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Tim Bradstreet

Film Score Archive

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I already had to write this once and then my browser quit on me so unfortunately this will be the cliff notes.

 

I'm a huge collector of film music. I probably only have somewhere between 4 and 500 scores in my collection but for me it's the quality, and not the quantity that counts. My first score was John Williams' "Star Wars". That's what got me into the whole thing. I'm pretty sure my next purchase was Jerry Goldsmith's "Outland". I was real lucky to have started with those two guys. Over the years film music has inspired me and my work greatly. When I'm at the table I'm usually listening to a film score, or shuffled film music cues. It helps set the tone and it brings an extra energy to the creative process. I know a lot of other artists that do the same. Adam Hughes is a big film score buff. Every time I see Adam we have a couple things to suggest to one another. And that's what I hope to do here, open a discussion about film scores and composers. I'd love to share my knowledge and I hope to gain some as well. There is a lot of great stuff I'd like to turn you on to. Feel free to turn me on to your favorites as well (If I don't already have them!).

I love it all, new and old alike.

 

I've been all over the board since I got serious about collecting. It's not only about what is new with me. I'd sooner pick up an old obscure Goldsmith or Lalo Schifrin CD than grab the new Hans Zimmer or James Horner score. John Barry means more to me than Danny Elfman. I grow less enamored with Zimmer when I get a retread of The Rock or Gladiator (Pirates Of The Caribbean), yes, I know Klaus Badelt is credited with that score, but they work closely together and are at times interchangable. When Zimmer breaks new ground though, he's incredible. James Horner is another guy who steals from himself too much. I love his older stuff (The Name Of The Rose, The Wolfen), and I love Braveheart too, but I hate it when I buy a score to something like "The New World" and I find myself hearing Braveheart themes throughout the recording.

 

Like the rest of you, I'm a huge fan of Vangelis and his incredible score to Blade Runner. But have you ever heard his score for 1492: Conquest Of Paradise? Absolutely stunning. Or try "El Greco" (A non score), or "Mythodea" - Music For The NASA Mission: 2001 Mars Odyssey. The good composers are worth exploring.

 

Among the younger generation of composers I really enjoy Brian Tyler who broke out a few years ago with his wonderful work on "Children Of Dune". A few of the tracks from that have been THE go-to temp music for dozens of film trailers over the past several years. I'm also a big fan of Bear McCreary and his work on Battlestar Galactica season's 2 and 3.

Roque Banos' "The Machinest" was mondo cool, a real homage in spots to the late, great Bernard Herrmann.

 

Right now I'm listening to "Master And Commander: The Far Side Of The World" composed by Christopher Gordon, Iva Davies and Richard Tognetti. This one will always be in my top 10. One of my favorite film scores ever.

 

In no order, some of my favorite composers are -

Jerry Goldsmith, Bernard Herrmann, Elliot Goldenthal, Lalo Schifrin, Miklos Rosza, John Barry, Roy Budd, Carter Burwell, Ennio Morricone, Jerry Fielding, Elmer Bernstein, and John Williams. But that only scratches the surface.

 

Let's talk about it.

 

- TB

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Street its only natural you start off this thread as a companion to the Podcast episode - except this time things can be talked about and discussed.

 

Off the bat from reading your introductory post, I can see I fall under the newby/younger generation crowd that's immediately attracted to Zimmer's Pirates theme and every second of music he composed for Gladiator (I own both cds and listen to them when I write). On the other hand, I love Lalo Schifrin and was fuckin stoked to hear that Bullit chase sequence theme in your Myspace. Fuckin jealousy, and I refuse to be unoriginal. Scott Stambler's work on the Payback: Straight Up film (dvd) is fuckin fantastic and takes you into that nostalgic 70s vibe I grew up on by watchin Eastwood and Bronson movies on vhs. Chris Boardman's score to the original Payback is my favorite in that genre. I think it lives up to Schifrin's Dirty Harry score. Eric Serra really impressed me with his score to the Fifth Element - which is "my" Blade Runner.

 

Talkin less experienced composers, I was shocked to hear Robert Rodriguez was behind the Sin City score. The themes to The Hard Goodbye were PERFECT. I get fuckin chills when I watch Mickey jump over the rooftops and say "I'm gonna find the son of a bitch who killed ya Goldie, and I'm gonna give him the hard goodbye." Its unclear to me whether Rodriguez did most of it himself or if Graeme Revell is the true master here.

 

John Barry composed a great Bond theme for On Her Majesty's Secret Service in 1969, and I think he's also responsible for that awesome intro to From Russia with Love (1963) that starts right after Robert Shaw kills the mock-Connery.

 

In Star Wars music, I love what Williams did with the first trilogy but not so much with the first two prequels. Revenge of the Sith I feel is his best and darkest in the Star Wars realm. I guess the guy saved the best for last. I own the scores for all the films (box sets, etc). I only find myself playing Revenge of the Sith though. Sets a dark mood.

 

I think Elfman's Batman theme makes Zimmer's Batman Begins score sound forgettable. Elfman holds the torch in hero themes in my opinion.

 

My favorite hero score is John Powell's X-Men: The Last Stand. Every dramatic scene becomes 10 times more dramatic as Powell's score rises with the action. The scene where the Phoenix atomizes Xavier is fuckin heartpounding! And watching Wolverine crawl on the roof struggling to get in that room as the music slows down is truly intense. I was in shock from the chain of events and the score for at least 5 minutes.

 

Well there you go, that's what I can write about at this second. More to come as well. Good topic bud.

 

-TL

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My reply in color below -

 

Street its only natural you start off this thread as a companion to the Podcast episode - except this time things can be talked about and discussed.

 

Exactly, I'd planned on doing this months ago, but at least it's rolling now eh?

 

Off the bat from reading your introductory post, I can see I fall under the newby/younger generation crowd that's immediately attracted to Zimmer's Pirates theme and every second of music he composed for Gladiator (I own both cds and listen to them when I write). On the other hand, I love Lalo Schifrin and was fuckin stoked to hear that Bullit chase sequence theme in your Myspace. Fuckin jealousy, and I refuse to be unoriginal. Scott Stambler's work on the Payback: Straight Up film (dvd) is fuckin fantastic and takes you into that nostalgic 70s vibe I grew up on by watchin Eastwood and Bronson movies on vhs. Chris Boardman's score to the original Payback is my favorite in that genre. I think it lives up to Schifrin's Dirty Harry score. Eric Serra really impressed me with his score to the Fifth Element - which is "my" Blade Runner.

