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To which you answer: Because 90 seconds of Max von Sydow is still better than 90 minutes of any other actor on Earth.
Don't get me wrong. I love CtB. Love, love, love. One of the most under-rated movies of the 1980s. I love the writing. I love the cinematography. I love the actors. The music remains to this day the single best film score ever made. There really isn't a thing I dislike about the movie. That said, one can never praise Max von Sydow too much. He is a god walking amongst mortals.
Okay, dude! I mean fanboy!
But I agree with everything about the second paragraph, with one teensy exception: the best orchestral film score ever made, bar none. Electronic film score is its own category (and yes, I know you're going to say Blade Runner).
I hope you have the big 3-CD reissue of Poledouris' CTB score.
But I agree with everything about the second paragraph, with one teensy exception: the best orchestral film score ever made, bar none. Electronic film score is its own category (and yes, I know you're going to say Blade Runner).
Electronic vs. orchestral is a matter of media, not subject matter. But if you want to make the distinction, then yes, I would say that Blade Runner was the best electronic score ever made.
Quote:
Originally Posted by AFtrEFkt
I hope you have the big 3-CD reissue of Poledouris' CTB score.
Then again, both Sir Alec Guinness and Max von Sydow have done Star Wars.
Alex Guinness also worked with a fresh ideas George Lucas rather than one who have us the prequels. Leto worked Ayer who should have been able to give us something better. Again I'll blame studio interference from DC/WB on this though the film was enjoyable. It was just a C/C+ when it should have been an A. The problem was DC wanted a Guardians of the Galaxy meets Expendables movie which should have been R after Deadpool made bank as an R-rated comic book movie but instead they did Expendables 3 and made it PG-13.
Electronic vs. orchestral is a matter of media, not subject matter.
That's an extremely limited viewpoint, sir. Even dear departed Basil, who composed for both orchestra and synthesizer, would concur that it is much, much more than that. The aesthetics of composing with organic instruments and electronically generated sounds aren't merely defined by the wood or machinery of which they're constructed.
Quote:
Originally Posted by Mark S.
But if you want to make the distinction, then yes, I would say that Blade Runner was the best electronic score ever made.
Listen to more electronic film scores before you make that call.
That's an extremely limited viewpoint, sir. Even dear departed Basil, who composed for both orchestra and synthesizer, would concur that it is much, much more than that. The aesthetics of composing with organic instruments and electronically generated sounds aren't merely defined by the wood or machinery of which they're constructed.
Any time the media changes, the artist has to change the approach. Writing for the screen is much different than writing a novel, which is much different than writing for radio. But a film score is still a film score. I'm not going to get too bent out of shape over distinctions in media.
Quote:
Originally Posted by AFtrEFkt
Listen to more electronic film scores before you make that call.
I have tried. Too much of it tastes like boiled cauliflower to me. Blech. Electronic music just isn't for me.
I tried enjoying the score to THIEF. I wouldn't call it bad. But I didn't enjoy it. Morodo's music to CAT PEOPLE had moments of brilliance interspersed with moments of Pac-Man. Vangelis's music for LEGEND was meh. A bit too twee for me. Electronic twee is still twee. I did enjoy the TERMINATOR scores a lot though, and those were electronic.
Turns out 13 is a lucky number for the Suicide Squad gang. After ending their second weekend with $466M worldwide, the crew zipped past the $500M milestone at the global box office on Day 13 of release. With a total $509M, the film will help drive the overall August box office to a record high. At release two weeks ago, it became the biggest-ever August opener both domestically and abroad. It is currently the No. 11 movie of the year globally, and should jump up a couple of spots this weekend.
Any time the media changes, the artist has to change the approach. Writing for the screen is much different than writing a novel, which is much different than writing for radio. But a film score is still a film score. I'm not going to get too bent out of shape over distinctions in media.
You're thinking solely within the context of notes on a scale. If approaching electronic music was that, shall we say, ordinary, then we'd have a lot more innovators out there. There are a bazillion EM dabblers, but they're not innovators. And I don't even count the dance crap like EDM and techno. Those guys just string together beeps and bloops over beats so people can shake their asses to it.
Quote:
Originally Posted by Mark S.
I have tried. Too much of it tastes like boiled cauliflower to me. Blech. Electronic music just isn't for me.
I tried enjoying the score to THIEF. I wouldn't call it bad. But I didn't enjoy it. Morodo's music to CAT PEOPLE had moments of brilliance interspersed with moments of Pac-Man. Vangelis's music for LEGEND was meh. A bit too twee for me. Electronic twee is still twee. I did enjoy the TERMINATOR scores a lot though, and those were electronic.
Vangelis didn't compose either of the scores for Legend. Jerry Goldsmith's was supplanted by the studio's whim to have an electronic score for the film, for which they tapped Tangerine Dream.
Have you ever heard the score for Sorcerer (1978) by Tangerine Dream? You can check it out on YouTube. If you like Fiedel's music for The Terminator, I reckon you'll like Sorcerer. It's awesome.
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Okay, dude! I mean fanboy! 
