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NP: Da Vinci's Demons - Bear McCreary

So good it makes me want to watch the show...

So basically, all good music is somehow a "lift" unless its completely new and innovative???
I guess John Williams "lifts" himself every time he writes action music, so screw him. Unless maybe you can forgive him, too.

I just don't think a good composer utilizing good ideas - that happen to also exist in previous works of music - in a new and fresh way is something that needs to be "forgiven"....praised rather.

If someone was saying that creating your favorite kind of music was some kind of offense that needs to be forgiven (and thus presumably no more of your favorite music should ever be made) you might be slightly frustrated too.

Its perfectly natural if you think that score was temped with Goldsmith, because it almost definitely was. And of course it has many Zimmer elements since Badelt was still closely connected with Zimmer at the time.



Again, that's like implying that nobody should use synths except for the person that invented synths, or that no one should use a male choir singing Latin scripts during action music since the first time that device was used...and that if they do, they have to be forgiven for lifting from whoever first used those devices. Creating a new musical device does not give you exclusive rights to using that device, or make it wrong for future artists to use the same device...on the contrary, it enriches all music when everyone can freely use all the previously created musical devices to create new music. And this is a particularly enjoyable device to me so I wish it would be used more and enhanced upon.

Besides, the song "Adiemus" and Badelt's Eloi music sound about as similar to me as Schindler's List and Bartok's Romanian Folk Dances...they have completely different melodies and express completely different emotions and one is not a lift of the other just because they both have a solo violin at the forefront. If "Adiemus" and "Eloi" were played on a piano no one would think they were similar...unless of course, they were the only 2 piano pieces in the world at that time.

NP : THAT MAN FROM RIO - Georges Delerue


Early 60's French James Bond spoof. Might have been more interesting if John Barry's style had been spoofed too. This is pretty annoying except for moments of Brazilian samba thrown in, I doubt I'm staying with this much longer.

You have documentation of this?

NP : PLATOON - Georges Delerue



Stunningly beautiful, full of poignancy, this film did not need Samuel Barber's overused Adagio For strings.

I'm sure there is documentation somewhere. It's very well known amongst score fans that THE EDGE was the temp track.

Michael Giacchino told when he was writing demos for the film. Good enough for ya?

FACT!

-Erik-

Yeah it's cool. Little busy and over the top towards the end.

I believe him. I was just curious to know if it went beyond guessing.

NOW YOU SEE ME - Brian Tyler.

This is a cool little score. There are only six tracks on it composed by Tyler - the rest are songs or remixes of something Tyler wrote for the film, but I far prefer Tyler's tracks to the remixes. While it doesn't have as strong a thematic identity as Iron Man 3, the Tyler portions of this score are more consistently enjoyable for me than IM3.

Catch Me If You Can - John Williams

It's pretty impressive how Williams can add gravitas to what's an overall breezy movie.