1979

Join Judge Clark Douglas as he explores the musical side of film courtesy of the world's finest composers.

1979

Postby Carl Wonders » Tue Mar 01, 2011 9:44 am

Outstanding selection of music this time around, Clark! I didn't realize 1979 was such a good year for scores (though I've always thought Goldsmith deserved the Oscar for Star Trek: The Motion Picture over Delerue's A Little Romance but that's just me...Moonraker is one of my favorite Barry scores from the Bond films. The film is a little meh, and I'm not a huge Hugo Drax fan, though he does have one of my favorite cheesy Bond villain lines in, "Look after Mr. Bond. See that some harm comes to him." Funny how it seems like Barry manages to up his game in a lot of the lesser Bond movies. A View to a Kill is more or less awful, but it's probably one of Barry's best scores (the Snow Job cue in particular).

Thoughts on how the Oscars turned out score-wise? I agree with you in that I thought The Social Network had a really effective score in the film, but it's practically unlistenable on the album. Of the scores nominated, I would have gone with Inception, though I thought that Desplat should have been nominated for The Ghost Writer instead (a criminally underrated movie, IMO). I don't think you can write a better final cue than the one in that film...I almost wish the album had included the sound effects that immediately follow the last note.

Enough blathering...I have to go and figure out a way to get Movin' Right Along out of my head now....damn you, Douglas! ;-)
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Re: 1979

Postby cdouglas » Tue Mar 01, 2011 1:03 pm

Carl Wonders wrote:Outstanding selection of music this time around, Clark! I didn't realize 1979 was such a good year for scores (though I've always thought Goldsmith deserved the Oscar for Star Trek: The Motion Picture over Delerue's A Little Romance but that's just me...Moonraker is one of my favorite Barry scores from the Bond films. The film is a little meh, and I'm not a huge Hugo Drax fan, though he does have one of my favorite cheesy Bond villain lines in, "Look after Mr. Bond. See that some harm comes to him." Funny how it seems like Barry manages to up his game in a lot of the lesser Bond movies. A View to a Kill is more or less awful, but it's probably one of Barry's best scores (the Snow Job cue in particular).

Thoughts on how the Oscars turned out score-wise? I agree with you in that I thought The Social Network had a really effective score in the film, but it's practically unlistenable on the album. Of the scores nominated, I would have gone with Inception, though I thought that Desplat should have been nominated for The Ghost Writer instead (a criminally underrated movie, IMO). I don't think you can write a better final cue than the one in that film...I almost wish the album had included the sound effects that immediately follow the last note.

Enough blathering...I have to go and figure out a way to get Movin' Right Along out of my head now....damn you, Douglas! ;-)


Mwahahaha... the evil power of The Muppets!

Glad you enjoyed the show. Yeah, 1979 was an exceptional year for film music, and I even left out some of the biggest scores (Star Trek: The Motion Picture and Alien, in particular). I also love Moonraker, but wish the album was longer... there's some 24 minutes or so of score material, and it hasn't received an expanded CD release like most of the other Bond scores.

As for the Oscars... I dunno, I appreciate what Reznor and Ross were doing with the score for The Social Network, but I just don't find their work as stunning as most others seem to. It's a sturdy, occasionally inventive score that gets the job done nicely. The most striking piece is their arrangement of "In the Hall of the Mountain King", but even that is quite derivative of the version ELO did back in the day. Still, I don't begrudge them a win. It's not a bad score. I would have picked How to Train Your Dragon of the nominees (though I also loved Inception and The King's Speech), but The Ghost Writer was my favorite score of the year. As I've mentioned before, the final reel is that film is a great example of flawless scoring and editing.
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Re: 1979

Postby Bryan Pope » Tue Mar 01, 2011 1:15 pm

That little squeal of schoolgirlish delight you just heard was me.

My god – The Great Train Robbery, The Black Hole, Moonraker, Muppet Movie, Time After Time. All in one podcast. Awesomeness, man. Pure awesomeness.
Agnes, it's me...Billy.
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Re: 1979

Postby cdouglas » Tue Mar 01, 2011 3:53 pm

Bryan Pope wrote:That little squeal of schoolgirlish delight you just heard was me.

My god – The Great Train Robbery, The Black Hole, Moonraker, Muppet Movie, Time After Time. All in one podcast. Awesomeness, man. Pure awesomeness.


:D
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Re: 1979

Postby mhansen » Tue Mar 01, 2011 10:37 pm

My Dear Clark,
Thank you so much for making my day with a little Muppet music!
Melissa
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Re: 1979

Postby cdouglas » Wed Mar 02, 2011 8:00 am

mhansen wrote:My Dear Clark,
Thank you so much for making my day with a little Muppet music!
Melissa


I'll pass your thanks on to Fozzie and the gang. :)
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Re: 1979

Postby HGervais » Fri Mar 11, 2011 7:34 am

cdouglas wrote:Glad you enjoyed the show. Yeah, 1979 was an exceptional year for film music, and I even left out some of the biggest scores (Star Trek: The Motion Picture and Alien, in particular). I also love Moonraker, but wish the album was longer... there's some 24 minutes or so of score material, and it hasn't received an expanded CD release like most of the other Bond scores.

Moonraker is also one of favorite Barry 007 scores and I to wish the soundtrack album were expanded. The problem is Moonraker was a co=production with French investors and the rights to the missing film music is owned by that French company. Eon has tried to work out a deal for several years now but the two sides can't seem to come up with a number that satisfies both parties. Pity that.
Oh and yeah, Jerry Goldsmith should have owned the 1979 Oscar for his work on ST: TMP.
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