Carter Burwell's been fired from "Serenity" by shambleau

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Carter Burwell's been fired from "Serenity"

POSTED BY: SHAMBLEAU
UPDATED: Sunday, January 30, 2005 04:30
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VIEWED: 13866
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Saturday, January 22, 2005 7:46 PM

You can read about it at Whedonesque or at Carter Burwell's web page.I'm personally not surprised. I recently saw "Kinsey". I paid particular attention to the music since I knew he was scoring the BDM. Based on what I heard, I thought his music was going to be wrong for the movie. I almost started a thread about it.

I know he's a highly respected composer, but that doesn't mean he's right for this. Except for the opening music for "Fargo", which I loved, I can't remember any of the Coen brothers' movies being memorable, for me at least, because of the scores, as opposed to say, the pop songs that were in them. And I'm crazy about their movies.

Firefly, on the other hand, had music that engaged me any number of times. I don't know if Greg Edmonsen (sp?) is available now, but I hope they try to get him, or maybe Cristophe Beck or Robert Kral. I think the execs may have nixed any tv composers because there's a certain snobbery about them. Beck mentioned that this snobbery affected him when he was first scoring for movies.

If not, I'm not sure who they should get. Anybody know of someone they think might be suitable?

shambleau

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Saturday, January 22, 2005 7:51 PM

SHINY

Relevent links:

http://www.carterburwell.com/tbi_main_pages/carter_burwell.shtml
http://whedonesque.com/?comments=5871

Jayne, your mouth is talkin. Might want to look into that.

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Saturday, January 22, 2005 7:55 PM

TRIBES

I like James Horner for Titannic and Braveheart or Hans Zimmer and Klaus Bedelt for Gladiator.
All have big compelling memorable epic music.

'well here I am'

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Saturday, January 22, 2005 7:58 PM

MOHRSTOUTBEARD

Though I disagree that Burwell has not provided memorable scores for the Coen Brothers (Raising Arizona's yodelling main theme, Miller's Crossing's Irish tunes, and The Man Who Wasn't There's piano musings all come to my mind instantly), I think this is the perfect time to snatch Greg Edmonson back up.

"You've just gotta go ahead and change the captain of your brainship, because he's drunk at the wheel."

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Saturday, January 22, 2005 8:15 PM

SHAMBLEAU

I thought of "Raising Arizona" and "Miller's Crossing", but thought that the Irish tunes weren't written by him. Ditto for the yodeling. I thought it came from some old country song, so if I'm wrong on those, then yep, the themes were cool. Still feel he's not right, though. Too cerebral or something.

shambleau

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Saturday, January 22, 2005 8:29 PM

QUICKSAND

'Twas interesting to read that little bit on Burwell's website about how he works... I've only recently started paying attention to film composers, but the most recent time I watched "Miller's Crossing" (my favorite film of all time), I thought, "Carter Burwell? I've got to give this guy a second chance...."

His work hadn't impressed me before, and looking over his filmography again, nothing really jumped out at me except his Coen Brothers work. This isn't a reflection on him, I don't think, but more likely exactly what he says on his site-- it just didn't work out. I posted a note months ago, about how I was ticked off that David Boyd wasn't going to DP 'Serenity.' Joss is apparently very happy with the new guy. So there you go.

In most of his movies, the music DOES fade into the background, so that you don't notice it's there. Again, not an insult-- in most cases, traditionally, this is what a score should do (and it didn't do this in Miller's Crossing, so that's just my taste. But whatever). Personally, I DO prefer the music that jumps out at me, that guides a scene instead of just being incidental. 'Star Wars' is a great example of this, ditto Miller's Crossing, the most glaring example being, say, that trailer for "Charlie's Angels: Full Throttle" with that The Vines song, or any music video that tells a story instead of showing the band play.

My point. Oh yeah.... Joss is a pretty smart guy. Regardless of what names we bandy about, he'll pick the right person, being a bit of a musician himself. Personally, I just watched "The Core" on cable... awful movie, but the score was pretty good. Christopher Young was the guy's name, but I also dig others... Eliot Goldenthal ("The Professional"), or, natch, John Williams (the king of the "in your face" orchestral score).

