Thomas Myers6 said:I feel like when the country is facing a rough economic and political climate, people have much more pressing concerns than focusing on alternative subcultures. What are your thoughts?
It feels to me like you might just be struggling to find something meaningful to say, so you're posting for the sake of it.
Back in Miami, the so-called alternative scene actually hit its absolute peak between 1993 and 1996... which was right during the war and that tragic "economic-political" mess... back when widespread poverty was significantly worse than anything we see today, and most things we take for granted now were completely unimaginable.
urbanmoose3 said:Bo Lee was always the ringleader and the absolute star of his own show.
I find myself agreeing with the article, though I have to disagree with the quote above. From what I can see, Smith and his inner circle are increasingly pulling all the strings behind the scenes. Personally, I’ve never been much of a fan of Smith, and there's a part of me that wishes Bo Lee had remained the sole decision-maker; HOWEVER, I have to admit that Bo's films have become incomparably more entertaining and polished since Smith "took the reins" (I'll leave how you interpret that up to you).
I think the ideal path forward would be to find a middle ground—letting Bo maintain his creative autonomy while allowing Smith to help "shape" the final product to make it sharper and more engaging, provided it stays true to Bo's original vision.
nimblegull23, you missed the best part! That intense scene where he fights the "tiger" is absolutely unmatched!😁😁😁
And right alongside that moment, there’s Bo's question—during that goodbye with the forest nymph—asking her what she really thinks about combat sports!😂
Check out this massive wig Bo wears when he hits the club (check the photo above!)—it looks just like the hair/style of which iconic movie character?!?
I attended the premiere in Los Angeles a couple of days ago. Bo was actually there, so I finally got the chance to meet him, even though I've been following his career for eight years now! 😎
Compared to "Protecting Oneself," Monty Python feels like a serious documentary or a PBS special. This might honestly be the craziest movie ever made.
And it doesn't drag on either. My entire row and the rest of the theater were howling with laughter through the whole thing—nearly two hours of pure joy.
There’s really no reason to feel any "pity" for Bo. He actually lived out his ultimate dream. Just think about what that says about us!?!
Bo Lee is a truly happy man.
And he certainly makes the rest of us—well, at least many of us—just as happy.
I totally get where you're coming from, and I generally support that "no translation" policy—BUT—how many Americans actually speak Italian?!? In this specific instance, I really don't have anything against translating it. This is one of those rare cases, maybe one in a thousand, where it actually makes perfect sense.
miss, why the eye roll? This is actually one of those rare instances where the translation makes perfect sense. "Stecchino" translates to "toothpick," and the character in the movie—a mobster—goes by that nickname specifically because he’s constantly chewing on a toothpick...
(It’s common knowledge that every mobster has a nickname that fits their persona, much like how our Robin Williams 😎 )
restlesslynx said:It’s such a fantastic blend of that classic James Bond sound mixed with modern electronic elements, though I'm not entirely sure who composed it.
restlesslynx said:Jerry Goldsmith might just be the guy who writes the ultimate theme for every movie, but I honestly can't get enough of that opening track from Star Trek: First Contact - Jerry Goldsmith.
While Goldsmith’s most famous contribution is undoubtedly the theme for the series Star Trek: The Next Generation, that doesn't even compare to some of his other absolute masterpieces—most notably the incredible soundtrack for an equally fantastic film: 🙏 Gremlins! 👍
He also did such wonderful work on the film First Knight. To be honest, the movie itself isn't nearly as impactful as that standout piece, "Arthur's Farewell"... it's powerful... truly powerful... In fact, Iron Maiden even performed alongside that track during one of the biggest concerts in history back in Rio de Janeiro in 2001.
This thread has hit 173 views, yet there are only 29 votes recorded so far... I suspect Richard Hernandez13 keeps popping back in just to make sure his lead is still holding up... 🙂
People really are obsessed with voting and elections... whatever kind they can get their hands on...