 

I have no hate for Zimmer, it just distracted me greatly when while watching Pirates on the big screen I feel like I'm listening to Gladiator. There are a few cues on that 1st CD that I DO dig though. And it's grown on me a bit since the initial distraction retread. Klaus Badelt gets credit here but he worked very closely with Zimmer and there are several uncredited tracks that Zimmer authored. The whole thing was a rush job so I applaud them for at least being somewhat original. Alan Silvestri (The Abyss, Predator, The Long Kiss Goodnight) was the original composer but his score was rejected for whatever reason.

 

Have to check out those Payback scores. Don't think I've ever seen them anywhere for a browse purchase. Sucks that there are only 4 tracks from the score on the CD. My DVD copy of Payback got stolen so I can't even go grab that and listen to it.

 

I'm a big fan of Eric Serra too. I've got "The Big Blue", "The Professional", "Fifth Element", "Goldeneye", and "The Messenger". Damn good composer.

 

Talkin less experienced composers, I was shocked to hear Robert Rodriguez was behind the Sin City score. The themes to The Hard Goodbye were PERFECT. I get fuckin chills when I watch Mickey jump over the rooftops and say "I'm gonna find the son of a bitch who killed ya Goldie, and I'm gonna give him the hard goodbye." Its unclear to me whether Rodriguez did most of it himself or if Graeme Revell is the true master here.

 

Actually I think you mean John Debney, not Revell. Debney is fast becoming a favorite. His score for "The Passion" was a real breakthrough for him. I'm also a fan of his scores from "Dragonfly", and "Cutthroat Island".

I'm going to remember that you mentioned this team of Debney/Rodriguez.

 

John Barry composed a great Bond theme for On Her Majesty's Secret Service in 1969, and I think he's also responsible for that awesome intro to From Russia with Love (1963) that starts right after Robert Shaw kills the mock-Connery.

 

John Barry is Bond supreme. My favorite Barry score: The Ipcress File (1965)

 

In Star Wars music, I love what Williams did with the first trilogy but not so much with the first two prequels. Revenge of the Sith I feel is his best and darkest in the Star Wars realm. I guess the guy saved the best for last. I own the scores for all the films (box sets, etc). I only find myself playing Revenge of the Sith though. Sets a dark mood.

 

Where to even begin with John Williams . . . You might love his score from "The Eiger Sanction". I love that one.

Also, another obscure one, 1979's "Dracula". You might swear you were listening to B sides from "The Empire Strikes Back". Pretty cool actually.

 

I think Elfman's Batman theme makes Zimmer's Batman Begins score sound forgettable. Elfman holds the torch in hero themes in my opinion.

 

I love Elfman's main theme for Batman. I really like his score for "Nightbreed". Everything else I hear from him sounds similar yet not as good, or like a Pee Wee movie. I should check out some of his more recent stuff. I used to really dig him and then he got old for me. Maybe I should give it another shot. Still, I'm going to respectfully disagree with you about Zimmer and James Newton Howard's score for "Batman Begins". A lot of people complained that it wasn't a very bombastic score (obviously those that want to hear the Rock and Gladiator re-done again). I think it's brilliant. Most of it does play like an underscore but I think it's powerful, and it's a score I love to have on while I work. Zimmer's "Davinci Code" is very similar in vibe and I dig that one too.

 

My favorite hero score is John Powell's X-Men: The Last Stand. Every dramatic scene becomes 10 times more dramatic as Powell's score rises with the action. The scene where the Phoenix atomizes Xavier is fuckin heartpounding! And watching Wolverine crawl on the roof struggling to get in that room as the music slows down is truly intense. I was in shock from the chain of events and the score for at least 5 minutes.

 

My favorite John Powell is the stuff he did for the Bourne movies, especially the main titles from "Bourne Identity".

I liked what both Powell and Ottman did in the X movies. Powell started out working for Hans Zimmer with the "Media Ventures" gang. Media Ventures was a group of composers who worked for Zimmer and contributed to a lot of the films he's scored over the years. Kind of like a Hans Zimmer school for film composing. Past members have included, Powell, Klaus Badelt, Steve Jablonsky, Harry Gregson-Williams, Nick Glennie-Smith, Mark Mancina, and Jeff Rona among others.

 

Well there you go, that's what I can write about at this second. More to come as well. Good topic bud.

 

Thanks mate.

 

-TL

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I cannot believe I mentioned Serra's Fifth Element (to make a point about "my" Blade Runner) and didn't mention The Professional aka Leon.

 

This thread has great potential because as you mentioned, you own hundreds of scores and I myself have over 60. There's lots of ground to cover here, hopefully everyone will share some of their favorites.

 

Speaking of Ottman, I didn't like his work on X2. Same thing goes for his score to Fantastic 4, I disliked that one even more. Surprisingly he NAILED Fantastic 4: Rise of the Silver Surfer. Its a wonderful theme for the Surfer, that won me over. A combination of E.T. and the closing music for Empire Strikes Back. Its epic and subtle. A great match. If you haven't seen the film for fear of its shittyness - I recommend it as somethin to watch for the Surfer's sake, but if that just won't do it, then do it for Ottman's score. I bought the cd, and it was worth it. It has an extended version of that which you hear in the climax of the film.

 

I agree with you on the Elfman front. He lost me when I heard Penguin songs in Spider Man 2. Pee-Wee's Big Adventure, Beetlejuice and both the Batmans were his best. But that was a generation ago. I'm glad they replaced him with Christopher Young in Spider Man 3. YOU HAVE TO hear the theme song for the symbiote and Spider Man's scenes in black. Its a neo-noir sound that just has that Stan Lee/Jack Kirby feel come to life in sound. Even though the Venom character pertains to 80s pop culture, I think Young wanted that 50s radioactive feel for his representation of it on screen. He should score The Incredible Hulk. Then again, Elfman married Bridget Fonda - so I give him props.

 

The first score I went out of my way to buy (ordering it online) was Angel Heart by Trevor Jones. Its not really orchestra music, but its fuckin memorable.

