Tracklist:
01. Rescue Mission (2:14)
02. Don't Get Too Misty Eyed (1:36)
03. Tonight the Comedian Died (2:44)
04. Silk Spectre (1:01)
05. We'll Live Longer (0:57)
06. You Quit! (0:39)
07. Only Two Names Remain (1:43)
08. American Dream (1:57)
09. Edward Blake: The Comedian (2:42)
10. Last Laugh (0:57)
11. Prison Fight (1:45)
12. Just Look Around You (5:52)
13. Dan's Apocalyptic Dream (1:18)
14. Who Murdered Hollis Mason? (0:56)
15. What About Janie Slater? (1:35)
16. I'll Tell You About Rorschach (4:10)
17. Countdown (2:47)
18. It Was Me (1:26)
19. All That Is Good (4:59)
20. Requiem (Excerpted from Mozart's Requiem) (0:55)
21. I Love You Mom (2:41)

Duration: 44:53 min.

FLAC:
https://mega.nz/#!acp1Db4b!NPJK5GrY8uebrKixZquemDQtizkFkt-pEc_Q84q9znk

Thanks a lot!! I've been waiting for this.

Meh, it's alright. It proves that Tyler Bates almost has some talent. They should of have had gotten Phillip Glass instead.

Oh fuck yes. Can't wait until they release the Soundtrack for the film (which should include the Philip Glass piece used in the film), the OSt for the Black Freighter and the game OST.

Oh fuck yes. Can't wait until they release the Soundtrack for the film (which should include the Philip Glass piece used in the film), the OSt for the Black Freighter and the game OST.

Then i recommend you to get Koyaanisqatsi, which is the soundtrack where "Pruit Igoe & Prophecies" were originally composed.

Thank you Boss.

I know that most of the people hates Bates (plagiarism isn't cool), but this one is pretty solid (I must admit that I also like Doomsday). Nothing great, but not a bad listen. Thanks for uploading!

Just discovered that "all that is good" is quite similar to "exodus" from Doomsday...

what, I think that Bates is great.
what about 300? That reallly set the mood for the enviroment the movie took place.
ANYWAY, can't wait to hear this one.

what, I think that Bates is great.
what about 300? That reallly set the mood for the enviroment the movie took place.
ANYWAY, can't wait to hear this one.

Yes but the main theme ripped off the main theme of Titus. I actually think the bates version is so much better that i wouldn't care that he stole the melody. Plus most of the titus soundtrack I heard until i couldnt stand watching the movie anymore wasn't anything like the rest of 300.

I liked his Get Carter score, from the 2000 remake with Stallone.

Yes but the main theme ripped off the main theme of Titus. I actually think the bates version is so much better that i wouldn't care that he stole the melody. Plus most of the titus soundtrack I heard until i couldnt stand watching the movie anymore wasn't anything like the rest of 300.

I can't believe this. Bates' is a generic EPIC theme. The version used in Titus is beautiful and dramatic. They are worlds apart in quality.

Even if Bates has directly stolen from other composers, it is nothing that other film composers haven't done themselves. I am not sure what bothers me more, composers who "borrow" from other composers or those who just steal from themselves. Hans Zimmer... I am looking at you (i.e. listen to Black Rain "Outburst of Rage" vs the main theme of "Batman Begins" or Backdraft "Burn it all" vs the main theme of "Pirates of the Caribbean: COBP") or even James Horner (Aliens vs Wrath of Khan)

Dear God, what in sweet hell is this? Is this really what passes for film music today? Tyler Bates - FOR GOD'S SAKE, RETIRE.

Just adding to the misery... A few months ago (late last year) Watchmen was released as a series of animated comics on iTunes and elsewhere I believe. They were scored by Lennie Moore - a composer who can read and write music, for starters; and the scores are simply exceptional.

Why is it that a cheap computer animated series of comic adaptions on iTunes is blessed with a fine music score, but this multi-million-dollar monstrosity of a movie has a blanket covering of populist dreck?

Dear God...

