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 Posted:   Jun 7, 2014 - 9:01 PM   
 By:   Rexor   (Member)

Actually worked better than the film did, IMO. I don't mind some off-color stuff, but this was so self-consciously obscene and intentionally gross-out that it was a less-satisfying comedy (for me) than it might have been had McFarlane taken his foot off the pedal just a bit. A tip of the hat to McNeely for a job well done, anyway.


I also liked the score more than I did the film. Boy, it was exhilarating to hear the Main Title music, and the chase music. Parts of the film is funny, but, overall, the film seemed like it was running short on material... Too much, sex, fart-jokes, and religion-bashing.

-Rex

 
 
 Posted:   Jun 8, 2014 - 3:24 AM   
 By:   bondo321   (Member)

Parts of the film is funny, but, overall, the film seemed like it was running short on material... Too much, sex, fart-jokes, and religion-bashing.

-Rex





.....so it was a Seth MacFarlane movie lol

 
 
 Posted:   Jun 17, 2014 - 8:14 PM   
 By:   Bob DiMucci   (Member)

Another vote for the score vs. the film itself. Unfortunately, nearly every joke in the film appeared in the trailers (and some that didn't even make the film). The comedy is thin (and most of it is scatological), so the picture depends upon its romance and sweeping visuals to carry it. That's where McNeely comes in. His score emphasizes both of those aspects. Certainly the most traditional western score since SILVERADO. Even if you have no interest in the film, at least give the score samples a try.

 
 
 Posted:   Jun 18, 2014 - 5:10 PM   
 By:   vinylscrubber   (Member)

Yes, despite Al Kaplan's sour-graping in the latest FSM On-Line editorial. McNeely is the man who SHOULD have scored COWBOYS & ALIENS.

 
 Posted:   Jun 18, 2014 - 5:39 PM   
 By:   johnmullin   (Member)

Well, the thing with that (meaning the COWBOYS & ALIENS scenario) is that whomever the composer is, they still have a boss - or bosses - that they need to answer to. Harry Gregson Williams is perfectly capable of writing big swash-buckling music, but it really does not appear that that's what Jon Favreau wanted from the score. Any composer who might have gotten the job in an alternate universe would have to contend with the same thing. COWBOYS AND ALIENS would still be a pretty awful movie and an enormous financial bomb for the studio if McNeely had scored it.

Whenever one of these "this guy should have done this movie" threads come up, I always think about the four Harry Potter movies that David Yates directed. People were quick to throw sand at Nicholas Hooper for how he approached the movies, but then Alexandre Desplat took over for last two, and his contributions, I would argue, are just a sedated and nondescript as Hooper's were. In many ways, I think Hooper got away with writing more memorable music for his movies than Desplat was able to get away with on DEALTHY HALLOWS PART 2, the blandest of the eight by far. Why do you think that is? Because David Yates was the guy that both composers were trying make happy on the films, and it seems that he very deliberately pushed the music in a particular direction.

 
 Posted:   Jun 19, 2014 - 1:37 AM   
 By:   SchiffyM   (Member)

Well, the thing with that (meaning the COWBOYS & ALIENS scenario) is that whomever the composer is, they still have a boss - or bosses - that they need to answer to.

Quite right! It's nice for us to imagine a romantic scenario where a composer tells the director and producers what the music should be like, but this scenario is almost nonexistent in the real world. Which is not to say that composers never get any creative say, but that there's virtually no chance a composer can convince a director wanting the sort of score "Cowboys and Aliens" got to go in the direction that McNeely took with this film.

 
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