 

*You ever notice the score for Thursday is very similar to that of Stander? Whenever I walk down South Beach at 4:00 am (all the time), those 2 scores just pop up in my head. Its that kinda empty and liquor-inducing music.

 

I love both the Poledouris and Leonard Rosenman scores for Robocop 1 and 2. Those movies close with great one liners and perfect musical cues.

 

Wojciech Kilar is responsible for what I feel are the creepiest and most diabolical scores. The Ninth Gate was dead on for the subject matter, and I was browsing through Amazon.com and learned he did Coppola's Dracula - which reminded me of Ninth Gate's obscure themes.

 

Still early, lets see what I dig up from my head before my run at 4:30.

 

Oh, did you like Siliotto's Punisher? You already know what I think about it.

 

-TL

 

 

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I cannot believe I mentioned Serra's Fifth Element (to make a point about "my" Blade Runner) and didn't mention The Professional aka Leon.

 

The Professional is my favorite of Serra's scores. the Big Blue a close second.

 

This thread has great potential because as you mentioned, you own hundreds of scores and I myself have over 60. There's lots of ground to cover here, hopefully everyone will share some of their favorites.

 

Amen

 

Speaking of Ottman, I didn't like his work on X2. Same thing goes for his score to Fantastic 4, I disliked that one even more. Surprisingly he NAILED Fantastic 4: Rise of the Silver Surfer. Its a wonderful theme for the Surfer, that won me over. A combination of E.T. and the closing music for Empire Strikes Back. Its epic and subtle. A great match. If you haven't seen the film for fear of its shittyness - I recommend it as somethin to watch for the Surfer's sake, but if that just won't do it, then do it for Ottman's score. I bought the cd, and it was worth it. It has an extended version of that which you hear in the climax of the film.

 

Yeah, I don't own Ottman's X score, Only Ottman I have is The Usual Suspects, Apt Pupil, and Gothika. Not sure why I bought Gothika except for maybe that it was a dry visit to Fry's and I had money burning a hole in my pocket. I think I was just hoping it would be good though I still haven't given it a fair listen.

 

I have to wait for a video watch for Rise of the Surfer. I'll be paying special attention to the music though.

 

I agree with you on the Elfman front. He lost me when I heard Penguin songs in Spider Man 2. Pee-Wee's Big Adventure, Beetlejuice and both the Batmans were his best. But that was a generation ago. I'm glad they replaced him with Christopher Young in Spider Man 3. YOU HAVE TO hear the theme song for the symbiote and Spider Man's scenes in black. Its a neo-noir sound that just has that Stan Lee/Jack Kirby feel come to life in sound. Even though the Venom character pertains to 80s pop culture, I think Young wanted that 50s radioactive feel for his representation of it on screen. He should score The Incredible Hulk. Then again, Elfman married Bridget Fonda - so I give him props.

 

I'm a fan of Christopher Young. My favorite Young score hands down is "Jennifer 8".

Elfman married Bridget Fonda? I know a couple people that have worked with her and both say she's psycho, like crazy chica psycho. Best of luck to Mr. Elfman ;)

 

The first score I went out of my way to buy (ordering it online) was Angel Heart by Trevor Jones. Its not really orchestra music, but its fuckin memorable.

 

Bought that in a Borders up in Anne Arbor about 10 years ago. Why do I remember that?

 

*You ever notice the score for Thursday is very similar to that of Stander? Whenever I walk down South Beach at 4:00 am (all the time), those 2 scores just pop up in my head. Its that kinda empty and liquor-inducing music.

 

Kick me, I have neither score.

 

I love both the Poledouris and Leonard Rosenman scores for Robocop 1 and 2. Those movies close with great one liners and perfect musical cues.

 

I have neither of these scores either. Big Poledouris fan. Conan, Conan the Destroyer, Hunt For Red October, Lonesome Dove, Flesh And Blood, Red Dawn, Starship Troopers and Christopher Columbus are in my collection. He and Milius met each other while going to USC. Did you know he died last year?

Leonard Rosenman is total old school. One of my favorites is "Beneath The Planet Of the Apes".

 

Wojciech Kilar is responsible for what I feel are the creepiest and most diabolical scores. The Ninth Gate was dead on for the subject matter, and I was browsing through Amazon.com and learned he did Coppola's Dracula - which reminded me of Ninth Gate's obscure themes.

 

Ah, Kilar, LOVE Wojciech Kilar. The Dracula score has always been a favorite. I saw "The Ninth Gate" at one of those perfect times. I'd just gone through one of those bad runs at the theater where I wasted my money on several films I had high hopes for. Then I went to see a Roman Polanski film and felt like a real film goer again. Just perfect timing and I loved it. Depp and Langella? Oh Hell yes. Kilar's score accented the film perfectly. I bought it on the way home from the theater, then played it over and over and over again. My studio was off the living room at the time and my wife was ready to strangle me if she had to hear Kilar's signature repeating themes come out of my speakers one more time. Kilar's main theme is based on the Camille Saint-Saëns' piece for violin and orchestra, Havanaise. His score for "The Pianist" is Oscar caliber.

Remember Dean Corso!

 

Still early, lets see what I dig up from my head before my run at 4:30.

 

Oh, did you like Siliotto's Punisher? You already know what I think about it.

 

I actually felt it was a bit heavy on the Nino Rota/Carmine Coppola "Godfather" vibe. It felt very much like a mafia score but without the mafia. Carlo and I became friends after I met him at the premiere. I worked in Milan Italy for 7 months in 2004 and brought him to meet our director about scoring the film we were working on. Great guy and I love him to death.

I just felt the score could have definitely used more percussion and a few more action themes. The expanded score is better. My favorite track is "The Arrow". He's a very talented bastard, and he also was a student of the master, Ennio Morricone. He gave me a copy of a personal work - 'O Patrone D' O Cane. It's pretty amazing.

- Tb

 

-TL

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It is truly sad to hear Poledouris is no longer a living composer. He will be missed, and not forgotten.

 

I’m thrilled to hear Bridget’s a wild woman. I specialize in WILD dames, specially those in their 40s. She rocked in Point of No Return (which had a decent score). Nikita was a better film though.