And the worst thing is, this will sell in its thousands. (Thanks for posting, however; my hatred for the music does not in the slightest bit overshadow your generosity in sharing.) :)

*grumbles*

I have to agree with you that this score is not very good. I tried to listen to it a few times and couldn't get into it enough to bother putting it on my zune. Thank god so many people on here are into sharing the good stuff (like my recently posted North and South scores).

Dear God, what in sweet hell is this? Is this really what passes for film music today? Tyler Bates - FOR GOD'S SAKE, RETIRE.

Just adding to the misery... A few months ago (late last year) Watchmen was released as a series of animated comics on iTunes and elsewhere I believe. They were scored by Lennie Moore - a composer who can read and write music, for starters; and the scores are simply exceptional.

Why is it that a cheap computer animated series of comic adaptions on iTunes is blessed with a fine music score, but this multi-million-dollar monstrosity of a movie has a blanket covering of populist dreck?

Dear God...

And the worst thing is, this will sell in its thousands. (Thanks for posting, however; my hatred for the music does not in the slightest bit overshadow your generosity in sharing.) :)

*grumbles*

Dannyfrech, you are a man of such genius. I just watched the first chapter of the Watchmen Motion Comic via my Fandango package, and not only was the overall package very good, the music was exceptional. It had fit the Watchmen feel to such a grand degree I was shocked it wasn't the score of the movie!

The OST isn't Watchmen. It tries to be epic, but it just isn't.

Where can I get this exceptional Motion Comic music from?

Unfortunately, the only place you can at the moment is to download the comics... No soundtrack release has been announced. I would imagine Lennie will be trying to get it released since it's a superb piece of work - I believe he recorded ~ two hours of music with a fifty piece orchestra in Prague (where else?)

If you know what you're doing, fifty is all you need... A lot of noise, a ridiculously big orchestra, and a moaning choir, does not an epic score make, as Bates (and many other industry hacks) has proven time and time again. Moore's score for the animated comic is a wonderful Golden Age symphonic masterpiece. If you're at all familar with his stellar work on "Outcast" you'll know what to expect. A scoring technique that harkens back to the great symphonists of the 1940s and 1950s - and a very definite feeling of Bernard Herrmann as well.

Here's a little sampler from episode 12. The main title music is first. A love scene follows - if you've seen the episode, then you'll know just how heartbreakingly beautiful the scene is, and how it is enhanced immeasurably by the sensitive scoring. The end credits are next. Apologies for the background noise, SFX, etc - I have tried to remove dialogue but it sounds bloody awful. This score simply must have a release. I'll be campaigning for it.

http://sharebee.com/96013342

I dont see what the big deal is about Bates' music...

So WHAT? A Composer can't keep track of EVERY damn theme and motif out there in the world. Eventually you're going to create something that sounds like something else. It's called probability. Get over it. I personally don't care much for this Watchmen score, either, but then again, If i wanted to see a move about heroes walking among us I'll just watch the Tick re-runs...at least THAT was entertaining. lol...

Ah the Tick...Good times...

Now THERES a score we need...lol

You cant have everything...

I think the problem people have with Bates is that, whilst everybody is guilty of taking a little too much inspiration from another piece of music once, twice, or thrice in their careers, Bates' music is either completely plagiarised verbatim, or it's absolute rubbish. John Williams borrowed a little too much of Holst's "The Planets" in his Star Wars scores; but you could hardly say that Star Wars was a load of lazy crap interspersed with verbatim Holst quotations.

Even Yoko Kanno, with her terminal, almost obsessive-compulsive plagiarism, manages to create something musically exciting, intelligent, involving, and appropriate. Stolen, soundalike, unoriginal it may be, but it's still ravishing music.

I can't tell you how sick I am of hearing people writing a typically over-simplified, uneducated, outstandingly biased rant and finishing it off with "Get over it!" - this tells me three things they believe:

a) Their opinion is more worthwhile than anybody else's and therefore there is no room for any other viewpoint.

b) Mediocrity is not to be challenged.

c) They wouldn't know good music if it hit them on the head, or else they don't care if it's good or not - see "b".

d) They can't tell the difference between good music that has an audible inspiration, and crap music written by somebody without any natural musical ability.

