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James Horner scores are always an instant buy in my books.
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to GEERT CUSTERS- You say Horner might steal from Rota's Romeo and Juliet, but i heard Rota stole THE Godfather theme from someone else.
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From one i his earlier films i presume.
No, he hopped in his Delorian and warmed up the flux capacitor and ... welll ... you know the result.
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Dan
Rota had all the right to do whatever he wished (quoting from himself) because he was an original, authentic, honest composer. Horner is nothing but a hack.
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So just why, pray tell, do we need yet another ROMEO AND JULIET?
Isn't there anything else by Shakespeare that can be adapted?
(Not that I expect a big-budget version of CYMBELINE, which is a really amazing play, but it would be nice...)
I'm also reminded that Julie Taymor's version of THE TEMPEST was not a success, though it has some effective special effects. (She's good at effects. Though, I personally think her best film is TITUS, based on Shakespeare's "Titus Andronicus." But that reminds me of what my older brother once said about Shakespeare productions the Public Theatre did in New York's Central Park, that they did wonderful productions of lesser Shakespeare, and mediocre productions of the classics. I saw a "Pericles Prince of Tyre" that was amazing, but a "Hamlet," starring Sam Waterston, that was so laughable everyone was walking out, though it did have a great poster. They did a production of "Much Ado About Nothing" that was so wonderful it transferred to Broadway, but I saw a version of "Othello," with Raul Julia in the title role, and a sneaky, melodramatic Richard Dreyfus(!) as Iago, that was dull. Go figure.)
Still, maybe Horner has written another good score. I just finished listening to his work on that Mexican thing with Andy Garcia, and found it mostly forgettable.
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To Justin Boggan- As we know some composers over the years will write music for a project, they don't use it in that project but years later will use it for another project, Then sometimes they put it in a film and will use it later on in another film, Cd[whatever].
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Posted: |
Dec 2, 2012 - 10:14 AM
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By: |
dan the man
(Member)
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TO JOHN ARCHIBALD-My friend, don't you think that a story that many feel is a classic should be done by different talented directors often.There are over 6 billion people in this world, each one with different visions of life and fiction.Sometimes i feel we rush to the attitude, NOT AGAIN, much to quickly when it comes to remakes. When you think often how the reason some feel something is over done is probably because the first was so memorable to that person , he may forget how decades go by and not that many remakes have been made or as many as he thinks.I am sure as often as a remake was not to one's taste as the original[all opinion of course] in 1938 some important person said Why are you making a remake of WIZARD OF OZ, IT WAS DONE IN THE 20'S. In 1961, someone must have said why remake PYGMALION-39[BROADWAY SHOW] INTO A fILM, IT MIGHT BOMB OUT.. So now for Christmas we get LES MISERABLES, how many time has that story been film, 3 at least, plus musical play.Many people and critics alike really did like or love KING KONG IN 05, My point is no one can really say when the great one will hit or not, Maybe this Romeo and Juliet will be the best, maybe it will be good but not the best one, then again maybe it will be bad.WHO CAN SAY.
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The main reason movies are produced is to make money. Films based on ROMEO AND JULIET have made money in the past, which is probably the main reason versions of it are still made.
But, there are many remakes that don't make a penny: did anyone see the recent version of TOTAL RECALL? And how many flocked to the remake of SLEUTH? And what about the Tim Burton version of PLANET OF THE APES? Who went to that? And those are just a few of the many that flopped.
There are so many other Shakespeare plays that would make great films: I'd love to see a film of THE WINTER'S TALE, or PERICLES PRINCE OF TYRE, or CYMBELINE? All magical plays, with all sorts of adventurous events.
But none of these has a history of financial reliability, unlike ROMEO AND JULIET, which, in various guises, including GNOMEO AND JULIET, or even the recent Broadway revival of WEST SIDE STORY, still engenders financial investment....
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Great news. Now Horner can rip off both Prokofiev AND Rota wholesale(!), not selectively, as in the past thirty years.
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The film's lead actor, Douglas Booth, also posted on his Facebook ( http://www.facebook.com/DouglasBooth ) on Wednesday that:
"James Horner begins to record the soundtrack for Romeo & Juliet today at Abbey Road. Exciting times."
Good to hear that the trend of young actors invited to scoring sessions of movies still continues.
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Dan
Rota had all the right to do whatever he wished (quoting from himself) because he was an original, authentic, honest composer. Horner is nothing but a hack.
At least his music is recognizable. Except for the Godfather theme, none of Rota's music is mentioned or ever told. Now that they're doing a new version of Romeo & Juliet, all the old farts start to complain about not being as good as Rota's score, just because it was from before, and like always, they need to complain about the new stuff. Especially when Romeo & Juliet had several adaptations, and nobody complained. Did JNH was bashed for Gnomeo & Juliet? Or Armstrong because of Baz Luhrman's adaptation? No.
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3m1-3m10? Sounds like one of the trademark long cues from Horner.
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Just screened this (I'm a Film projectionist) and heard Sneakers, Apollo 13 and The Pelican Brief everywhere in the score and it doesn't sound like the original scores cut into a temp track. Sounds like all new score, but heavily influenced by the above three. Weird!
Horner recorded the score this past December, but it sounds so much like his mid-90's work.
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How many times did you hear the infamous Danger Motif?
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