 

I’m with ya a great deal on Siliotto’s mob themes for no such mob. My favorite piece of that score comes from the “Death and Resurrection of Frank castle” theme, that is frequented in several key moments of the film. In the Extended Cut, the scene where Thomas kills Marc Collie is followed by this GREAT piece of music I cannot find within the cd. Its clearly not in there, and its also used in the behind the scenes featurette that features you makin the Kuwait sequence. Aside from that, there’s a scene where TJ is shot by the camera from behind when putting on his shirt. That’s another track that’s AWOL from the cd. Good shit - yet “where the fuck is it?”.

 

Morricone is a BEAST. I was happy to see him honored at the 2005 Academy Awards. Or was it ‘06? I just remember Clint blushing when the music was playing. Fuckin iconic! In 40 years, if Siliotto is honored in that same fashion, I hope Jane is there to feel good about himself when they start playin those tracks.

 

Talkin Frank “Dracula and any other creepy fucker” Langella, have you heard his creepy voice-over for the Red Dragon in Red Dragon the Director’s Cut? Its fuckin demonic! That’s the whole point though ain’t it?

 

The scores for the Hannibal films (except Hannibal Rising and Manhunter) are in my possession. Silence of the Lambs is my favorite, though the opening intro track for Red Dragon set against that creepy collection of clippings Ray Fiennes has been saving in his journal, is just amazing. Psychotic though.

 

Let’s bring up some comedies. Multiplicity, As Good as it Gets and Groundhog Day all have Harold Ramis in common. Do they have the same composer in common? No. They are all SO similar though.

 

Further discussing John Williams. The Indiana Jones theme STILL does it for me. It never gets old. The Jaws theme I think is just good when watching Jaws. I got the score, but feel uneasy when listening to it. Oh wait, was that what he wanted me to feel? HA!

 

The revised Terminator theme from T2 by Brad Fiedel is my top Sci-Fi favorite. Watching that final shot of the dark road with Linda Hamilton’s narrative was so dark and so final. The credits role and there comes the theme. Perfection. Why fuck it up with T3 (Still liked it) and Sarah Connor Chronicles??? And Christian Bale???

 

Off topic - the song “You Could Be Mine” by Guns N’ Roses is my favorite of the band’s songs, and its featured in Terminator 2. When you’re drinking to GET WASTED, that song will give you stomach strength you never knew you had. Until you puke.

 

I wrote all this immediately after returning from my run, so I got drops of sweat falling on my laptop. The troops oughtta be up by sunrise Street, so we should have company soon.

 

You’re gonna have to make a secondary Podcast, just to cover scores. Kinda like what Smackdown does for Raw. If you know about wrestling…

 

Here’s another big one, who do YOU think should score Warzone?

 

-TL

 

 

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I've been listening to 28 Days Later as of late. One of the more bizarre soundtacks because of the range of music, but I quite enjoy it. The other that I've been listening to a lot is Sympathy For Lady Vengence. Love that film, and the music was just hauntingly beautiful. Couldn't seem to find the score anywhere, but after hitting up the American web site, they had it as a free download. I think they still do. It's deffinatly worth a listen.

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Yes!

 

I'm jumping with fuckin' joy. I love scores. Big fan and have been collecting since I was a kid. Of course I prize myself with a few that I won't dare get rid of.

 

-Halloween by John Carpenter

-Escape From New York by John Carpenter

-The Thing by Ennio Morricone

-The Wicker Man by Paul Giovanni

-Creepshow by John Harrison

-Saw by Charlie Clouser

-Fight Club by The Dust Brothers

-Stay by Asche & Spencer

-The Terminator: The Definitive Edition by Brad Fiedel

-Terminator 2 - Judgment Day by Brad Fiedel

-The Way Of The Gun by Joe Kraemer

-The Usual Suspects by John Ottman

-The Ipcress File by John Barry

-The Ninth Gate by Wojciech Kilar

-The Evil Dead by Joseph LoDuca

-Army Of Darkness by Joseph LoDuca, Danny Elfman & Seattle Symphony Orchestra

-Unbreakable by James Newton Howard

-Twin Peaks by Angelo Badalamenti

-Blue Velvet by Angelo Badalamenti

-Lost Highway by Angelo Badalamenti

-Jaws by John Williams

-Indiana Jones by John Williams

-Alien by Jerry Goldsmith

-Outland by Jerry Goldsmith

-Chinatown by Jerry Goldsmith

-The Omen by Jerry Goldsmith

-One Flew Over The Cuckoo's Nest by Jack Nitzsche

-Indian Runner by Jack Nitzsche

-The Exorcist by Jack Nitzsche

-The Pledge by Hans Zimmer & Klaus Badelt

-Aliens by James Horner

-Bullitt by Lalo Schifrin

-Dirty Harry by Lalo Schifrin

-The Amityville Horror by Lalo Schifrin

-Enter The Dragon by Lalo Schifrin

-Cool Hand Luke by Lalo Schifrin

-Sin City by John Debney, Robert Rodriguez, & Graeme Revell

-Insomnia by David Julyan

-Suspiria by Goblin

-The Machinist by Roque Banos

-Angel Heart by Trevor Jones

-Se7en by Howard Shore

-A History Of Violence by Howard Shore

-The Fly by Howard Shore

-Videodrome by Howard Shore

-Naked Lunch by Howard Shore

-The Crow by Graeme Revell

-The Prestige by David Julyan

-Narc by Cliff Martinez

-Payback by Chris Boardman

-The Professional by Eric Serra

-Le Femme Nikita by Eric Serra

-Blade Runner by Vangelis

-3:10 To Yuma by Marco Beltrami

-Get Carter [LIMITED EDITION] by Roy Budd

-The Good, The Bad & The Ugly (Expanded) by Ennio Morricone

-Christine by John Carpenter

-Rosemary's Baby by Krzysztof Komeda

-Requiem for a Dream by Clint Mansell & The Kronos Quartet

-The Fountain by Clint Mansell

-28 Days Later by John Murphy

-Beetlejuice by Danny Elfman

-Batman by Danny Elfman

-Edward Scissorhands by Danny Elfman

 

I'm not a big Danny Elfman fan. I've just loved those scores since I was a kid. But alot of these are very close to me. I've got many more but I've gotta dig 'em up. I'm forgetting a quite a bit but my mind is out of it.