(A) makes them an irrational fool. (B), (C), and (D) disqualify them from making any commentary in a rational discussion about music.

Music has been made since the beginning of humanity. Mankind made music before it learned to communicate with language. Standard Western musical notation began 1,200 years ago, and its foundations has been virtually unchanged since the seventeenth century.

People like Bates aren't "just" running out of melodies or running out of new ideas. They are simply not musicians and they have no musical skill. There is a big difference between two compositions written in the same musical language, and two compositions that are basically identical in structure, arrangement, and melody.

I respectfully suggest that our opinionated friend who would like to reduce the whole concept down to [paraphrase] "Get over it you morons, who cares?"

Nobody is saying you have to completely re-invent the concept of music every time you write a new piece, any more than a writer would be accused of plagiarism if he wrote a book in English - even though hundreds of thousands of books have been written in English. It's the words that are important, not the language. The language is merely a tool. You pick the most appropriate tool in your arsenal and you use it to fashion your creation. You do have to do is have some sense of individuality to your work. When people can reliably identify a piece of your music, but only because it cycles between stolen, boring, and inappropriate, you know that you're not the next Mozart.

For the record, I don't like superhero movies (modern ones, anyway - give me Richard Donner's Superman; from an era when even popcorn blockbuster movies were good) - but I do like music. But it has to be good. This isn't.

Dannyfrench's quest to learning people how good music sounds and how bad should be bashed;). Mostly I agree with U in what U say, but on the other hand U R not very different from those who says "Get over it you morons". You use better words, but after all U R saying: I'm right, you are not, I know good music, you do not.

I don't blame people for liking Bates. Yes, he's a hack, even if I like Doomsday I can say that he's not very talented. But it doesn't mean that everyone who likes him has no taste. Everyone has own taste, and even if U don't like tastes of others, U can't all the time yell that yours is the best. It's best for U. And one question to you danny: what music do U listen too despite the symphionic of course?

So if someone likes Bates scores, does it mean he's deaf? Dumb? And what if despite Bates he listens to Dvorak, Mozart, Korsakov, Williams, Horner etc.? What if Bates is just an intermission for him?

Thank You!!

Dannyfrench's quest to learning people how good music sounds and how bad should be bashed. Mostly I agree with U in what U say, but on the other hand U R not very different from those who says "Get over it you morons". You use better words, but after all U R saying: I'm right, you are not, I know good music, you do not.


Fair comment. ;)

I am attempting to generate discussion, whereas the other poster appears to be saying "I am right so shut up everybody!" - I like to think that I am being a bit broader. I don't think anybody should be told that their opinion is wrong, or that they shouldn't make it. I don't think I'm doing that. I have only ever presented my opinion as my opinion and never discouraged anybody frm presenting theirs.

The difference is, I believe I am right, and I believe my statements are sufficiently educated and backed up for their truth to be understood. But still, I do not begrudge an opinion.

On the other hand, the other poster has made a blanket judgement (which is without wishing to be rude or speak out of place, uneducated and biased) that anybody moaning should just shut the hell up.

The thing is, as I am painfully aware and I am sure you are too, is that if people are fed crap and nobody stands forward to say "This is no good!" then the crap will continue FOR EVER.

I don't begrudge anybody from enjoying Bates; there is no accounting for taste. But seriously, there comes a time when you have to say "You may love this, but it is still rubbish" - I don't think many people would be able to conjure up an argument in favour of Bates. The best you can do is "I like Bates because I do" - that, of course, is anybody's perogative.

But do you not agree that it's entirely possible for something to be rubbish, and be liked? Is it not possible that those things are liked because the people who like them are wrong?


So if someone likes Bates scores, does it mean he's deaf? Dumb? And what if despite Bates he listens to Dvorak, Mozart, Korsakov, Williams, Horner etc.? What if Bates is just an intermission for him?

