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I'm not a Matrix fan so I'll pass but will definitely be picking up 'Wyatt Earp' and 'Jobs'
A nice batch from La-La-Land to wind up the Summer.
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YOR is happy!
Thanks La-La Land!
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Posted: |
Aug 21, 2013 - 9:08 AM
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By: |
SchiffyM
(Member)
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I never see Wyatt Earp.
IMDB said it's Costner/Kasdan production.
Why, the hell they don't asked John Barry to compose score?!
He wrote fantastic music for Kasdan's Body Heat, he earn Oscar for Costner's Dances with Wolves...
Was he just unavailable or there were another reason (for example, they didn't want to work together after Bodyguard case)?
If anyone know the story, please, tell it!
And another question - how JNH score sounds like? Does it have some in common with Dances with Wolves (lyric themes) or just another western movie with harmonica every 3 seconds?
Answering in reverse order, I think your apparent disdain for non-Barry western music is misplaced. In this case, Howard's score is epic, lyrical, sprawling, and exciting. And not a harmonica anywhere (though I also like harmonica).
As for "the story" as to why Barry wasn't involved, I have no idea, though I suspect the story is simply "Barry wasn't involved." I mean, you might as well ask why Bruce Broughton didn't score it, after receiving an Oscar nomination for his score for Kasdan's earlier western, "Silverado." "Wyatt Earp" and "Dances With Wolves" are tonally very, very different films, and while I would never say Barry couldn't score it, I can also understand why the filmmakers would turn to a different composer for a different sound. Kasdan had just worked with James Newton Howard on "Grand Canyon" and clearly liked the experience (he used Howard exclusively thereafter). That's probably as much story as there is.
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Posted: |
Aug 21, 2013 - 9:14 AM
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By: |
Thomas
(Member)
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Answering in reverse order, I think your apparent disdain for non-Barry western music is misplaced. In this case, Howard's score is epic, lyrical, sprawling, and exciting. And not a harmonica anywhere (though I also like harmonica).
As for "the story" as to why Barry wasn't involved, I have no idea, though I suspect the story is simply "Barry wasn't involved." I mean, you might as well ask why Bruce Broughton didn't score it, after receiving an Oscar nomination for his score for Kasdan's earlier western, "Silverado." "Wyatt Earp" and "Dances With Wolves" are tonally very, very different films, and while I would never say Barry couldn't score it, I can also understand why the filmmakers would turn to a different composer for a different sound. Kasdan had just worked with James Newton Howard on "Grand Canyon" and clearly liked the experience (he used Howard exclusively thereafter). That's probably as much story as there is.
Just to add to that, I remember reading at the time Costner wasn't too enamoured with Howard's score. Apparently the first time he heard it properly was when he went to the film's premiere and felt it was too dramatic and overblown in parts. That's not to say someone else would have composed something better, of course.
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Answering in reverse order, I think your apparent disdain for non-Barry western music is misplaced. In this case, Howard's score is epic, lyrical, sprawling, and exciting. And not a harmonica anywhere (though I also like harmonica).
As for "the story" as to why Barry wasn't involved, I have no idea, though I suspect the story is simply "Barry wasn't involved." I mean, you might as well ask why Bruce Broughton didn't score it, after receiving an Oscar nomination for his score for Kasdan's earlier western, "Silverado." "Wyatt Earp" and "Dances With Wolves" are tonally very, very different films, and while I would never say Barry couldn't score it, I can also understand why the filmmakers would turn to a different composer for a different sound. Kasdan had just worked with James Newton Howard on "Grand Canyon" and clearly liked the experience (he used Howard exclusively thereafter). That's probably as much story as there is.
Just to add to that, I remember reading at the time Costner wasn't too enamoured with Howard's score. Apparently the first time he heard it properly was when he went to the film's premiere and felt it was too dramatic and overblown in parts. That's not to say someone else would have composed something better, of course.
He not a not only adores this score and Howards work that he subsequently used him on Waterworld and The Postman.
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Yeah, Costner had him re-use "It All Ends Here" from Earp in The Postman, almost note-for-note, so I imagine he was OK with it!
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