More likely, though, Joss will get somebody none of us has ever heard of... and it'll be awesome.

Stay tuned.

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Saturday, January 22, 2005 8:38 PM

EMBERS

Quote:
Originally posted by Quicksand:
Joss is a pretty smart guy.

yeah, I'm assuming that Joss is a bit of a micro-manager
with VERY clear and specific ideas of what he wants for this, his first film.
He has plenty of time...
and I'm sure it'll be great.

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Saturday, January 22, 2005 8:41 PM

CANTTAKESKY

I'm rooting for Edmonson. I've been VERY, VERY impressed by Kral's work on Angel, but he's not as well known as Beck, and unlikely to get the job for a $50 mil budget movie. Unfortunately, producers like big names that have been tried and true in theatrical releases, and it is hard for TV and other talented composers to break past that ceiling.

Burwell is one of my favorite composers--I have almost everyone of his scores on CD. Conspiracy Theory was to die for. He did a good job with the western thang in Hi-Lo Country. His quirky originality, minor chord darkness, and simple melodies seem to be quite compatible with the spirit of Joss' stories. But Burwell said Joss was looking more for generic music supporting each scene than an overall musical theme, the latter of which is what Burwell is good at. If Joss wants scene-specific underscore, I would imagine John Debney would be good for the job.

It could be that Burwell wasn't delivering on the themes. His work of late has been somewhat lackluster--nothing really memorable since Knight's Tale.

Well, my vote is to give a shot to TV composers Edmonson or Kral or Carl Johnson (Disney's cartoon Gargoyles, Piglet's Big Movie). They are all DAMN good, and I listen to tons and tons of film music. Otherwise, I'd love to see what Brian Tyler (Children of Dune, Timeline) or Klaus Badelt (Time Machine, K-19) could do with Serenity.

Don't get me wrong. I like the regular A-list composers as much as the next person. But Serenity is about fresh chances and new frontiers, both for its characters and for its filmmakers. I think it would be fitting that it use fresh music from someone up and coming. It's the sort of project that should give a littler guy a chance, if you will.

That's just me.

Can't Take My Gorram Sky

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Saturday, January 22, 2005 9:04 PM

the movie is not the Series. Only the facts have been changed, to irritate the innocent; the names of the actors and characters remain the same

Quote:
Originally posted by shambleau:
Firefly, on the other hand, had music that engaged me any number of times. I don't know if Greg Edmonsen (sp?) is available now, but I hope they try to get him, or maybe Cristophe Beck or Robert Kral. I think the execs may have nixed any tv composers because there's a certain snobbery about them.

That's what I thought, too. I was disappointed that Joss didn't (maybe couldn't) stick with Edmonson, after the wonderful job he'd done on Firefly. The score he wrote for the final scene is worthy of an auditorium.

Quote:
If not, I'm not sure who they should get. Anybody know of someone they think might be suitable?

Howard Shore seems to do well with trilogies.

Keep the Shiny Side Up

Wutzon: U2, "Desire", from "Best of 1980-1990"

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Sunday, January 23, 2005 12:04 AM

GGREEN29

I can't remember where I read it but I thought the reason for passing on Edmonson was that the studio played a role in picking the talent. They weren't going to give Joss a blank sheet, and in an effort to ensure a quality production (from their point of view) they selected/vetoed/"suggested" certain personnel. I don't know that this was the case specifically for the score composer, but it seems logical to conclude this.

I hope this will Edmonson a chance to get back in, I loved his work in Firefly.

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Sunday, January 23, 2005 1:33 AM

SIMONWHO

Well, this must be one of those positive sides from the delay, however good the new composer is, I don't know if they'd produce much in just a few months.

On the other hand, I think we're going to be able to tell a lot about what the studio really thinks about the movie from the replacement. I think he/she will fall into one of three categories:

1) A name; Williams, Zimmer, Horner, Elfman. If someone like that gets picked, we know that the studio is really behind the film and probably the composer saw the film and loved it. This might be unlikely but let's hope.