No, it means he is missing out on a great deat of far, far superior music. Or it means that Bates provides him with what he finds satisfying in music. I like McDonald's cheeseburgers but I don't pretend they're great food; if you need a quick fix and you're in a tearing hurry, they'll hit the spot. But if you're after nutrition, quality, etc, you'll be looking elsewhere. Some people aren't looking for that; some people don't want to be distracted by it. I know that when I've just fallen out of the pub at midnight and I'm weaving my way to the bus stop tanked up with beer, I'm not after subtle flavours or a six course culinary masterpiece; I'm after a quick burger or a kebab or a hot dog. But even at that time, I would never dream of saying that a kebab is perfectly good food and anybody who is saying that it's rubbish should just shut up and move on; because I would be wrong.

Music is important to me. Music is my life, and it's completely integral to my personality. It's hard to stomach when somebody (who maybe doesn't hold music, or the importance of music in such a deep reverence) tells me I'm being a dickhead for complaining when somebody writes bad music. I should just shut up and take the bad music. Maybe you don't care - maybe it's not important to you; but it IS important to me, and to a great many people who gain life-changing joy from all forms of music every single day.

Cinema is important to me; and music is just as integral to film as it is to me. Having a good film with bad music (and by bad, I mean compositionally bad, generic, stolen, incompetent, etc) is like having a lovely car which has been sprayed in manure. For some people, music in film isn't important; but to somebody with my sensibility, it is VERY important, and VERY noticeable.

"Who cares? I'm not going to listen to some boring orchestra; I'm going to see a movie!" -- My Former Boss

Fair enough - go for it. I'm not going to listen specifically to the score either. But it's not something I can ignore. Nobody should have to be ashamed of (or modify to suit popular opinion) their very personal reaction to art.

Finally, I don't like Mozart. I still recognise his genius, but his music is not to my taste. This is a concept most people have trouble understanding. There is either "I love this music so it is great!" or "I hate this music so it is shit!" -- there is great music, and there is shit music, and it should be recognised as such. But frankly, narrow-minded, logically-flawed opinions should be disregarded.

(That's the only exception to my "encourage all opinions" rule - if you are talking nonsense [and I don't mean just MY interpretation of nonsense - I mean actual, bona-fide nonsense] then I heartily encourage you to be quiet!) ;)


And one question to you danny: what music do U listen too despite the symphionic of course?

Well, as an orchestral composer, my bias is bound to be in the direction of the symphonic - concert hall music, as well as music written for the cinema screen. I also love jazz, big band (Glenn Miller, etc), Broadway musicals (I'm not gay), trance, and a fair bit in between. As I have often argued in other theads, I'm not a crazed "genre-discriminator" - I have wide ranging tastes. My only overriding discrimination is that, as I have said, the music must be good :)

Cheers,
D

PS - Some choice quotes from a review that sum it up very well indeed, courtesy of Jon Broxton over the MMUK.

"...The score really is a quite monumental let-down considering the potential for great music source material like this provides. Written for 87 members of the Hollywood Studio Symphony orchestra and a moderate-sized choir, and augmented (inevitably) by lots and lots of electronics, Bates’ score for Watchmen has a curious, unfinished quality to it, as though he sat down and wrote all the filler music first to get it out of the way, but then forgot to write any themes or give it any real sense of identity.

"Despite the number of orchestral performers and choral singers Bates uses in cues such as “Tonight the Comedian Died”, “Silk Spectre”, or the god-awful “Prison Fight”, everything is overwhelmed by the sludgy and grating electronics. There’s no depth or sophistication to the music, no countermelodies, no creative performance techniques – just lots and lots of instruments all playing the same note simultaneously and at great volume, while electronic samples grind away in the background.

"I guess the bottom line is that I’m just not part of the target demographic for scores like Watchmen. This is a score aimed squarely at young consumers who think Pirates of Caribbean and The Dark Knight are the best things ever written, who think orchestras are pass�, and who wouldn’t be able to pick out a countermelody if you hit them over the head with it. What bothers me about this, though, is the fact that you can guarantee that the Watchmen soundtrack will sell in huge numbers, make a boat load of money for Reprise and Warner Brothers, and will lead to other films of this type having similar scores commissioned, because they too want a piece of the youth market pie. It’s a dispiriting vicious circle which leaves dozens of enormously talented composers marginalized in favor of this populist twaddle."

