When I'm reading your reviews, I'm every time disappointed : every original score, every unusual music is always bad for you !! When I saw that you put a very good mark to King Scorpion (which is a Don Davis/Silvestri copy) I am furious against you.
I'm sorry for my english, but I'm french and really angry.

I think that thinking that a score is a pure or not, is totally normal and I've nothing to say. But sometimes, you have to say, even you don't like, that it's great, grand or genious. I don't like (I rather say that I hate...) Shore's Lord of the Ring, but I have to admit that it's powerful and good.
Titus is clearly Goldenthal's finest work (but I prefer Final Fantasy), it's dark, it's gloomy, it's jazzy but it is so close from the movie that I have the impression that Goldenthal follow his wife's work (Julie Taymor is his wife) from the beginning !! It's almost perfect and it's so close from the movie that, I think that it is the best exemple of collaboration.

I forgot to say that I am angry about soundtrack's world nowadays : I listened some extracts of POTC by Klaus Badelt and it's very very very bad. It's sounds like The Rock + The Peacemaker + Gladiator. I want Alan back !!!!! I waited this score but when I learnt that Silvestri was rejected, I thought that maybe Badelt could do something not so bad, like his Time Machine or K-19 (which are very good). But what I'm listening to his a mix of Mediaventures' old scores, the same sound, again and again...

I am really furious about dozen of things like that : Timeline, Hulk, Jone's LXG that us, Europeean, are going to have and not Americans... I have the impression that we are for big Cd's producers only wallets. I'm fed up with pledge : I'm still waiting my Batman & Robin score by Warner !!! I'm still waiting Die Another Day Vol.2, and I don't talk about Silvestri (nothing between The Mummy Returns & Identity).
>

> I forgot to say that I am angry about soundtrack's world nowadays : I
> listened some extracts of POTC by Klaus Badelt and it's very very very
> bad. It's sounds like The Rock + The Peacemaker + Gladiator. I want Alan
> back !!!!! I waited this score but when I learnt that Silvestri was
> rejected, I thought that maybe Badelt could do something not so bad, like
> his Time Machine or K-19 (which are very good). But what I'm listening to
> his a mix of Mediaventures' old scores, the same sound, again and again...

Hey, dude, you're almost acting like Christian actually admitted he idolizes the whole Media Ventures' sound provided by Zimmer & Co, but if you take a better look at Christian's older reviews of MV scores, you'll realize that's far from being the case. With regard to Titus, of course, I do also think this is an absolutely astonishing piece of work & all that, that it proudly stands among Goldenthal's finest efforts to date and that the reviewer's opinion is downright wrong (or, at least, he's not understood it, WHATEVER) but, unlike you, I don't bitch about it, I just live with the impossible idea that someone, somehow, may not like this score and go on listening to the damn OST, without giving a damn what others think about it. Man, why do people such as yourself always feel compelled to write such non-sense?

> With regard to Titus, of
> course, I do also think this is an absolutely astonishing piece of work
> & all that, that it proudly stands among Goldenthal's finest efforts
> to date and that the reviewer's opinion is downright wrong (or, at least,
> he's not understood it, WHATEVER)

How can someone's opinion be wrong?

Daren

> How can someone's opinion be wrong?

That's not what I meant, I just said that perhaps Christian has not understood the music he tried to review, that's all. But, unfortunately, people like you always hafta get off to a great start, whereas I try to explain myself as much as I can. Moreover, I'm tired of dealing with the same matter again and again. I'm outta here...

I wasn't talking about Filmtracks but about soundtracks' world in general.