2) A cult favourite; someone who's scores often attract a bit of cult buzz but haven't made it as a "name" yet, like David Arnold or Harry Gregson Williams. I'd also include any Buffyverse alumni. This category means that the studio trusts Joss with his choices now they've seen the rough cut and their previous demands for overruling have been abandoned.

3) A no name; someone from the bog standard, done quite a few movies but nothing really special. If we get this, well, oh dear. Not that their music will necessarily be bad, or even just okay, but more that the studio at this late stage doesn't feel the project is worth investing in. If they announce a Keff McCulloch, don't expect a big ad campaign. Or a wide release. Or anything from the studio really.

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Sunday, January 23, 2005 2:14 AM

JAA

I find that your Alt. 3), Simonwho, is highely unlikely, this is Joss who is at work, and the composer will not be a random choice.

Yeah, nice to see that the delay works out as an advantage because right now it seems that the tide is on "Serenity"'s side.

Sincerly can't wait till the Big Damn Movie's released.

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Sunday, January 23, 2005 4:09 AM

THESOMNAMBULIST

Well that's interesting.

I've only heard of one other incident where a composer is fired from a project, and that was Alan Silvestri for the Mission Impossible film. Danny Elfman was brought in to replace him....

It must be tough for these guys really because ordinarily a score has to be done over a very short period of time 3-4 weeks in some cases and in the case of i-Robot seventeen days!!!!!
With that in mind I'd go for Marco Beltrami who did the i-Robot score and he's also a friend of Chris Beck, who is my favourite of Joss' composer's that he's used.

Anyway if Beltrami can come up with a major movie score in seventeen days then he must have some real talent! Imagine what he could do for Serenity which I imagine will demand less intense composing.

Recently film score's have become far too faceless and just a series of well placed fanfair style horns - as with the Independence Day score - man was that dreadful. And personally I've never found the current crop of hollywood composers that inventive. David Arnold, Hans Zimmer, James Horner, Eric Sera, Alan Silverstri all seem to sound very similar to one another. The ones that stand out like Danny Elfman, John Williams, tend to work with particular directors and are chosen specifically. Joss needs to find his Danny Elfman as Tim Burton has done or as has Steven Spielberg with John Williams...These composers add just the right amount of style to the films they work on, because the directors have made that connection to the artist and the music they produce. Perhaps Joss has yet to do this??Who knows.

Still it'll be interesting to see who he chooses?

Marco Beltrami or Angelo Badalamenti would be my choice.... Or y'know I'll offer my services.... Joss, if you're reading check out my website :)

TheSomnambulist

www.cirqus.com
For Pictures:
http://www.cirqus.com/lightfantastic.html

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Sunday, January 23, 2005 4:20 AM

THESOMNAMBULIST

I've just gone over to Carter Burwell's site and read his notes on it. He says:

" What made the job difficult was that the score needed to reflect whatever was happening on screen moment by moment. And there were a hundred minutes of those moments."

With this in mind I must say I think one of the more traditional composers would work better. Danny Elfman is very much in this style of composing as is Howard Shore, and John Williams.

Of course the late Jerry Goldsmith would have been perfect also.

Hmmm. I wait with interest.

www.cirqus.com
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Sunday, January 23, 2005 7:25 AM

DOCTORPAYNE13

How about Randy Edelman? I've always liked his work, and judging by the crappy movies he's been scoring lately (see: Miss Congeniality 2), he probablywould be available.

Also, if Joss wants to use one of his former composers, I'd go with Rob Duncan. His work on the last episode of Buffy was outstanding.

