Shik
Starship database: completed; History of Starfleet: done; website: probably never
Member # 343
posted
quote:Originally posted by targetemployee: So, Shik, are you naming ships after these people to a) honor their personal achievments, as you would for a Kennedy or a Tolstoy or b)honoring the event that they were participants in? I feel from your opening words that the answer would be b. And, this forms part of my condemnation of your actions.
Let's put this in another form.
The USS Indianapolis is sunk by a Japanese sub. The vast majority of the crew is eaten by sharks. I name ships after the fish food.
A battalion lands on Okinawa. It's wiped out to a man. I name ships after them.
The 54th Massaschusetts attacks a fort & eats powder & shot.
See where I'm headed here?
-------------------- "The French have a saying: 'mise en place'—keep everything in its fucking place!"
Registered: Jun 2000
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I like Glory. Good movie, good music. Got to march to it and the music from Gettysburg my senior year in high school.
-------------------- The philosopher's stone. Those who possess it are no longer bound by the laws of equivalent exchange in alchemy. They gain without sacrifice and create without equal exchange. We searched for it, and we found it.
Registered: Mar 1999
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Horner's Glory is OK, but suffers from being the same score he's used on every single movie ever, except adding in a choir. Edelman's Gettysburg is nifty, as well. Gotta like 'We are the Flank'. Whooeee.
Registered: Oct 1999
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I really liked the Kathleen Mavourneen orchestral version. You can actually feel the emotions and the sadness in that piece. Well that's at least true of me.
-------------------- Is it Friday yet?
Registered: Feb 2000
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It's also worth nothing that significant parts of "Charging Fort Wagner" are eerily similar to "O Fortuna" from Carl Orf's Carmina Burana. If I recall correctly, I think Orf's family took Horner to court over that.
The fun thing about Horner's music, I think, is that you pick out his other works in whatever you're listening to. In Titanic, you can easily hear small bits and variations on Braveheart, Star Trek II: The Wrath of Khan, Apollo 13, and many others that I can't think of at the moment.
I like the Glory and Gettysburg scores in particular because the movies share similar themes yet the music is on opposite poles. Glory is often moody, jubilant, and pulsing. Gettysburg is often soft and subdued with some parts often taking on a "heroic" quality.
-------------------- The philosopher's stone. Those who possess it are no longer bound by the laws of equivalent exchange in alchemy. They gain without sacrifice and create without equal exchange. We searched for it, and we found it.
Registered: Mar 1999
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Who doesn't use Orff as a base for choiral suspense? Arnold's Stargate was Burana with a little AmerEgyptification going on.
The fun with Horner lasts until you get a score like Enemy At The Gates. Not only was it too reminicent of his writing on autopilot, he used - note for note - Williams's Schindler's List theme. Ugh.
It's not that he's a bad composer, in fact he's really quite good, he just doesn't seem to go and challenge himself, like Zimmer or Elfman. I'll always choose something fresh over the recent autopiloting of Williams/Goldsmith/Horner.
z1|\/||\/|3r 40r 3\/3r.
Registered: Oct 1999
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Ah ha! Here's the problem. I haven't been to the movies in forever, so I don't know what exactly Goldsmith, Williams, and Horner are up to. I had heard similar complaints that Horner's "Enemy at the Gates" theme was lackluster. There's also another recent film he scored that I heard this about, but I can't remember which it was.
It's kinda of a shame that Horner's music is getting stereotypical. He's much too young a composer to be hitting that this early. Of course, critics were saying the same thing about his music just prior to his scoring of An American Tail. Maybe he'll pull out of the slump. Goldsmith and Williams I can expect to be getting repetitive. They both have long and impressive scoring credits, plus they're both getting up there in age.
Now, I agree with you that Zimmer and Elfman are interesting to listen to. I was originally disappointed with Elfman after hearing his theme to Batman Returns (which completely blew after his excellent work in the original Batman). But I got back into him with Good Will Hunting. I hear Zimmer's score for Black Hawk Down is pretty good. I liked his work for Pearl Harbor, too.
-------------------- The philosopher's stone. Those who possess it are no longer bound by the laws of equivalent exchange in alchemy. They gain without sacrifice and create without equal exchange. We searched for it, and we found it.
Registered: Mar 1999
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Da_bang80
A few sectors short of an Empire
Member # 528
posted
Zimmers work in Pearl harbour was excellent. As for this whole namin stuff. I think everyone should calm down a notch or two. It's Shik's life. He can do what he wants. But targetemployee has a point about trivializing the ordeal that the victims of 9/11 went through. And also how would the victims families think of this whole name thing. Some of them would be down-right P.O'd at the idea. Cause that's how some people are.
-------------------- Grant me the serenity to accept the things I cannot change. The courage to change the things I cannot accept. And the wisdom to hide the bodies of all the people I had to kill today because they pissed me off.
posted
I thoroughly enjoyed Elfman's Planet of the Apes. Complex as hell though. It's a love it/hate it thing.
Hans Zimmer is my favorite composer, I think I own 19 score CDs of his, and I liked Pearl Harbour - in the movie. On album, they left out a lot of the ethnic percussion which was a lot like The Thin Red Line. The album score was fairly lackluster, and the whole score wasn't nearly Zimmer's best.
So, if you like Pearl Harbour, pick up The Thin Red Line. 'Journey To The Line' makes me wet my pants.
Black Hawk Down is another hate it/love it thing. It's not a score, per se, and it's certainly not like anything Zimmer's done before. If you can dig Rock guitar riffs with ethnic chanting and techno beats all in one track, followed by a fiddle suite, followed by more ethnic singing, followed with an ambient soundscape, then you can like it.
I love it tremendously, it's so much more invigorating than the millions of other nondescript film score than make the genre so unappealing to most.
Registered: Oct 1999
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I'll have to check out The Thin Red Line then. I have a vague recollection of the music in the trailer for the movie, but trailers frequently reuse familiar scores from previous movie. For instance, the trailer for The Ghosts of Mississippi used the theme from The Shawshank Redemption. And lord knows how much play Goldsmith's Rudy gets (off the top of my head, The Deep End of the Ocean and Good Will Hunting). So, if the movie's score was actually in the trailer, then I think I will like it.
I have no problem with style and motif changes in a score. It makes the music so much more interesting to listen to. I seem to like a wide variety. I love the minimalist score Glass did with Powaqqatsi and Kundun and I like some of the really charged and fast stuff that you can hear in Mission Impossible. More often than not, I like some of the more fanfare-ish stuff like the opening theme to Air Force One (about the only good part of that score) and First Contact and Galaxy Quest.
-------------------- The philosopher's stone. Those who possess it are no longer bound by the laws of equivalent exchange in alchemy. They gain without sacrifice and create without equal exchange. We searched for it, and we found it.
Registered: Mar 1999
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Da_bang80
A few sectors short of an Empire
Member # 528
posted
I like the song titled, War. it's real nice. It has alot of deep tones in it
-------------------- Grant me the serenity to accept the things I cannot change. The courage to change the things I cannot accept. And the wisdom to hide the bodies of all the people I had to kill today because they pissed me off.
posted
But's that against the rules. Name-calling is for the Flameboard. Aren't we supposed to be all huggy, kissy, and lovey-dovey up here?
-------------------- The philosopher's stone. Those who possess it are no longer bound by the laws of equivalent exchange in alchemy. They gain without sacrifice and create without equal exchange. We searched for it, and we found it.
Registered: Mar 1999
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