Great, great debate here!

dannyfrench, you're in very good shape, my friend. This time I agree 100% with you (not like with Headhunter (Thread 63699)... ;)).

Thanks for telling my opinion 10 times better than my limited english allows me to. I've listened to this score after having listened to Dinotopia again, so you can imagine my consternation.

I dont recall saying "Get Over it You MORONS" lol

Jesus some of you in here are grumpy.

oh by the way....some people think a duck's fart makes for inspiring music...
dont mean i bash em for it...after all nobody is ever RIGHT when it comes to art. I have no problem though in reminding folks how illogical an argument based on art is: thats like quibbling over religion. Nobody ever wins that kind of argument.

We are not bashing you, just your opinion. If we think the music sucks, we are going to say that it sucks. Simple as that.

Get over it. ;)

I dont recall saying "Get Over it You MORONS" lol Jesus some of you in here are grumpy

Not grumpy, just fed up with being told to shut up just because I had the balls to say this score is a POS, and because somebody disagreed with me, suddenly I'm a snobby idiot. :)


oh by the way....some people think a duck's fart makes for inspiring music...
dont mean i bash em for it...after all nobody is ever RIGHT when it comes to art. I have no problem though in reminding folks how illogical an argument based on art is: thats like quibbling over religion. Nobody ever wins that kind of argument.

Another good point. There is a lot of music out there which I am assured (by people with grey hair and incredibly arrogant personalities) is absolutely magnificent. And as far as I'm concerned, it's absolute bollocks. These people are misunderstanding what music is about. Case in point (and apologies for veering off topic in order to make a point) - a musicologist friend of mine LOVES late Schoenberg; absolutely adores it. Why? Because she likes to sit down and analyse it mathematically, and nobody's music stands up to mathematical analysis quite like Schoenberg in full blooded twelve-tone serialist atonal mode.

When I pointed out, "Yes, but there is no emotional content and no emotional reaction; do we make music for analysis, or do we make music to reach people emotionally?" she looked at me like I'd just started speaking Dutch. And then we had hot, steamy sex all night and then I went home and listened to some Schoenberg, which gave me a headache and made me sleepy.

ANYWAY! Getting back to the point, yes, one man's crap is another man's gold and vice versa. And the religion analogy is excellent - you can't all be right, but in order to practice a religion you have to believe that you have it right and everybody else has it wrong.

Just to clarify - I haven't bashed anybody for liking Bates. I've bashed Bates because his music is rubbish. I know we will come back to "That's just your opinion" but as I have said, there must be a time at which we can call a turd a turd without worrying about offending people who really like turds.

Bates' score fails as music. It fails as a film score. It fails musically. It fails orchestrationally. In order for music to work appropriately one has to have some musical skill, just like in order to write an effective story you need a strong, flexible command of your chosen language and the ability to think about plot, progression, characterisation, imagery, etc. Bates' score is, like a great many of contemporary film scores, very loud, uncomplicated, and unimaginative. I dislike Zimmer and his crew, and yet I find considerably more to enjoy in a Media Ventures score than I do in anything Bates has farted out into the world thus far. There is no reason to believe he will suddenly surprise us and write the next Star Wars.