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Sunday, January 23, 2005 8:04 AM

REGINAROADIE

I know this might seem like an odd choice, but what about Thomas Newman? Next to Danny Elfman, he's without a doubt my favorite film composer working in movies today. I think his score to AMERICAN BEAUTY helps elevate an already beautiful film into transcendence, and I honestly believe that the real reason FINDING NEMO is considered the animated masterpiece it is, is because they finally got rid of that hack Randy Newman and replaced him with Thomas. No other composer uses percussion instruments (xylophones and the like) like him. And I'm waiting for when the Academy finally gives him a Best Original Score Oscar.

But yeah, get the original composer from the series for the movie. I mean, if he was singled out on the DVD for his music and definitive style, then he should graduate from tv composer to movie composer.

"NO HAI ES BANDAI. THERE IS....NO.....BAND. AND YET....WE HEAR A BAND."

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Sunday, January 23, 2005 10:26 AM

GRRARGG

Here's more grist for the composer mill:

1) Bruce Broughton. His work on Tombstone and Siverado is wonderful -- not to mentions some underappreciated work on the Homeward Bound Films. With him, you've got a guy with a good sense of western scores, a good sense of whimsy and journeys of discovery under his belt.

2) Cliff Eidelman from Star Trek VI; The Undiscovered Country. Good Sci-Fi stuff. He did some good stuff on an otherwise terrible film called Christopher Columbus: The Discovery around the same time as ST6. Given the scope of the BDM, he could recapture some of that good magic.

Plus, I bet these guys are affordable!

Blue Sun used to be Capri Sun back on Earth That Was. Honest. Read it on the web, so it must be true!

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Sunday, January 23, 2005 11:08 AM

SIMONF

Joss commented on the situation over at Whedonesque.

http://whedonesque.com/?comments=5871#49406

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Sunday, January 23, 2005 11:25 AM

FORRESTWOLF

Quote:
Originally posted by TheSomnambulist:
I've just gone over to Carter Burwell's site and read his notes on it. He says:

" What made the job difficult was that the score needed to reflect whatever was happening on screen moment by moment. And there were a hundred minutes of those moments."

I know nothing about composing/movie scores and such, but this concept of the score reflecting the various scenes sounds a LOT like the show to me - little riffs at various key moments that really make you think "FIREFLY."

Is that what he's talking about when he says that? If so, I'm excited - Joss is still keeping that part of the show that I love...

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Sunday, January 23, 2005 11:49 AM

MISGUIDED BY VOICES

Quote:
Originally posted by canttakesky:

or Klaus Badelt (Time Machine, K-19) could do with Serenity.

Please no!

I actually like Pirates of the Caribbean, but I'm damned if I can pick out Klaus' work from the other 17 or so composers (I'm not even sure I'm exaggerating for comic effect).

More so than writers even, this is the new thing with film scores - because the effects aren't done, the scene can't be finally cut, and the score can't be finished - so they have this tag team; I'm assuming working on a basic score.

My problem with Badelt is that he sounds a little too much like Zimmer.

"I threw up on your bed"

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Sunday, January 23, 2005 11:52 AM

MISGUIDED BY VOICES

Quote:
Originally posted by SimonWho:
Well, this must be one of those positive sides from the delay, however good the new composer is, I don't know if they'd produce much in just a few months.

Actually, they still have plenty of time - so I wouldn't be too concerned on that front. I doubt we'll get a "big name" (wouldn't want Williams phoning in a riff on ET/Superman/Star Wars anyway) - besides they all are falling into patterns at the moment (can people stop hiring Elfman for superhero films and force him to stretch himself?).

"I threw up on your bed"

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Sunday, January 23, 2005 12:02 PM

THESOMNAMBULIST

Quote:
Originally posted by Misguided By Voices:
(can people stop hiring Elfman for superhero films and force him to stretch himself?).

Y'know I used to think the same thing and then I heard the theme to Desperate Housewives and this is exactly what Danny Elfman has done i.e. Stretch himself. It's a superb T.V. theme.

Actually now I think of it what about Mark Snow? X-Files was a brilliant TV theme, does anyone know if he's gone on to do film Scores?

TheSomnambulist

www.cirqus.com
For Pictures:
http://www.cirqus.com/lightfantastic.html

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Sunday, January 23, 2005 12:03 PM

MISGUIDED BY VOICES

Well, its as good a reason as any to get all my soundtrack CDs out again.

