decent enough job but right now I think other composers should be considered first.
He's Ridley Scott's right hand man when it comes to a composer, and his work on BODY OF LIES is very good. Steady, but intense the score seems to follow. Which is how I enjoy my Bond movies.
For AMERICAN GANGSTER his score isn't very Bondian, but it fits the movie very well. Again its steady and very intense. The main theme has this great hum in the background with a piercing trumpet playing over. It then folds into strings and just epitomizes the movie so well.
PROMETHEUS's trailer looks promising, a very effective score over the preview of the film. Its one of my top-must-sees for next year, and partially for the soundtrack.
I wouldn't be disappointed to see his name attached to a future Bond. Just get him while he's young.
I doubt Streitenfeld will compose anything as powerful as that, going by his current track record.
I'm sure his own score will be very powerful through the film, just as the original Alien film.
Ridley Scott knows what he's doing. I'm more confident in him than Nolan, and thats saying something.
That said, I think all three scores for the first few Alien films were well-done. Even Horner's half-finished score for Aliens proves quite effective, both in terms of its action and horror orientations. As for Goldenthal's score, much like the film itself, I think it takes a lot more heat than it deserves. I praise Fincher's direction (and wish he could somehow still put together the cut he wanted to show us) and I think the world of the score for Alien³. By the time we reach Resurrection, that's when I'm disappointed on almost every level.
As for Prometheus, since Goldsmith isn't around anymore, I'm prepared to give the new guy a fair chance, like I always do. I'm only slightly disappointed Scott didn't consider Vangelis. I'm still hoping for another Blade Runner-ish score, by Vangelis, for a Sci-Fi film.
Listen to 009 Gets The Knife And Gobinda Attacks, The Palace Fight and so on.
Really? TBH, I don't think he's known what he's doing since 1982. Three fine films early on, and then lost his muse, whatever it was.
Strietenfeld is an exceedingly dull composer. Not bad by any means, just middle of the road. His scores do the job on a basic level, but not much more I'm afraid. It's like what I said about David Arnold scoring the 2012 Olympics. There's so many interesting composers out there in the business, including many contemporary ones who haven't yet crossed over into media yet, and they go with Arnold. It's like having lived on diet of constant Brussels sprouts, and then one day finding a massive box of sweets next to another bowl of Brussels sprouts, and choosing the Brussels sprouts. Bizarre, though I guess people prefer to do what's familiar. Less risk.
I like the sound of SENNA a lot, though I'm not too familiar with Pinto. I'll have check out some of his earlier stuff.
I think I am the only one here who loved the GE score.
BLACK HAWK DOWN wasn't good? I thought it was an excellent film.
Yes, his modern films are more under the radar, mediocre thriller films. But they're still in the 5% of good, not great, but good films produced by the industry as of late.
BODY OF LIES, AMERICAN GANGSTER, and HANNIBAL are all also renown, under the radar films of his. AMERICAN GANGSTER with an excellent score from Streitenfield.
For me, BLACK HAWK DOWN started a trend of joyless film-making where grittiness and "realism" were valued above all. It culminated with ROBIN HOOD, which undercut the entire character, steadily removing everything that made him a folk hero and turned him into an empty vessel.
Has anyone mentioned Howard Shore yet? He's the guy who composed The Lord of the Rings...
what of Elfman as he did a pretty neat Mission Impossible score
I think he'd be fantastic. I'd like to see (listen) what he'd be capable of making out of the 'Bond' sound.
@DarthDimi I know this is wildly off topic, but I must say, Resurrection's score was not that bad, the main title was superb! While the film may lead people into thinking the score was equally as poor, I wished the film gave the score justice.
Licence to Kill had a similar situation, but I think it has one of the best soundtracks in the franchise.
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