Now may be a good time to mention that Bates' musical education consists of reading the back of LP covers and listening to his mother's hi-fi as a child. Then he got an electric guitar, joined a few bands, moved to LA as a producer, and suddenly found himself writing music for cinema. Not that a massive education matters particularly if you've got the talent but I genuinely believe that Bates has neither. A guy like Danny Elfman; he had no conventional musical education but by God, he's a talented musician. Yes, he has orchestrators. Yes, Steve Bartek and Shirley Walker had a considerable influence on his eventual film technique. But have a look at Elfman's filmography and then Bates' filmography. If you think Bates has a Nightmare Before Christmas, an Edward Scissorhands, a Black Beauty, a Mission Impossible, or a Batman in him, I'll bet you both my testicles that he doesn't; and that in the great scheme of things all he will be remembered for will be the 300 plagiarism lawsuit. Granted, the Hollywood landscape isn't anywhere near as attractive as it was twenty years ago for composers, but nevertheless... What do you reckon you'd get if you hired Bates, took away his temp track, his five million piece orchestra, his synthesiser, his drum machine, his arrangers, and his Elliot Goldenthal score book, and said, "Please write us a film score - a traditional score, with lyricism, melody, counterpoint, theme, warmth, heroism, and romance."

What you'd get is Bates saying, "Umm... I... Well..." before turning on his heels and running away, screaming.

People are still listening to Star Wars, Superman, Close Encounters, Jaws, ET, Ben Hur, Gone With The Wind, Conan, The Big Country, Star Trek, Planet of the Apes, The Sand Pebbles, Poltergeist, The Omen, etc - and most of them are thirty or more years old. This is because they aren't just film scores, they're film music - they're well written, thoughtful music. They can do romance. They can do epic. John Williams can do epic with a bassoon and a penny whistle. Epic isn't just about volume and noise. These scores stood the test of time. Nobody will remember Bates. Nobody will remember most of today's film music in the future. But those scores, the classics, will be released and rereleased and rerecorded again and again throughout your lifetime, mine, and beyond.


Great, great debate here! This time I agree 100% with you (not like with Headhunter... ) Thanks for telling my opinion 10 times better than my limited english allows me to. I've listened to this score after having listened to Dinotopia again, so you can imagine my consternation.

Thank YOU. :)

Making a comparison like that really just brings it home, doesn't it...


We are not bashing you, just your opinion. If we think the music sucks, we are going to say that it sucks. Simple as that. Get over it. ;)

Class, pure class. :)

Peace, folks!
D

Great posts Dannyfrench although I don't like that review you quoted suggesting that The Dark Knight and Pirates of the Caribbean are crap such that the people who like those like this. I love those 2 scores for what they are and because they are recognizable but also can't stand this watchmen score.

Great posts Dannyfrench although I don't like that review you quoted suggesting that The Dark Knight and Pirates of the Caribbean are crap such that the people who like those like this. I love those 2 scores for what they are and because they are recognizable but also can't stand this watchmen score.

I know, that was a bit harsh but I do see the logic behind the comparison. I see this "type" of score as broadly similar. They have several characteristics in common:

a) Massive orchestra and choir.
b) Compositionally and orchestrationally uncomplicated.
c) Stylistically predictable, and almost identical to the last.
d) Banging percussion in action cues.
e) Hundreds of people playing the same note.
f) Simple, cliched chord progressions instead of counterpoint.
g) Simple, cliched closely related to the chord progressions.
h) No melodies, or no memorable melody.
i) Drumloops, and/or inappropriate synthesisers.
j) At every "epic" moment, a highly cliched combination of a), b), c), d), e), and f) all culminating in a cheesy power-anthem style "epic" theme; and it must be epic because it is very loud, has a chanting choir, lots of electronics, a distorted grating drum kit, and all levels on the mixing desk turned up to MAX.

Your comment "I love these scores for what they are" is very telling. To take Dark Knight as an example... It's a perfectly functional score for what I understand is a superb movie (don't ask me - I haven't seen it and I have no desire to) - but imagine what it could have been. With lesser forces, even. But seriously, three conductors, five composers, and eight orchestrators, and that's the best they could come up with? Do me a favour.

It does the job but "An effortless masterpiece", "Awesome", "Darkly beautiful", "A great score in the Star Wars tradition"(????!!!), "A piece of stunning orchestral art"? I think the f**k not. (Note: These are all extracts from recent Amazon.co.uk reviews.)

