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some observations

Vincent
<Send E-Mail>
(153.220-176-91.adsl-dyn.isp.belga
com.be)
some observations   Sunday, July 12, 2015 (12:08 p.m.) 

How is 'Wheel of Fortune' a cut-and-paste job? Why do all the themes have to be integrated? Why can't
they stand on their own? And I'll say it again and again... Why does everything need to be original?

This is a sequel, why suddenly totally change the music? If you continually want to get rude awakenings, here's an idea: assemble every film score ever written and press shuffle. Will make for nice surprises.

First, you complain (and you're right) about the first album being repetitive, then you say the sudden changes in this one make for better listening, but you conclude by saying that this variation results in lack of consistency. What, then, is your happy medium? You can say a lot about the first album, but at least that one WAS consistent: it kept bothering you with the same themes. What is consistency for
you?

Personally, I preferred Black Pearl. You point out (and again, you're right!) that this score is a tad weaker. So why did you bash Black Pearl so much?

Your arguments about the score failing on different levels are impressive, and I truly mean that, but here's my problem: we don't know if this new modern sound will endure, so isn't it unfair to simply state that previous sounds endured, period? However, you are right in saying that Jack's theme does work but never really develops. Should it develop, though? Does the character even allow this? I definitely belong to the group that finds the Disney strategy boring, and fully agree that it's derivative and yes, at times, unlistenable and dull. But again, why can't it be derivative? I was raised with baroque music and loved it, but now I realise that Handel, Vivaldi, Corelli and Torelli all wrote extremely derivative music, ten times worse than this score: they were bound to a structure and, truth be told, you can't tell apart one violin concerto from another and even predict how the next seconds will sound. You are absolutely right about the bass mix, about the horns and most especially the organ. But, again, why do we have to expect Zimmer to amaze us every time he composes something? I love Patrick Doyle's music to bits, but except for some themes, Nanny McPhee, Cinderella, Much Ado About Nothing, Goblet of Fire, Eragon and Sense and Sensibility all sound very similar, which is a huge plus because his style makes my heart stop beating at times. Why on earth would anyone want album presentatios la LOTR? Only Harry Potter deserves that... The music is famous, however, but would it make for nice listening in complete form? Why am I even writing 'would it'? We have the recording sessions, and the answer is no, they didn't make me shiver all over from start to end.

You are right about the status of these ghostwriters, but I won't repeat everything I wrote about them in my Black Pearl comment. Also, why would any ghostwriter suddenly write original music for a score? Wouldn't that result in a totally unpredictable score full of loose ideas?



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