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Ja, das wäre auch noch so etwas... Höre ich immer mal wieder gerne bei YouTube und eine CD wäre sehr wünschenswert. Hinter The Chairman können wir ja im Dezember ein Häkchen setzen ...

Naja das Main Theme (für Marguerite) ist schon sehr stark, eingängig und wird oftmals variiert.

Neu von Dragon's Domain: Dragon’s Domain Records presents PSYCHO, featuring music composed by Bernard Herrmann (CITIZEN KANE, NORTH BY NORTHWEST, VERTIGO) for the 1960 horror classic directed by the legendary Alfred Hitchcock, written by Robert Bloch and Joseph Stefano, starring Anthony Perkins, Janet Leigh, Vera Miles, John Gavin, Martin Balsam, John McIntire and Simon Oakland. Released in 1960, PSYCHO focuses on an encounter between Marion Crane (Leigh) and Norman Bates (Perkins) and its aftermath, in which Arbogast, a private investigator (Balsam), Marion’s lover Sam (Gavin) and her sister Lila (Miles) investigate her disappearance. On the run after embezzling money from her former employer, Marion makes a fateful stop at the Bates motel, where she meets shy proprietor Norman and Marion’s fate is changed forever... Now considered one of Hitchcock’s best films and arguably his most influential work, PSYCHO was seen as a departure at the time from his previous film, NORTH BY NORTHWEST, as it was filmed in black-and-white, on a small budget, with the same crew Hitchcock used for his television series, ALFRED HITCHCOCK PRESENTS. The film was a massive success in its day, spawning three sequels, a remake, a made-for-television spin-off and a television series. Bernard Herrmann is one of the greatest composers of motion picture music in the twentieth century. He is considered the man behind some of the most original and distinctive film scores. He was a master at evoking psychological and dramatic tension in his music to suit the dramatic needs of a film. He won his only Oscar in 1947 for writing the score for THE DEVIL AND DANIEL WEBSTER. Herrmann made a powerful mark in radio and in 1934 he began a 25-year career as a conductor and composer in radio, working for the CBS. In 1938, he scored the notorious infamous presentation of Orson Welles’ Halloween production of H. G. Wells’ THE WAR OF THE WORLDS broadcast. He is best remembered for his collaborations with some of Hollywood’s most celebrated film directors like Alfred Hitchcock, Orson Welles, Martin Scorsese and Brian DePalma. Described as a perfectionist, he believed that most directors didn't have a clue about music so he would blithely ignore their instructions. His filmography includes CITIZEN KANE, THE MAGNIFICENT AMBERSONS, NORTH BY NORTHWEST, VERTIGO, MYSTERIOUS ISLAND, CAPE FEAR, FAHRENHEIT 451, OBSESSION, TAXI DRIVER and many hours of episodic television including THE TWILIGHT ZONE and HAVE GUN, WILL TRAVEL, among others. First released on vinyl in 1975 by Unicorn-Kanchana and later released in the early days of the compact disc format, this recording captured the first complete presentation of music from PSYCHO as performed by the National Philharmonic Orchestra and conducted by the composer himself in 1975. Dragon’s Domain Records is excited to bring PSYCHO back to the marketplace under license from Unicorn-Kanchana, newly remastered by James Nelson at Digital Outland and retaining the original album liner notes by Christopher Palmer. PSYCHO is a limited edition release. PSYCHO will begin shipping the week of October 28th, 2025. 01. Prelude (2:08) 02. The City / Marion / Marion and Sam (4:34) 03. Temptation (3:06) 04. Flight / The Patrol Car / The Car Lot / /The Package / The Rainstorm (8:43) 05. Hotel Room / The Window / The Parlor (4:01) 06. The Madhouse (2:14) 07. The Peephole (3:10) 08. The Bathroom / The Murder / The Body (2:07) 09. The Office / The Curtain / The Water / The Car / The Swamp (6:39) 10. The Search (A) / The Shadow / Phone Booth (2:23) 11. The Porch / The Stairs / The Knife (4:33) 12. The Search (B) / First Floor / Cabin 10 / Cabin 1 (6:09) 13. The Hill / The Bedroom / The Toys / The Cellar / Discovery (5:24) 14. Finale (5:45) BONUS TRACKS 15. The Hill / The Bedroom / The Toys / The Cellar / Knife (reprise) / Discovery (film edit) (1:49) PSYCHO: A NARRATIVE FOR STRING ORCHESTRA 16. Part 1: Prelude (2:08) 17. Part 2: The Madhouse / The Murder / The Water / The Swamp ( 6:23) 18. Part 3: The Stairs / The Knife / The Cellar / Finale (6:36) Total Time: 78:37 Dragon’s Domain Records proudly presents the third volume in a new ongoing series of music from classic horror films from the Golden Age, featuring two world premiere releases of music from THE GORGON and THE MANSTER. Released in 1964, was directed by Terence Fisher (CURSE OF FRANKENSTEIN, HORROR OF DRACULA, THE MUMMY), written by John Gilling and J. Llewellyn Devine, starring legendary actors Christopher Lee and Peter Cushing, along with Richard Pasco, Barbara Shelley, Michael Goodliffe, Patrick Troughton, Joseph O’Conor and Prudence Hyman. THE GORGON begins in 1910, in Vandorf, a seemingly idyllic German village which is harboring a horrific secret: Seven people have died after encountering a mysterious force that turns bodies into stone. When Bruno Heitz, a bohemian artist believed to have committed suicide by hanging himself is blamed for the murder of his pregnant girlfriend, his father challenges local officials who he suspects of conspiring to hide the truth. An esteemed academic, he sends for help from his good friend Professor Meister (Lee), who is tutoring his other son Paul (Pasco). That night, the elder Heitz is drawn to Borski Castle by a strange and haunting melody, sung by a shadowy figure who appears to have writhing snakes on her head instead of hair. Staggering back to his son’s studio, he desperately scribbles a note while slowly turning to stone... Paul arrives the following day to learn that his father has also passed away, allegedly from a heart attack. His questions are rebuffed by Dr. Namaroff (Cushing), a medical doctor who also runs the local asylum, though he does find a sympathetic ear in Carla (Shelley), who is Namaroff’s assistant. Later that night, Paul finds himself compelled to visit the castle. He merely gets a glimpse of a mysterious figure reflected in the garden pool before passing out and awakening five days later, only to learn that he has noticeably aged. Professor Meister arrives to help Paul who, after exhuming his father’s stone corpse, is determined to locate and kill the monster. Namaroff insists publicly that the killer is one of his escaped lunatics, but in private he confides to Carla what he truly believes, that the murderer is someone else, a person possessed by the spirit of one of the mythical Gorgon sisters who, when gazed upon, turn people to stone... Composer James Bernard was the man responsible for creating Hammer Studio’s unique sound, having begun scoring for the studio with THE QUATERMASS XPERIMENT. He had commenced his music studies later in life, after completing his service during the Second World War. Following his work on X THE UNKNOWN and QUATERMASS 2, Bernard scored Hammer’s first major horror film, THE CURSE OF FRANKENSTEIN. Each of these scores featured his trademark blend of harmonies and themes that often melodically spelled out the protagonists’ names. Unlike many composers, Bernard frequently orchestrated his own scores and THE GORGON represents one of his more romantic horror efforts, undoubtedly inspired by the film’s central female character. Released in 1959, THE MANSTER was directed by George P. Breakston and Kenneth G. Crane, written by William J. Sheldon and Breakston, starring Peter Dyneley, Jane Hylton, Tetsu Nakamura, Terri Zimmern, Norman Van Hawley, Jerry Itô, Toyoko Takechi, Kenzo Kuroki and Alan Tarlton. THE MANSTER tells the story of Larry Stanford (Dyneley), an international journalist based inTokyo. His latest assignment sends him to an isolated laboratory located near a volcanic mountain. His efforts to interview a reclusive scientist (Nakamura)yields what he perceives to be a new friendship, but in reality Stanford has been secretly injected with an experimental serum, becoming the latest guinea pig in a mad, genetic experiment... The doctor’s beautiful assistant (Zimmern) is tasked with seducing Stanford in an attempt to observe how the drug changes his personality. He soon becomes more aggressive, ignoring help from his friend and editor Ian (Van Hawley), who has also flown Larry’s wife (Hylton) in to help. Soon, the city of Tokyo finds itself in the grip of terror as several young women are brutally murdered, and a police inspector (Itô) suspects a link between Stanford and the killer. Unbeknownst to all, Larry has begun a physical transformation with the appearance of an eye on his