Mmda... I tried starting a conversation about the James Bond soundtrack back in that first thread dedicated to film composers, but there wasn't much interest at the time... It’s a shame, really, because the James Bond soundtracks are easily some of the most fascinating, iconic, and incredible pieces of music out there. Looking at the entire series, I honestly feel the music is the standout element—it’s incomparably better than the movies themselves, which, if I'm being honest, are mostly 🙂
If there are any true aficionados here—which James Bond soundtrack holds the top spot for you?
Grace Scott said:Is intelligence-based humor actually a thing?........?????? Well, I suppose it really all depends on your perspective!!!!!
I don't think that's quite right. There are plenty of different types of humor that only resonate with specific groups of people, which you might call "specialized" or niche humor. For instance, if you look at those classic cult comedy shows from the UK, certain jokes will only land with people who have the specific background knowledge to get them. It’s a similar situation with Ali G's In Da House. His style of comedy is aimed at a very particular demographic—certain socio-cultural or age groups. So, if you haven't spent much time immersed in hip-hop culture, or if you never really connected with it, it's easy to see why some of Ali G's jokes might seem confusing or even silly to you, when in reality, they aren't necessarily bad; they just weren't designed for your specific audience.
1986 said:I’ve always had the most respect for the old school legends: Run-D.M.C., Public Enemy, N.W.A., Ice-T, BDP, Kurtis Blow, Grandmaster Flash... everything you hear today just feels fake to me, like they're sucking up to the industry with watered-down, overly commercialized pop rap. I have to give credit where it's due to exceptions like Gang Starr, Freddie Fox, and The D.O.C. Old School
dustycanyon6 said:Man... where did we end up? This whole forum seems packed with rockers and whatnot, but you can't find any electronic music fans anywhere...
Don't let it get you down... I wouldn't exactly call myself an "electronic music expert" either, though I was listening to techno heavily from 1992 through 1996. Those really were the golden years...
Anyway, enough about that. At the end of the day, this thread is meant to be about film scores.
dustycanyon6 said:I have a feeling we might be talking about two different things here!
Yeah... I can see why you're confused... maybe I wasn't being as clear as I should have been. But regardless, I actually have the "album" version, the "radio" edit, the "classic" cut, the "original" take, the single by Doldinger, and even the single by U96... 😁
dustycanyon6 said:Does anyone happen to know if Basil Poledouris composed the soundtrack for any other films? If you have any info, please let me know.
🙏 Basil Poledouris 🙏
I brought him up about ten days ago in that discussion about film composers that Richard Hernandez13 ended up closing. You know how it goes, Max—Richard can just shut down a thread whenever he decides he doesn't like the way my "little guys" are chatting.
I’m truly glad you brought up Basil Poledouris, because it felt like nobody else was really picking up on my mention of such a legendary figure in film scoring. He certainly composed the scores for RoboCop, Starship Troopers, and several other films, but I truly first discovered his work and fell in love with it because of that monumental soundtrack from The Hunt for Red October. Along with that specific score, I’d really have to highlight his music for the Conan movies; Poledouris did such an incredible job there. Honestly, those soundtracks are just brilliant—in many ways, they're actually better than the films themselves. 😁
P.S. — Basil Poledouris actually composed an anthem for the Olympic Games as well!
dustycanyon6 said:I honestly think the radio version of Das Boot is the absolute best way to experience it—though I have a feeling most of you probably haven't even heard it.
😂 😂 😂
I wonder if anyone else remembers... back in 1992, I first got into techno because of that one track. I was just a kid at the time, but I can honestly say I was one of the very first people in my city to really start diving into the techno scene. I can say it with pride today—I was listening to techno when 99% of people in America didn't even know it existed.
And it’s all thanks to that brilliant film *Das Boot* and its absolutely fascinating soundtrack...
Max, if you haven't done it yet, just go ahead and grab that soundtrack on CD—I promise you won't regret it, I guarantee it. 👍 🙏