 

 

JO

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Tim & TL, one great score that you might not have heard is Swimming With Sharks by Tom Hiel. This is very very hard to get ahold of. I used to have the whole score by now only have the key 6 minute song that haunts and chills throughout the film. If anyone would like to have it I could send it to them if they wanted. But I just found out that to get a copy of the score. Contact Tom Hiel at Echo Bay Music: 323.665.7326. Send the man a personal check for $10, he sends back an autographed copy of the score. Very nice. Or you could go to the website if you didn't want to deal with the phone bullshit. www.tomhiel.com/ Check under music.

 

JO

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Guest AdminGuyX

I'm digging the sin city score presently, to play while drawing or writing, or designing T-shirts.

 

This thread is an education for me guys. I obviously LOVE music composed for film, and I have a few (probably less than 20, never counted them) but I can't say I know the composers as you do.

 

After the first of the year I'll have to change that, and do a little shopping too.

 

:)

 

or a lot.

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Guest FADoss

I gotta be honest...I've really only used scores as background music for roleplaying...Rifts, Vampire (Tim should be intimately familiar with this one), Shadowrun (Didn't you do work for this one too), D&D (to include the new 3.5...awesome) and other classics. The score just kind of roles into the film for me with the exception of those themes that have become classic.

 

John Williams for Star Wars, Indiana Jones, Superman and Jaws...Danny Elfman for Beetlejuice and Batman...James Horner for Aliens (though it appears TB didn't appreciate his work on "New World")...Hans Zimmer for Blackhawk Down and Gladiator...Howard Shore for Lord of the Rings.

 

I have to admit, I put this list together for the most part by thinking of the score and then looking it up on imdb. :)

 

I guess I've always been more focused on the performances and the overall film, though I love the behind the scenes aspects.

 

Frederic

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Great topic, Tim. Like you guys, I am also a fan of film scores, though probably not as seriously as you guys. But I do have a few favorites that I love and some of them were mentioned above. Here's a few of mine.

 

John Williams - Almost anything he does is brilliant. But some of my favorites of his are - the original "Star Wars" themes, the "Indiana Jones" themes, "Jaws", "ET:The ExtraTerrestrial", "Space Camp"

 

Alan Silvestri- the "Back to the Future" themes, the "Grumpy Old Men" themes, "Forrest Gump", "Contact"

 

James Horner- "Titanic", "Deep Impact", "Patriot Games" to name a few.

 

Angelo Badalamenti - "Lost Highway", "Blue velvet", "Christmas Vacation", "Nightmare on Elm Street 3: Dream Warriors"

 

Stephen Endelman- "Flirting with Disaster"

 

Carter Burwell- "The Hi-Lo Country", "Raising Arizona", "And the Band Played On"

 

Hans Zimmer - "True Romance", 'Beyond Rangoon", "The DaVinci Code", "The Last Samurai", "Pearl Harbor", "Gladiator", "The Thin Red Line", "The Peacemaker" and that's just a few. Zimmer, to me, is like John Williams. Almost anything he does is great, and none of his work ever sounds like anything else he's ever done.

 

Bernard Hermann- Anything.

 

Max Steiner - "Gone With the Wind"- a classic. Who doesn't hear that swelling music of "Tara's Theme" and think of the image of Scarlett O'Hara standing in the fields vowing "As God is my witness, I will never be hungry again."?

 

Mychael Danna- "Medium" theme. He hasn't done a lot of recognizable stuff, but that piece alone is one of my all-time favorites.

 

Basil Poledouris- "The Hunt for Red October", "Quigley Down Under", "Breakdown", "Lonesome Dove"

 

That's just a few of my favorites. I also have quite a collection of movie soundtracks and scores, though my collection is more contemporary, and not quite as diverse as some of yours might be.

 

Mediumfan

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You can never go wrong with John Williams. My favortie genre of music is movie scores. The first CD I ever purchased was Indiana Jones and the Last Crusade. I love Alan Silvestri and Hans Zimmer as well. Trever Rabin has gotten away with a couple good scores. He took a part in Armageddon and he did Deep Blue Sea. If you haven't heard Deep Blue Sea's scroe, download or somthing cause it's excellent. Danny Elfman is the man if I want somthing somewhat black. I like Zimmer's Batman theme but you can't fuckin top Elfman's. It's just the theme that comes to mind when you think of Batman. There's always an adventure in Williams' music though. I listen to these composers' music according to the mood I'm in or the way the weather is outside when I'm driving. I got it all on my MP3 so it works fine. For example if I'm driving in a snow storm, I feel like I need some climactic music so I'll put on John Powell's X-Men 3 theme. I think John Ottman's X2 theme is more superhero-like though. Both great scores none the less. If I wanna go to sleep, I'll put a theme that keeps a steady volume, like Carlo Silliotto's Punisher theme. Dennis Dreith also has a good Punisher theme. It's nothing to relax you though. If I feel like kicking someones ass I'll put Hans Zimmers' Gladiator theme (The Battle). I'm kidding, I don't beat ass but that theme pumps me up. If all else fails and I don't know what mood I'm in, the Raiders March is the way to go. There are many more composers I love too. James Horner, James Newton Howard, Ennio Morricone, John Barry, Lalo Schifrin, Howard Shore, E.S. Posthumus (not exactally movie composers but their music is used and it's great!), Graeme Revell, Jerry Goldsmith, Michael Kamen, Vangelis, Basil Poledouris, Harry Gregson Williams, Bill Conti (can't forget the classic Rocky theme and also the Karate Kid), Marco Beltrami, Brad Fiedel, Georges Delerue, Nino Rota, John Carpenter, I think we all get the point. I'm jabbering on. Does anyone else feel or get this way on movie scores? Gosh I love them.

 

 

~Raf

 

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I'm jabbering on. Does anyone else feel or get this way on movie scores? Gosh I love them.

~Raf

Haha, I think we all do. That's why we're here. ;)

 

You talked about getting pumped. Have you listened to the score for 300 by Tyler Bates? There are a few tracks on there that'll get your blood pumping.

