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Only reason it worked so well in Almost Famous was it was a rockumentary of sorts, so the days music added to the scenery if the time without feeling out of place/jarring.
Lost in Translation's soundtrack complements the film pretty well.
Only reason it worked so well in Almost Famous was it was a rockumentary of sorts, so the days music added to the scenery if the time without feeling out of place/jarring.
I'm likely biased as a big Elliott Smith fan, but I really enjoyed both the score and the soundtrack to Goodwill Hunting.
I love both of them for their use of music, which has always been more impressive to me than scoring. Perhaps because my favorite scores are the ones that disappear into the fabric of a movie, while I prefer music/songs that stand out as a counterpoint or that contextualize what's happening on screen. Tarantino, Jarmusch, Scorsese, Wes Anderson, Guy Ritchie... all are fantastic at picking/placing songs. I think I own most of the soundtrack albums to most of their films.
Breaking Bad says hi.
Vangelis score for Blade Runner is for me a perfect example of how a score can really enhance a film. Hard to imagine the film without it.
I also like Tangerine Dream's work in a film called Sorcerers. They also did Risky Business, a film I don't really like, but the score is memorable.
So many examples come to mind.
Vangelis score for Blade Runner is for me a perfect example of how a score can really enhance a film. Hard to imagine the film without it.
I also like Tangerine Dream's work in a film called Sorcerers. They also did Risky Business, a film I don't really like, but the score is memorable.
So many examples come to mind.
David Fincher's on that list, too.
Oh yes.
Blue Velvet...this one in particular:
I'm also in love with this one, both the song itself and how/where it's used in the show.
But I was actually referring to the score itself. Breaking Bad uses original score very sparingly, and it's VERY seldom melodic, but it is always great. Particularly at establishing/emphasizing tension.
Badalamenti, in general, is many kinds of awesome. Perfect fit with Lynch.
Did any amazing show miss the mark more than the opening for the Sopranos?
Hans Zimmer did quite a job on the Gladiator soundtrack imo
Yup. I personally like the Lost Highway soundtrack, like I repeatedly say on here, and the use of him, Jobím and all the other artists make it an excellent soundtrack. An excellent mix of subtlety and aggression
If by "miss the mark" you mean "perfect", I have to agree; The Sopranos and Six Feet Under are probably my favorite TV soundtracks. HBO does pretty darn good in that dept. Although I lost interest in True Blood a long time ago, I recently downloaded a couple of collections of music from it and they are really good. I also love the music from the newer series Enlightened.
Wes Anderson is also a favorite of mine, but I think the scoring is the strength; it's Mark Mothersbaugh's consistently spot on contributions that add so much to the "feel" of a Wes Anderson film for me. I mentioned the HBO soundtrack to the series Enlightened earlier, and Mothersbaugh is a frequent contributor there also and adds so much feeling to that show.
For the most part, I love the music they chose for the show, but the theme song just didn't fit at all, IMO.
Brian May's scores almost made Mad Max unwatchable. Unquestionably the worst soundtrack I've ever heard.
On the other end, I friggin love Michael Giacchino. His score to The Incredibles is extra-cool.
http://www.michaelgiacchinomusic.com...credibles.html
I'm fine with that as long as you don't talk bad about Flash Gordon's
Hardly an earth shattering revelation, since it earned him an Oscar, but his score for Up is brilliant, too.
Yeah that Sopranos opening theme sucks.
Fellini would not be nearly as effective without Nino Rota. Not always showy or even memorable writing, but always emotionally appropriate to the images on the screen.
After watching decades of similar thrillers, Klute would seem tame without Michael Small-Goldfarb's spidery score.
Gil Melle's minimalist anti-score for The Andromeda Strain added to the tension onscreen by being as creepy and alien as the le virus without resorting to any of the cliches of theatrical music (except maybe Louis and Bebe Barron's weird-ass Forbidden Planet score). Don't think I'd like the movie half as much without it.
And I think Howard Shore's my favorite living composer -- his stuff for Cronenberg's movies (especially early stuff like Scanners and Videodrome) is totally under-appreciated script-driven experimentalism, but he has the chops to adapt to something like Lord of the Rings or even (gack!) Twillight work.
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