I'm guessing that they won't have too much of a Western tinge to the soundtrack, having toned down the Western format (at least it sounds that way).

Mark Isham is one composer I like a lot - and Graeme Revell seems to be doing some interesting stuff in an overly familiar genre.

"I threw up on your bed"

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Sunday, January 23, 2005 12:10 PM

MISGUIDED BY VOICES

Quote:
Originally posted by Forrestwolf:
I know nothing about composing/movie scores and such, but this concept of the score reflecting the various scenes sounds a LOT like the show to me - little riffs at various key moments that really make you think "FIREFLY."

I can't decide whether Burwell is making an implied criticism with the comment (one would presume suggesting that its a "TV" way to do things) or simply saying, as Joss has, that the two working methods didn't hit this time.

The film (and TV score) should compliment each other, not work against, and so clearly if the director and composer don't gell, you would end up with the music undercutting what was on scene.

Joss is no doubt used to having had that on his TV shows - but I'm sure it wasn't there from the start. I recall JMS commenting on B5 and Franke in a similar vein - there were some problems with the music in early season one, but come the later years, he could simply write something like "break my heart" and leave Franke to do it.

That presumably is why so many movie directors, having found a composer, return again and again - but it must be tough unless you get lucky to go right off the bat.

"I threw up on your bed"

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Sunday, January 23, 2005 12:30 PM

MISGUIDED BY VOICES

Quote:
Originally posted by TheSomnambulist:
Actually now I think of it what about Mark Snow? X-Files was a brilliant TV theme, does anyone know if he's gone on to do film Scores?

I know he's on Smallville now (which sounds far too often like his X-Files work). His work fit X-Files perfectly. I can't recall the episode, but there was a scene with an empty swimming pool, and this fantastic score over it - looking on imdb, he is mainly TV and video games, which I guess goes to prove how difficult it is to parlay TV writing to film music, even with one of the number one shows in the US under your belt.

Checking with past Whedon composers, Beck is the only one with a sizeable career (I now may have to see Elektra to see what his score is like, or I could just wait for the soundtrack CD). That said, the admirably named Thomas Wanker has some co-composer and additional score credits on AvP and Day After Tomorrow (which may not be the best CV...)

Just listening to Hans Zimmer's Thin Red Line score - which stretches him fantastically; similar with James Newton Howard's Unbreakable score (in fact, those sad, mythic themes might fit Serenity) - that perhaps is the key. Give the person the product and time, so they don't have to (understandably) re-work old cues.

"I threw up on your bed"

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Sunday, January 23, 2005 12:46 PM

MISGUIDED BY VOICES

Quote:
Originally posted by Quicksand:

Personally, I just watched "The Core" on cable... awful movie, but the score was pretty good. Christopher Young was the guy's name

Knew I had one of his scores - Hard Rain, another awful movie. The Main Title is rather generic, and something of a borrow from Elfman's opening Batman music (a homage shall we say) and the rest is a bit too generic for my liking.

Then again, I love Franke's B5 score, and he stole whole chunks of his own Universal Soldier score!

"I threw up on your bed"

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Sunday, January 23, 2005 2:23 PM

ECGORDON

There's no place I can be since I found Serenity.

Greg Edmonson has posted at the OB, in response to someone's inquiry of the possibility of him getting the job now:

http://forums.prospero.com/foxfirefly/messages/?msg=20978.23

wo men ren ran zai fei xing.

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Sunday, January 23, 2005 2:24 PM

PUMAMANREDUX

yknow who might be an interestin' choice for a composer ... Brian Tyler ( http://imdb.com/name/nm0003911/)

He composed the music for Bubba Ho-Tep ( http://imdb.com/title/tt0281686/), Six String Samurai, is currently involved with Constantine ...