 

JO

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Hans Zimmer - "True Romance", 'Beyond Rangoon", "The DaVinci Code", "The Last Samurai", "Pearl Harbor", "Gladiator", "The Thin Red Line", "The Peacemaker" and that's just a few. Zimmer, to me, is like John Williams. Almost anything he does is great, and none of his work ever sounds like anything else he's ever done.

 

Hey, I don't want to pick on Hans here more than I already have, but I'd politely suggest you listen to The Last Samurai and then listen to Pearl Harbor back to back. See if you don't agree there are more than a few similarities.

He comes up with something original and fantastic and then he tends to "borrow" from it here and there.

Many composers do it but Hans, being as prolific and visible as he is tends to get nailed for it more than others.

He can't bullshit me ;)

 

And Mediumfan . . . Not a serious film score collector? Looks like you're off to a good start.

 

As for Tyler Bates score for 300. Some of it is a bit noisy for me, maybe because Im not a fan of distorted electric guitars sounds in period films. But there is a lot to like there as well. One thing I was not into is the track "Returns A King", mainly because the quintessential version of that cue (Victorius Titus) was done in 2000 by Elliot Goldenthal for the film "Titus". If you like Tyler Bates' retread then check it out. To me it's much more powerful, and to my knowledge, the ORIGINAL version. The funny thing is, "Victorius Titus" was the opening cue on my "Red Sky Diary" temp score.

Now that it has been used again in "300" I've forced myself to abandon it.

 

B00003WGNS09LZZZZZZZ.jpg

 

I agree with many of you on many of the composers you've highlighted so I'll focus on a few folks I'm not so enamored with. Never been much of a fan of Trevor Rabin. His stuff seems tinny, brittle, and too electronic for my taste (I do love lot's of electronica though - Tangerine Dream, Vangelis, etc . . ). It just all sounds the same to me. I have a few of his scores including the expanded "Deep Blue Sea", but he's never been one of those guys that's tripped my trigger. Marco Beltrami is another one. In spite of my association with Guillermo del Toro, and in turn, Guillermo's association with Beltrami, I've never been captured by the stuff he does. It's rather hard to explain except his stuff just doesn't really do anything for me. Happily for me Del Toro went with the amazing Javier Navarrete for Pan's Labyrinth. I used to feel the same way about Patrick Doyle but in the past few years he's done some amazing work and now I've embraced him somewhat. His "Potter" score was very nice and what BIG shoes he had to fill.

 

Someone who may be off your radar is a guy by the name of Joseph LoDuca.

LoDuca used to be primarily known as the composer for Hercules and Xena. Which explains why I didn't discover his work until he did " Le Pacte des loups, AKA "Brotherhood Of The Wolf", which is STUNNING and beautiful. I then actually picked up some of LoDuca's "Xena" scores after sampling a few. I know! I own some Xena scores . . . So shoot me ;)

If you don't have "Brotherhood Of The Wolf" on CD I highly recommend it.

If you want a sample go check out my Red Sky Diary MySpace page, that's whats spinning.

Link in my signature below.

 

- tb

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Someone who may be off your radar is a guy by the name of Joseph LoDuca.

LoDuca used to be primarily known as the composer for Hercules and Xena. Which explains why I didn't discover his work until he did " Le Pacte des loups, AKA "Brotherhood Of The Wolf", which is STUNNING and beautiful. I then actually picked up some of LoDuca's "Xena" scores after sampling a few. I know! I own some Xena scores . . . So shoot me ;)

If you don't have "Brotherhood Of The Wolf" on CD I highly recommend it

 

- tb

Yes. I enjoy him very much. Love what he did with Evil Dead. And I do happen to have Brotherhood Of The Wolf. Thanks for reminding me of that. It's a masterpiece.

 

JO

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Right!

He's got the Raimi connection . . . Forgot about the Evil Dead stuff.

 

Also, my next suggested score is . . . "Kingdom Of Heaven" composed and conducted by Harry Gregson-Williams

618VTW0E99L_SS400_.jpg

 

Go watch the "director's cut" of Kingdom Of Heaven (A masterpiece in my opinion), and you'll HAVE to go buy the score.

 

- Tb

 

PS - Next time I'm going old school!

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I really hated the KINGDOM of HEAVEN when it first hit theaters, for the life of me I don't know why? ( I was never a big fan of Orlando Bloom.)I have since just fallen in love with the movie and would just about kill to see it on the big screen again. And the sound track is incredible.

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Right!

He's got the Raimi connection . . . Forgot about the Evil Dead stuff.

 

Also, my next suggested score is . . . "Kingdom Of Heaven" composed and conducted by Harry Gregson-Williams

618VTW0E99L_SS400_.jpg

 

Go watch the "director's cut" of Kingdom Of Heaven (A masterpiece in my opinion), and you'll HAVE to go buy the score.

 

- Tb

 

PS - Next time I'm going old school!

Yes. I love the director's cut. It's a masterpiece through and through. Love it. And yes it did make me buy the score. I listened to it for 6 days straight. Good stuff.

 

JO

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Hey, I don't want to pick on Hans here more than I already have, but I'd politely suggest you listen to The Last Samurai and then listen to Pearl Harbor back to back. See if you don't agree there are more than a few similarities.

He comes up with something original and fantastic and then he tends to "borrow" from it here and there.

Many composers do it but Hans, being as prolific and visible as he is tends to get nailed for it more than others.

He can't bullshit me ;)

 

And Mediumfan . . . Not a serious film score collector? Looks like you're off to a good start.

 

As for Tyler Bates score for 300. Some of it is a bit noisy for me, maybe because Im not a fan of distorted electric guitars sounds in period films. But there is a lot to like there as well. One thing I was not into is the track "Returns A King", mainly because the quintessential version of that cue (Victorius Titus) was done in 2000 by Elliot Goldenthal for the film "Titus". If you like Tyler Bates' retread then check it out. To me it's much more powerful, and to my knowledge, the ORIGINAL version. The funny thing is, "Victorius Titus" was the opening cue on my "Red Sky Diary" temp score.

Now that it has been used again in "300" I've forced myself to abandon it.

