Man, 13 feet are about 4 meter, right? That´s really high. It must have been a big rhododendron bush to save you. We should award it with a medal... Is that an oscar?
Happy birthday, survivor!
Happy birthday, survivor!
-
Another current film composer who is one of the best is Zbignieuw Preisner. (I hope I got that first name right - whew!)
His scores use minimal, simple, repeated motifs and development but in an extremely "exposed" way so that the music participates very much as an element in the film's scene. Exemplified in "Blue" and "Double Life of Veronique" in both of which the music is a part of the story as well. Of coure he was lucky enough to have gotten jobs with Kieslowski, who was the greatest filmmaker of the last half of the twentieth century. That helps a bit with your film scoring. (Like Benny H. - his FIRST film job was "Citizen Kane." Rather nice to be offered a job on a little production like that, eh?)
BTW I wonder when Paul R will ever be permitted by his Superego to post here again? (Or perhaps it is his Id that is in charge? As Walter Pidgeon said, "Id, Id, Id!")
-
You may be right. It is the Mindless Primitive on the other side of that door. He is responsible for this irrational abstinence from posting that has weakened the Forum. And that Other Self will be supplied with all the energy it needs by the Krell machinery. We may never hear from Paul R again, because his Id has been given form, and nothing - not even Blasters - can stop it now.
-
I'm surprised no one's mentioned Elliot Goldenthal yet! To me, this guy is one of the most inventive and uncompromising composers in the industry today. His 'Sphere' score just blows me away, as does 'Alien 3' and 'Interview With The Vampire'.
-
The slightly minamilist scoring to Howards End and The Remains of The Day was by an American (I think!?!) composer named Richard Robbins
Ouch!
Can't agree with that. the score for ROTD was , for me, a stinker! killed an otherwise truly wonderful film. Slightly compromised by the budget not stretching for a real band, but even allowing this the material was very commonplace. Sorry.
My list of current greats...
Ennio Morricone (though not fashionable, one of the best out there)
Preisner (magical ability to glue music to image, also got one of the greatest breaks everin the history of the world by hooking up with Kieslovsky)
Howard Shore (ONLY KIDDING!)
-
@Morpheus said:
The slightly minamilist scoring to Howards End and The Remains of The Day was by an American (I think!?!) composer named Richard Robbins
You dug deep for that one Morpheus. Had to go right back to see who said it, and it was yours truly. No sweat though. Your'e right, it is a great film and wonderfully paced. Personally, I thought the scoring made the film float along. A real band? I can't remember the orchestration at this point. Something in my memory tells me it was synthesizers and pretty minimalist, but not written in a thought of minamilist way. Does that make any sense? Was it purely down to budget do you think? I don't know the inside dope on the making of the film.
With Morricone, one of my personal top three as everyone by now knows, saw Frantic the other night. Hadn't seen it for while. Certainly puts his skill and mark on a film. A few shades of the scoring to The Untouchables in there btw. Hadn't noticed before, but who's counting.
PR