**************
http://www.freewebs.com/mjspages/tempfireflypage.htm

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Sunday, January 23, 2005 2:41 PM

EMBASSY

Quote:
Originally posted by canttakesky:
I
Well, my vote is to give a shot to TV composers Edmonson or Kral or Carl Johnson (Disney's cartoon Gargoyles, Piglet's Big Movie). They are all DAMN good, and I listen to tons and tons of film music. Otherwise, I'd love to see what Brian Tyler (Children of Dune, Timeline) or Klaus Badelt (Time Machine, K-19) could do with Serenity.

I'll second a vote for Carl Johnson. His Disney stuff is fantastic. Oh, and he lives a block away from me, too. But anyone who pays attention to the music from Gargoyles has to be impressed, it seems to me. A great suggestion!

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Sunday, January 23, 2005 2:43 PM

EMBASSY

Quote:
Originally posted by TheSomnambulist:

Y'know I used to think the same thing and then I heard the theme to Desperate Housewives and this is exactly what Danny Elfman has done i.e. Stretch himself. It's a superb T.V. theme.

....and remarkably similar to his theme from "The Simpsons." Stretch? Not so much.

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Sunday, January 23, 2005 2:51 PM

MOHRSTOUTBEARD

I am surprised that at least two other people were thinking of Brian Tyler, too. I just saw "Six-String Samurai" (which I actually found out about because of his involvement) and I loved his rock-n-roll-spaghetti-western score for "Bubba Ho-tep."

"You've just gotta go ahead and change the captain of your brainship, because he's drunk at the wheel."

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Monday, January 24, 2005 1:17 AM

RUBBEREAGLE

Brian Tyler also did "The Hunted", "Timeline" and "Children of Dune". IMHO he's one of the most gifted Newcomers, and quite versatile. I've actually become a fan of his through Timeline, there's this moment when the "rebel" archers prepare to fire, and there came out of nowhere this wonderful music and gave me goosebumps...

I'd also be quite interested what Michael Giacchino would make with Serenity. (He's done quite a few games ("Medal of Honor", "Call of Duty", "Secret Weapons over Normandy", "Mercenaries"), TV Shows ("Alias", "Lost") and has done the Score for The Incredibles.

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Monday, January 24, 2005 5:43 AM

CYBERSNARK

Quote:
Originally posted by Embassy:
I'll second a vote for Carl Johnson. His Disney stuff is fantastic.

And I'll third it.

Quote:
But anyone who pays attention to the music from Gargoyles has to be impressed, it seems to me.

*nods*

"Macbeth's Theme" is one of the only 2 times I actually like bagpipes. (The other is "March of the High Guard," the first-season Andromeda theme, composed and performed by Alex Lifeson of Rush.)

-----
We applied the cortical electrodes but were unable to get a neural reaction from either patient.

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Monday, January 24, 2005 7:27 AM

THESOMNAMBULIST

Quote:
Originally posted by Embassy:
Quote:
Originally posted by TheSomnambulist:

Y'know I used to think the same thing and then I heard the theme to Desperate Housewives and this is exactly what Danny Elfman has done i.e. Stretch himself. It's a superb T.V. theme.

....and remarkably similar to his theme from "The Simpsons." Stretch? Not so much.

I was refering to the fact that he has moved away (if brief) from doing the superhero scores.

But you're right there are slight undertones of the Simpsons in there too, but then even the best composers have a style that is evident in almost all their compositions. Even Bernard Herrmann had motifs that he repeated in his scores, from North By Northwest to Mysterious Island. It's not uncommon and doesn't mean the composer isn't accomplished. Heck I could spot a Mozart composition within about two bars....

TheSomnambulist

www.cirqus.com
For Pictures:
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Monday, January 24, 2005 6:39 PM

ACEHUNTER

I'll second a vote for Graeme Revell - he did a fantastic job with the score for "Pitch Black" Among his work are the scores for "Chronicles of Riddick", "Daredevil", "CSI Miami", "Tomb Raider" (bad movie, good score), "Red Planet", Titan AE (Which Ben Edlund and Joss Whedon wrote the screenplay for), "The Siege", "The Negotiator", "Strange Days", "Tank Girl", "The Hand That Rocks the Cradle" and at least 2 of the Chucky movies (not a glowing endorsement there, but still....)