 

B00003WGNS09LZZZZZZZ.jpg

 

I agree with many of you on many of the composers you've highlighted so I'll focus on a few folks I'm not so enamored with. Never been much of a fan of Trevor Rabin. His stuff seems tinny, brittle, and too electronic for my taste (I do love lot's of electronica though - Tangerine Dream, Vangelis, etc . . ). It just all sounds the same to me. I have a few of his scores including the expanded "Deep Blue Sea", but he's never been one of those guys that's tripped my trigger. Marco Beltrami is another one. In spite of my association with Guillermo del Toro, and in turn, Guillermo's association with Beltrami, I've never been captured by the stuff he does. It's rather hard to explain except his stuff just doesn't really do anything for me. Happily for me Del Toro went with the amazing Javier Navarrete for Pan's Labyrinth. I used to feel the same way about Patrick Doyle but in the past few years he's done some amazing work and now I've embraced him somewhat. His "Potter" score was very nice and what BIG shoes he had to fill.

 

Someone who may be off your radar is a guy by the name of Joseph LoDuca.

LoDuca used to be primarily known as the composer for Hercules and Xena. Which explains why I didn't discover his work until he did " Le Pacte des loups, AKA "Brotherhood Of The Wolf", which is STUNNING and beautiful. I then actually picked up some of LoDuca's "Xena" scores after sampling a few. I know! I own some Xena scores . . . So shoot me ;)

If you don't have "Brotherhood Of The Wolf" on CD I highly recommend it.

If you want a sample go check out my Red Sky Diary MySpace page, that's whats spinning.

Link in my signature below.

 

- tb

 

 

Joseph frickin' LoDuca!!! How could I forget about him?? I own all of the "Xena" soundtracks. Does that make me weird? His music is f-ing AWESOME!! I haven't listened to any of them in a while, but I LOVE his work! His "Callisto" from the first CD is incredible, not to mention the opening theme, or "Going Home". But the music from the ladder fight scene in the "Callisto" episode is phenomenal. It was actually his music that got me hooked on that show in the first place. The first episode, I had the television on, but I wasn't watching (I was working on a drawing and just had it on for the noise) and the opening music started and it just grabbed me, and I was hooked. I made a point to buy all of the "Xena" soundtracks because of him, but I've never heard of anything else he's done. I didn't think anyone else in the world knew who that guy was because no one else has ever mentioned him as a favorite composer. You just won major points in my book, TB. Now I'm gonna have to go home and listen to some of my Xena CDs tonight.

 

I went to your RSD page at Myspace and listened to the "Brotherhood of the Wolf" and I really liked it. I'm going to start looking for that.

 

Oh, and I know what you mean about Zimmer, but I've never listened to his stuff back to back so the similarities to some of them never really jumped out at me, but there were a couple specifically that I was referring to when I said that, and that was "True Romance" and "Beyond Rangoon". They are nothing alike. I'll have to listen to those others more closely and see what you mean. Maybe I should have said MOST of his music sounds nothing alike. :lol:

 

Oh, I found another John Williams score today that I forgot I had that is great, "Far and Away". Beautiful.

 

 

mediumfan

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JO, I've only seen 300 once and that was rather recently. I don't remember the score so I'm gonna have to download it. You know I hope the score for War Zone ends up great. One thing I'm always concerned about for comic movies are the scores. I loved Spider-Man's and Hulk's by Danny Elfman and I loved all the X-Men and both Punisher's. Let's hope this one turns out dark enough. I think Sonic Fuel (the video game composers) should do this film. It's too late though cause they have a gentleman named Jay Faires. Never heard of him. The thing about Punisher though is that I noticed that people want rock/metal music in the film. I never looked at the character as someone who massacres people to rock music. I always thought of Castle as a score type of character and strictly a score. Not even a soundtrack on the side. I dunno. I liked the soundtrack for the last film, but I didn't approve of it if that makes sense. Anyways, I got sidetracked...... does anyone like Thomas Newman's Shawshank Redemption score? I think It's pretty good.

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Some people may disagree but I was apalled with the heavy rock soundtrack to the Punisher (2004).

Maybe when I was 15 I might have been impressed with it. But I'm not 15.

The only tracks I liked were "Broken" and "In Time", though I liked the version in the film better.

I dig Queens of the Stoneage too but that track isn't close to their best.

I'm not against doing a cool music soundtrack for a cool film that warrants it, "The Crow", "Garden State", you know, where the music you get on the soundtrack was also part of the film's experience?

The Punisher stuff was obnoxious to me. I know a lot of the younger cats dug it and I'm not slappin' em for doing so.

Just saying for me, it didn't work as a marketing tool. It just seemed a gratuitus attempt to appeal to a younger audience and nothing more. The Punisher does not need Drowning Pool to attract an audience.

And if I hear "Let The Bodies Hit The Floor" again I'll scream. Didn't that play over the trailer or am I stoned? I was just forced to hear it yet again while watching the newest trailer for Rambo. God, somebody tell these people that it's been done!!! To Death.

 

If the Punisher HAD to have a music soundtrack it should have been this -

 

Blacktop - Helmet

Rising From The Deep - Fireball Ministry

Lord Of This World - Black Sabbath

Nailed To The Gun - Fight

The Outsider - A Perfect Circle

Spine Of God - Monster Magnet

Low Self Opinion - Rollins Band

I'm Broken - Pantera

Stagger Lee - Nick Cave And The Bad Seeds

13 - Johnny Cash

Disconnect - Rollins Band

In Time - Mark Collie

 

 

- TB

 

 

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Good picks.

 

I agree that Seether and Amy Lee's song was the best the soundtrack had to offer, I also recommend "Sold Me" by Seether (#10) and "Finding Myself" by Smile Empty Soul (#6).

 

I also enjoyed the original Punisher TV spots that played with the song "So Far Away" by Staind.

 

The soundtrack for Spider Man 3 is VERY impressive - except for the song by the Flaming Lips. Perfect break-up cd.

 

Street, check out my last post to you (page 1) - I posed an interesting question for ya.

 

-TL

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In RED, natch.

 

It is truly sad to hear Poledouris is no longer a living composer. He will be missed, and not forgotten.

 

Yep, he was one of the good ones. And we've lost Goldsmith, Elmer Bernstein, and Michael Kamen in the last few years as well.

 

I’m thrilled to hear Bridget’s a wild woman. I specialize in WILD dames, specially those in their 40s. She rocked in Point of No Return (which had a decent score). Nikita was a better film though.

