Directors Film Scores Draft (1 Viewer)

[Justin_S]

That's too bad, but okay. Thanks for stopping by anyways.

Eric is up.

 

[Lew Crippen]

I'll play if you expand

 

[Agee Bassett]

If it will clarify things a little, here's how I defined the difference between scores/soundtracks/musicals for my classic film scores tourney (of course, it is Justin_S's prerogative to define it any way he wants):

form. This is here defined as music in which lyrics/songs are employed as an integral narrative device. This does not preclude scores in which original choral music is used in the service of background accompaniment; or scores in which brief segments of this form are interspersed, whether as a complement to the diagetic world of the film’s action or setting, or as a momentary “departure” from its main structure. For example, whereas both Sergei Prokofiev’s original cantata Alexander Nevsky (in which the action is frequently accompanied by solo or choral voices) and Max Steiner’s Casablanca (in which “As Time Goes By”, and various other songs, play a prominent role in establishing the diagetic setting of the film’s action) are eligible, Bock & Harnick’s Fiddler on the Roof (which tells the story of Tevye fundamentally through lyrical songs) is not. Furthermore, Burt Bacharach’s Butch Cassidy and the Sundance Kid (which features both a single, brief song interlude, as well as solo and choral vocal accompaniment) is eligible; whereas Alan Price’s O Lucky Man! (in which the song interludes are integral to the film’s narrative) is not. A little discretion may be required. (Oft-times, a score’s categorization for Academy Awards will be a short-cut in determining its eligibility.)
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[Evan Case]

You can mark me down if you expand. I think you have to find four people for that.

Evan

 

[Eric_E]

My first pick is Thomas Newman's score for The Shawshank Redemption.

 

[Brook K]

I'll jump in too.

 

[george kaplan]

I'd like to ask for clarification on what's a score. Take A Hard Day's Night. The music was written specifically for the film (even though they are rock songs, and not the typical orchestration). Where would this fit in?

 

[ChuckDeLa]

I would consider AHDN to be a soundtrack, since the songs are part of the narrative.

 

[Dome Vongvises]

John Williams' Star Wars: A New Hope

 

[george kaplan]

How are A Hard Day's Night, This Boy, Can't Buy Me Love etc., part of the narrative?

 

[george kaplan]

I see I'm up.

I'll take North by Northwest

 

[DavidAC]

I'll take Lawrence of Arabia (Maurice Jarre)

 

[ChuckDeLa]

Well, George, I find that I can't really articulate my answer to that question in a satisfactory manner. The best I can do is say that calling AHDN a score seems wrong to me.

 

[Agee Bassett]

By definition, a score is independent of the diagetic world of a film's action. The songs in AHDN take place within the film's diagetic world, therefore they qualify as part of the soundtrack, along with the other sounds in the film.

Alexander Nevsky (Sergei Prokofiev)

 

[Angelo.M]

david byrne and ryuichi sakamoto
the last emperor

 

[Angelo.M]

Are we going 1-8, 1-8?

 

[Justin_S]

Yeah, meaning I'm up.

I'll take the wonderful and very creepy score performed by Goblin for:

SUSPIRIA

Erik is up, followed by Eric, etc.

This has been up for a while, yet we still need three people, so I'm doubting we'll make it to 16 unfortunately.

 

[ErikG]

Shit! I was planning on picking Suspiria next. :frowning: It is easily my favorite horror movie score....

I'll take Jaws (John Williams)

 

[Eric_E]

I figured I had better grab this while I still could:
Howard Shore's Oscar-winning The Lord of the Rings: The Fellowship of the Ring, one of my favorite scores of the past decade.

P.S. I'll be perfectly happy if the draft stays at 8 participants - I like when things move along at a quick pace.

 

[Justin_S]

It is easily my favorite horror movie score....

Mine too.

Dome is up.

On Deck
George
David
Agee

If Dome hasn't picked by 12:18 PM (going by board time), George may go.