Graeme Revell has at least 77 film scores to his credit, with a very wide range of style. I think he'd be a great choice for Serenity.

-Matt P.

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Monday, January 24, 2005 11:44 PM

THESOMNAMBULIST

Quote:
Originally posted by acehunter:
I'll second a vote for Graeme Revell - he did a fantastic job with the score for "Pitch Black" Among his work are the scores for "Chronicles of Riddick", "Daredevil", "CSI Miami", "Tomb Raider" (bad movie, good score), "Red Planet", Titan AE (Which Ben Edlund and Joss Whedon wrote the screenplay for), "The Siege", "The Negotiator", "Strange Days", "Tank Girl", "The Hand That Rocks the Cradle" and at least 2 of the Chucky movies (not a glowing endorsement there, but still....)

Graeme Revell has at least 77 film scores to his credit, with a very wide range of style. I think he'd be a great choice for Serenity.

-Matt P.

Graeme Revell.... Yeah I'll third that :) He also scored The Crow, which is an incredible score. Anyone who can blend orchestral horns with Native American chanting is a master.

TheSomnambulist

www.cirqus.com
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http://www.cirqus.com/lightfantastic.html

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Tuesday, January 25, 2005 11:31 AM

NXOJKT

It actually happens more frequently than you might think. Check out the posters for "Pirates of the Caribbean" They all show the music being done by Alan Silvestri. The score on the film was done by Kluas Badelt. Hitchcock fired Bernard Hermann late in the production of a film after they had worked together more than 10 times. It happens.

There are a lot of composers out there that aren't necessarily "on the map" that do good work, that it's not that big of a worry. Certainly having a great score can and likely will make a big difference, but I'm betting that Joss comes up with someone.

How many people had Howard Shore on their minds prior to Lord of the Rings? Or James Newton Howard prior to his work with M. Night Shyamalan. Both of these guys have been around forever, they just hadn't had their "breakthrough" movie.

Look at this year's Oscar nominees:
Jan A.P. Kaczmarek for Finding Neverland
Thomas Newman for Lemony Snicket
John Debney for Passion of the Christ
John Williams and James Newton Howard are the other two.

Williams and Howard have a lot of acclaim, and Newman has done some good work. But Debney and Kaczmarek are not household names. The basic message... don't worry... Whedon will come up with someone.

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Tuesday, January 25, 2005 1:21 PM

MISGUIDED BY VOICES

Quote:
Originally posted by acehunter:
I'll second a vote for Graeme Revell - "Red Planet", "The Negotiator",

Graeme Revell has at least 77 film scores to his credit, with a very wide range of style. I think he'd be a great choice for Serenity.

The Negotiator is fairly straight forward action, though it does sound like Revell is auditioning for the Bond gig if Arnold steps down - loved his Red Mars soundtrack as well.

"I threw up on your bed"

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Tuesday, January 25, 2005 1:55 PM

UMINOKEN

When I first heard about Burwell's getting the job, I went around to see what stuff he had done. Listen to The Alamo to hear what I think Joss was initially going for... As to the problem with composers replacing other composers late in the movie, just mention the Troy debacle to anyone, I just hope Joss has more brains to not choose Horner!

For replacements, I'll second a couple of choices;
Greg - duh.
Randy Edelman - watch Gettysburg or Brisco County Jr.
Randy Newman - yes that Randy, listen to his stuff for Seabiscuit and tell me you don't think Firefly
I would love to hear what Cliff Eidelman could do with the BDM as well
Another choice would be Jeff Beal who might be unavailable since he's scoring Carnivale right now
Ah well, I guess time will tell

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Sunday, January 30, 2005 4:30 AM

JAA

According to the corresponding thread on the prospero board, the "OB", a new composer has been hired. His identity is confidential still, and it is not Greg Edmondson.

Sincerly can't wait till the Big Damn Movie's released.

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