Zimmer rubbished Elfman's excellent score for 1989 Batman as "a happy little jolly theme" if I remember correctly. Go get out Batman. Is it a "happy little jolly theme"? No, it's a symphonic masterpiece. Get out Dark Knight. Wow, a theme with two notes. Now that must've taken some doing... ;)

I wasn't suggesting that the themes used were particularly beautiful but I stil find the score a great listen every time i put it on just like The International. Sometimes ambient pulsating correct usage of few notes can be very effective in creating tension and that is something I think both of those scores do well.

While I do enjoy a good theme, I think the two scores I mentioned give good examples of how a theme is not always in the form such as the scores you mentioned.

Absolutely! I didn't mean to suggest that theme was an absolute necessity, but it helps. One of my favourite scores of all time - The Matrix - barely has any theme at all, but it does have a recognisable and unique motif. That, and the style of the film didn't particularly lend itself to the concept of huge sweeping strings and heartbreaking lyricism.

Less can certainly be more... And there's nothing worse than a score that tries too hard. The trouble is, that's the way I feel about POTC and similar scores. I'm getting slapped around the face with wet fish whilst somebody is yelling "THIS IS AN EPIC MOMENT, F*** YEAH!!!" -- it's the lack of intelligence behind the score that I abhor. WHY is it epic? Talk to me. Don't just hit me with noise and hope I realise what it's supposed to mean. I know it's epic - I can see this on the screen. The score has to give something more.

Speaking of Zimmer - The DaVinci Code. Pisshole movie. Superlative piece of scoring. And the best part was cut from the film; "Poisoned Chalice". Not original, not daring... But beautiful and sumptuous. It can be done. Even by Zimmer. But all too often, he and his studio cronies slip into "Let's make a lot of poorly orchestrated noise and boost it up with synthesizers" territory and we get YET ANOTHER "Gladiator" knockoff.

But even when I want some mindless fun, this kind of thing isn't where I turn. I remember reading a review (once again on Amazon - where do these idiots keep coming from) in which a man, extolling the virtues of "Gladiator" wrote that Hans Zimmer wrote MAN music and that it (forgive the graphic language - this is what he said) made his dick REALLY HARD and that if it didn't make yours hard too, you were gay or dead.

I must be a dead homosexual because it doesn't do anything for me other than to make me increasingly annoyed at the repetitive, artless, lowest-common-denominator nature of it, and increases the odds that I'll smash up my nice expensive hi-fi in a fit of rage. And then I'll go off and listen to some Jerry Goldsmith and my life will be OK again...

I also object because these scores are "squatting" in films that could've so easily been blessed with better music. I know you enjoy POTC / Dark Knight, and obviously that's fine. But don't you ever think to yourself, "What could this have been?" -- good enough is never good enough.

"It'll do." - the two words that sound the death knell of all art.

AND -- I apologise once again for veering even further off topic.

Getting back to the point at hand - Who Watches the Watchmen? Not me, unless the cinema sound system is broken... Master Bates' score is just that; a quick, workmanlike musical wank, when what the film needed was a lifelong relationship and a tender embrace.

Thanks for the share :love:
I have to say that Tyler BATES was not the good choice :( to score this movie as to 300. But he did a very good job on Get Carter 2000 and ROTA !!!

I remember reading a review (once again on Amazon - where do these idiots keep coming from) in which a man, extolling the virtues of "Gladiator" wrote that Hans Zimmer wrote MAN music and that it (forgive the graphic language - this is what he said) made his dick REALLY HARD and that if it didn't make yours hard too, you were gay or dead.


Biggest laugh of the day!!!

oh by the way....some people think a duck's fart makes for inspiring music...
dont mean i bash em for it...after all nobody is ever RIGHT when it comes to art. I have no problem though in reminding folks how illogical an argument based on art is: thats like quibbling over religion. Nobody ever wins that kind of argument.

word

Hey even Ill admit that Zimmer's Batman score in comparison to Elfman's Batman score are world's apart...But some people just don't want the orchestral approach to Batman anymore...or the creators didn't feel they should tread that same ground again...

Thats kind of like a duck's fart and a donkey's bray....it's music to some, but they're both coming from different places...

So...the dl got removed due to this argument? Or am I making assumptions here?