 

Nikita was unparalleled. Or Anne Parillaud, you decide ;)

 

I’m with ya a great deal on Siliotto’s mob themes for no such mob. My favorite piece of that score comes from the “Death and Resurrection of Frank castle” theme, that is frequented in several key moments of the film. In the Extended Cut, the scene where Thomas kills Marc Collie is followed by this GREAT piece of music I cannot find within the cd. Its clearly not in there, and its also used in the behind the scenes featurette that features you makin the Kuwait sequence. Aside from that, there’s a scene where TJ is shot by the camera from behind when putting on his shirt. That’s another track that’s AWOL from the cd. Good shit - yet “where the fuck is it?”.

 

I think it's on the expanded score. It's floating around out there somehwere. Hensleigh's assistant John Leonetti has it so

I KNOW it's attainable.

 

Morricone is a BEAST. I was happy to see him honored at the 2005 Academy Awards. Or was it ‘06? I just remember Clint blushing when the music was playing. Fuckin iconic! In 40 years, if Siliotto is honored in that same fashion, I hope Jane is there to feel good about himself when they start playin those tracks.

 

Carlo got a lot of work to do.

 

Talkin Frank “Dracula and any other creepy fucker” Langella, have you heard his creepy voice-over for the Red Dragon in Red Dragon the Director’s Cut? Its fuckin demonic! That’s the whole point though ain’t it?

 

Ain't seen that. Sounds A1.

 

The scores for the Hannibal films (except Hannibal Rising and Manhunter) are in my possession. Silence of the Lambs is my favorite, though the opening intro track for Red Dragon set against that creepy collection of clippings Ray Fiennes has been saving in his journal, is just amazing. Psychotic though.

 

Don't have the score for Red Dragon. Got the rest though. My "Manhunter" is a bootleg though. Still rocks.

You saying RD is worth picking up?

 

Let’s bring up some comedies. Multiplicity, As Good as it Gets and Groundhog Day all have Harold Ramis in common. Do they have the same composer in common? No. They are all SO similar though.

 

George Fenton did "Multiplicity" and "Groundhog Day". His score for "Ever After" is actually classic and awesome.

Zimmer did" As Good As It Gets". Don't have many comedy scores. Not really my bag unless it's special.

I have Bernstein's "Stripes", which also has Harold Ramis in common ;)

 

 

Further discussing John Williams. The Indiana Jones theme STILL does it for me. It never gets old. The Jaws theme I think is just good when watching Jaws. I got the score, but feel uneasy when listening to it. Oh wait, was that what he wanted me to feel? HA!

 

Jaws, Indy? How do you achieve more in a career? Yer John fucking Williams, that's how.

 

The revised Terminator theme from T2 by Brad Fiedel is my top Sci-Fi favorite. Watching that final shot of the dark road with Linda Hamilton’s narrative was so dark and so final. The credits role and there comes the theme. Perfection. Why fuck it up with T3 (Still liked it) and Sarah Connor Chronicles??? And Christian Bale???

 

Have the 2 Fiedel Terminator scores. To be honest I haven't listened to either in a VERY long time. I fell out with Fiedel for some reason. Maybe it's time for a revisit.

 

Off topic - the song “You Could Be Mine” by Guns N’ Roses is my favorite of the band’s songs, and its featured in Terminator 2. When you’re drinking to GET WASTED, that song will give you stomach strength you never knew you had. Until you puke.

 

Heh.

 

I wrote all this immediately after returning from my run, so I got drops of sweat falling on my laptop. The troops oughtta be up by sunrise Street, so we should have company soon.

 

You’re gonna have to make a secondary Podcast, just to cover scores. Kinda like what Smackdown does for Raw. If you know about wrestling…

 

Here’s another big one, who do YOU think should score Warzone?

 

Interesting question. I suggested Bear MacCreary to both Gail and Lexi. When I spoke with Lexi she confessed they already had a composer. Not sure if I'm supposed to say who that was.

The perfect guy to do it is Howard Shore .

 

-TL

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You thinking Shore’s a safe way to go because of the Departed? Or is there a particular score of his that displayed Punisher-esque qualities?

 

I really liked the score to the game. It was like they literally transferred “Welcome Back Frank” into music. Specially the level where you break into the Gnucci estate to take out Ma and the family. Perfect score to that.

 

Transformers was done just the way it shoulda been. Not too big yet epic still. Best track - the Autobots land on the earth. It was done like a birth. Somethin amazing yet terrifying to witness. Good job Steve Jablonski.

 

Red Dragon is DEFINETELY worth buying. That score is so close to Silence of the Lambs (in contrast with the film) they’re basically counterparts. Just thought of Threepio and Artoo cause of that word.

 

I knew those scores to Multiplicity and Groundhog Day were fuckin similar! I myself wouldn’t jam to them (buy them) but they fit just right in the films.

 

On the Expanded Punisher score front - the search has begun. I’m browsing eBay right now.

 

Williams… You think he oughtta jump on a Marvel score? I’m thinkin Thor. I think what he did with Schindler’s List was outstanding. All that passion, and just the idea of having to score that impossible story must be frightening. You got millions that are gonna watch this thing, you better do something big right? The guy cannot fail.

 

Lookin through my shit, Resident Evil is pretty decent. Its got that Romero Dawn of the Dead vibe, yet its modern enough for the young people. Its that kinda rotting of the flesh note yet done in a scientist/swamp thing way. FUCK! Craven’s Swamp Thing had an awesome score! I must find it. Intense shit, gets your blood pumping.

 

Guillermo Del Toro's Pan's Labyrinth has a great score. Its a reocurring theme that's hummed. Know what I'm talkin about? I saw the Orphanage last month, the Spaniard film he produced - and its got a really good score. Check out the flick before it gets remade into an English film like EVERY GOD DAMN foreign film on this planet.

 

Kingdom of Heaven's score I feel has the best to offer in all the Liam Neeson scenes. Also the closing tracks too.

 

300 didn't impress me at all. I bought that special edition cd BEFORE I saw the film (not doing that anymore) and was not at all blown away. It shoulda been epic! I'm a Greek, and I really enjoyed the Spartacus score. That opening sequence with the statues has a great sound to it. 300 didn't hit the spot.

 

-TL

 

 

 

 

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