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I'm SURE this was the topic of a thread before, but....oh well...
Which end titles do you think perfectly summed up musically the entire film for which it was written?
Two come to mind:
Bill Conti's end title for Neighbors
Horner's end title for Cocoon
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I was thinking someone would bring that up about the cut and paste end titles... and even though the "end title" from Hoosiers, which IS a "cut-and-paste" piece, and fits, I think the ORIGINAL end title that Goldsmith composed would've been the "perfect summation" for the film.
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Posted: |
Oct 10, 2015 - 6:30 PM
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By: |
Graham Watt
(Member)
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I'm SURE this was the topic of a thread before, but....oh well...
Which end titles do you think perfectly summed up musically the entire film for which it was written?
Two come to mind:
Bill Conti's end title for Neighbors
Horner's end title for Cocoon
Jim, I'm not trying to be obtuse or anything, but could you explain what you mean by "perfectly summed up musically the entire film?" For example, how do (in your opinion) Conti's NEIGHBORS and Horner's COCOON do that as opposed to millions of other End Titles?
Would we exclude Goldsmith's THE SWARM for highlighting the triumph of men over the danger (of bees taking control of nuclear intallations?)
What about another Goldsmith - PAPILLON. Those chilling End Titles send a shiver up my spine every time. No heroics, just a reminder of the horrid reality that was. Depending on what you mean, that music could sum up the entire film. But it depends on whether we're trying to get to the core of the film or just concentrating on the outcome. I suppose you mean the former, so maybe THE SWARM is out, even if we do hear the bee music in a segue.
Hey, what about David Lee's great End Titles for the magnificent MASQUE OF THE RED DEATH? Inexorable, like the creeping plague itself... but I don't know if it's a summation of the entire film or not. Actually, since I'm being obtuse, I think it is. A YouTube link would be useless, because if you just watch the End Titles you don't know what they're summing up.
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I'm SURE this was the topic of a thread before, but....oh well...
Which end titles do you think perfectly summed up musically the entire film for which it was written?
Two come to mind:
Bill Conti's end title for Neighbors
Horner's end title for Cocoon
Jim, I'm not trying to be obtuse or anything, but could you explain what you mean by "perfectly summed up musically the entire film?" For example, how do (in your opinion) Conti's NEIGHBORS and Horner's COCOON do that as opposed to millions of other End Titles?
Would we exclude Goldsmith's THE SWARM for highlighting the triumph of men over the danger (of bees taking control of nuclear intallations?)
What about another Goldsmith - PAPILLON. Those chilling End Titles send a shiver up my spine every time. No heroics, just a reminder of the horrid reality that was. Depending on what you mean, that music could sum up the entire film. But it depends on whether we're trying to get to the core of the film or just concentrating on the outcome. I suppose you mean the former, so maybe THE SWARM is out, even if we do hear the bee music in a segue.
Hey, what about David Lee's great End Titles for the magnificent MASQUE OF THE RED DEATH? Inexorable, like the creeping plague itself... but I don't know if it's a summation of the entire film or not. Actually, since I'm being obtuse, I think it is. A YouTube link would be useless, because if you just watch the End Titles you don't know what they're summing up.
Great question!!!! I will tell you.... Bill Conti's end title for Neighbors PERFECTLY summed up what that movie was.... a ROLLER COASTER RIDE!
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The Man With One Red Shoe - Thomas Newman
...and a hundred others.
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