So...the dl got removed due to this argument? Or am I making assumptions here?

its back online.

Yes, after listening to it, I gotta agree...it's pretty dull and unimaginative. I would have preferred a more ...classic approach. Y'know big orchestra type. But all comic book movies seem to have switched to these sorts of scores.

Nothing catchy about this one for me. It's kinda 8o's pulp movie though. Makes sense, too.

super thanks, great flick, great music (OST & Score)

Yes, after listening to it, I gotta agree...it's pretty dull and unimaginative. I would have preferred a more ...classic approach. Y'know big orchestra type. But all comic book movies seem to have switched to these sorts of scores.

Nothing catchy about this one for me. It's kinda 8o's pulp movie though. Makes sense, too.

yeah I tried listening to this score several times, but it never gets my attention. I did liked Tyler Bates's score with 300 and Doomsday though.

I don't care what anyone else says, this is just about the best music anyone could write for this movie. It ain't "Lawrence of Arabia"...but neither is "Watchmen." To play this material otherwise would be insulting, would rob it of its edge. It'd be like Disney making a Narnia movie where all the animals are bi-pedal anthropomorphs, or someone making a Batman movie which exists for no other reason than to show off explosions, fight scenes, make-up, and elaborate production design...oops, that last one already happened four times over. ^_^;

Anyways, this music rocks.

I don't care what anyone else says, this is just about the best music anyone could write for this movie. It ain't "Lawrence of Arabia"...but neither is "Watchmen." To play this material otherwise would be insulting, would rob it of its edge. It'd be like Disney making a Narnia movie where all the animals are bi-pedal anthropomorphs, or someone making a Batman movie which exists for no other reason than to show off explosions, fight scenes, make-up, and elaborate production design...oops, that last one already happened four times over. ^_^;

Anyways, this music rocks.

My eyes have bled. Oh merciful God, end me now!

I never knew that Le Chiffre posted at FF Shrine.

can anyone PM me a link to a lossless version of the OST & Score of Watchmen if they have or come across it? thanks

re-upped in flac

Awesome. Thanks a lot

In regards to Tyler Bates' plagiarism, I have another case in point: in the film "Shriek If You Know What I Did Last Friday the 13th" there is a scene where Dawson has to put some fueler in the projector for his sex ed class' "educational" film entitled "Motley Screw: The Pam and Tommy Story" when The Killer initiates a cheesy fight scene. The music accompanying that scene is none other than a cornier version of Bernard Herrmann's Cape Fear theme which plays when Sam is driving his family to the boat in the third act. I can't exactly fault Bates for that "homage" (another word I'm starting to tire of), plagiarism, rip-off, whatever you want to label it, because I happen to love that theme and it's one of Bates' better references.

For those who doubt Bates' talents, listen to his score for Slither. Personally, I think it's his best and if any Bates sessions were to leak, THOSE would be the ones I would REALLLLLLLY want to have. I don't get why he doesn't write like that more often. Sure, he still rips off stuff from other composers but it doesn't bother me all that much.

It's his industrial music that tends to bore me. I tried many times to enjoy his sound for The Devil's Rejects independent of the film but apart from some standout cues, it's a whole lot of noise. His Halloween score was the perfect score for him because he could rip off Carpenter and it be okay. At least his beefed up theme was pretty good and some of the earlier kill cues were effectively creepy. Guardians of the Galaxy was another score of his I liked that sounded to me to be less referential but sci-fi score fans will know more about his references in that score than I would.

Regarding Halloween, I hear VERY CLOSE connections to Rob Zombie and Scott Humphrey's score to House of 1000 Corpses and that's a HUGE factor in my enjoyment of the Halloween score. I've been wanting to do a deluxe edition of House of 1000 Corpses for a while but it's a real chore. I can't quite find the right way to do it. Many disliked the film but I found it endearing in a morbid kind of way. I would LOVE to see the uncut original 105 minute version that has only screened a few times in the film's history, to my knowledge, but Rob seems to have little motivation to make it happen.

Thanks :)

no chance of the complete score ever be released right?