Just because they have your boy Qui-Gon & Hanks in them doesn't make them good scores dude. You have to sometimes separate the score from the movie. I have never, nor will I ever watch a Star Wars film. I assure you sir, that my like for the Episode I and II scores has NOTHING to do with the films. It may, however, have a lot to do with the modern recording, more eclectic instruments or just having a fuller sound in general.
I back up this assertion by noting that I like John Powell's work as well as that of Harry Gregson-Williams (when he's not re-wrting Man on Fire for the umpteenth million time.)
Fuck Oh Be Gone!
The iconic Star Wars "Main Title?" Boring, trite and distinctly uninteresting.
Your use of the wrong word is especially ironic given the riots surrounding the event this year. "Intransitive verbs are hardest."
100 suck films doesn't hold a candle to one fantastic film. Until about three years ago I'd never heard of the man. AND I'VE BEEN LISTENING TO FILM SCORES SINCE I WAS A CHILD. Maybe that's cause he sucks? Granted. Zimmer didn't write a recognizable score until 1992 with Radio Flyer and didn't achieve fame until 1994 with The Lion King (though some may point to Cool Runnings from '93.) Forward from The Prince of Egypt through Ridley Scott's films and now his more recent work such as Matchstick Men and Weatherman (which sadly has yet to be released as an album) he has written some killer scores. I dare say that more people alive today would more readily recognize the Gladiator waltz then the Star Wars theme.
ALTHOUGH...I've really been enjoying his later stuff. Ibid. Welcome to the fold.
Maybe, but I wonder if this would be a generational distinction? Perhaps.
Like the Honeymooners. I had to look that one up. And I never would have thought of p0rN titled such a thing, even less there being so many p0rN titles by that name, but I suppose there are those who get off on fantasizing about wedding night sex.
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ninetydegrees
(no subject)
I have never, nor will I ever watch a Star Wars film. I assure you sir, that my like for the Episode I and II scores has NOTHING to do with the films. It may, however, have a lot to do with the modern recording, more eclectic instruments or just having a fuller sound in general.
I back up this assertion by noting that I like John Powell's work as well as that of Harry Gregson-Williams (when he's not re-wrting Man on Fire for the umpteenth million time.)
Fuck Oh Be Gone!
The iconic Star Wars "Main Title?"
Boring, trite and distinctly uninteresting.
Your use of the wrong word is especially ironic given the riots surrounding the event this year.
"Intransitive verbs are hardest."
100 suck films doesn't hold a candle to one fantastic film. Until about three years ago I'd never heard of the man. AND I'VE BEEN LISTENING TO FILM SCORES SINCE I WAS A CHILD. Maybe that's cause he sucks?
Granted. Zimmer didn't write a recognizable score until 1992 with Radio Flyer and didn't achieve fame until 1994 with The Lion King (though some may point to Cool Runnings from '93.) Forward from The Prince of Egypt through Ridley Scott's films and now his more recent work such as Matchstick Men and Weatherman (which sadly has yet to be released as an album) he has written some killer scores. I dare say that more people alive today would more readily recognize the Gladiator waltz then the Star Wars theme.
ALTHOUGH...I've really been enjoying his later stuff.
Ibid. Welcome to the fold.
Maybe, but I wonder if this would be a generational distinction?
Perhaps.
Like the Honeymooners.
I had to look that one up. And I never would have thought of p0rN titled such a thing, even less there being so many p0rN titles by that name, but I suppose there are those who get off on fantasizing about wedding night sex.