right shoulder that grows into an animalistic head, later evolving into a second beastly body... The music for THE MANSTER was composed by Hirooki Ogawa. The composer was born in Tokyo, Japan. Among his most notable scores were for the GEKKÔ KAMEN and MOONLIGHT MASK television and theatrical series in the 1950s.Some of the films featuring his scoring work has been recently released in the U.S., including WATARI THE NINJA BOY (Daininjutsu eiga Watari) and NINJA SCOPE (Tobidasu Boken Eiga: Akakage). This third volume in Dragon’s Domain Records series of classic horror films has been mastered by James Nelson at Digital Outland, featuring exclusive liner notes by Starlog Magazine’s David Hirsch with Sam Scali on the music featured on the album. THE GOLDEN AGE OF HORROR VOL. 3 is a limited edition release and is expected to begin shipping the week of October 28th,2025. SPECIAL NOTE: These recordings were originally taken from analog masters and music & effects tracks and therefore certain limitations from the source tapes may be evident. We have tried to preserve as closely as possible, the quality of the original recordings. THE GORGON (1964) Music by James Bernard 01. Main Title (3:22) 02. Death in the Forest / Broken Finger / Woman of Stone / Bruno's Body / Inquest Conclusion / Village Thugs (2:33) 03. The Siren's Call /Turning to Stone (4:31) 04. Surviving Son Contemplates (2:22) 05. The Legend / Terrible Reflection (4:04) 06. Nightmare / It Was Only a Dream / Exhumation / Come Away With Me (3:35) 07. Take Me Away Now (3:01) 08. Meister Steals the File (2:33) 09. It's Too Late / It's the Full Moon / Paul Escapes / Back to the Castle (2:55) 10. She's Free & Finale (4:27) 11. The Gorgon (1964) Theatrical Trailer (2:42) THE MANSTER (1959) Music by Hirooki Ogawa 12. Murder in the Onsen / Main Title / Climbing Into the Mist (2:37) 13. Disposing Kenji's Body (1:47) 14. Stanford Arrives at the Lab / Suzuki Drugs Stanford / Preparing the Hypo / Injecting Stanford (2:44) 15. Tokyo Branch Office / Call From the Wife / Geisha House (2:31) 16. Saki Before Our Bath / An Evening with Tara (2:46) 17. The Girlfriend or Me/ Tara's Demands / Hand Transformation (4:05) 18. Something On His Shoulder / The Priest / Where Did You Get Those Prayer Beads? / Murderous Rampage (2:57) 19. Emiko / Eye On His Shoulder / Second Head (2:06) 20. Matthews Searches for Stanford / Manster vs. Police / Wife Discovers Manster (3:08) 21. Mansterhunt (2:00) 22. Searching Tara's House (1:16) 23. The Shipyard (2:23) 24. Suzuki Shoots Emiko (1:39) 25. Manster Stabs Suzuki / The Split / Man vs. Monster / Finale (4:11) 26. The Manster (1959) Theatrical Trailer (1:33) Total Time 74:05 Dragon’s Domain Records presents WHAT EVER HAPPENED TO AUNT ALICE?, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for the 1969 dark horror comedy directed by Lee H. Katzin, written by Theodore Apstein and Ursula Curtiss, starring Geraldine Page, Ruth Gordon, Rosemary Forsyth, Robert Fuller, Mildred Dunnock, Joan Huntington, Peter Brandon, Michael Barbera, Peter Bonerz, Richard Angarola, Claire Kelly and Valerie Allen. Released in 1969, WHAT EVER HAPPENED TO AUNT ALICE? was based on the novel ‘The Forbidden Garden’ by Ursula Curtiss. WHAT EVER HAPPENED TO AUNT ALICE? is the story of an aging Arizona widow named Claire Marrable (Page) left destitute after her husband, a prominent wealthy businessman, passes away leaving behind considerable debts. Penniless and desperate, Ms. Marrable retreats to Tucson where she cons elderly female housekeepers out of their life savings before murdering them and burying their bodies in her desert garden. Shortly after Mrs. Marrable hires petite Alice Dimmock (Gordon) as her next housekeeper (victim), the conniving black widow’s homicidal schemes begin to unravel... The original director of the picture, Bernard Girard, was fired from the project after shooting only half the film. Lee H. Katzin was then brought aboard to complete the movie receiving sole directorial credit. WHAT EVER HAPPENED TO AUNT ALICE? is the third installment in producer Robert Aldrich’s loose trilogy of psycho-biddy “Grand Guignol” films, horror thrillers featuring elderly women going crazy, following WHAT EVER HAPPENED TO BABY JANE? and HUSH…HUSH, SWEET CHARLOTTE. Born February, 1928 in the Bronx, Gerald Fried’s interest in music found its first fruition at the High School of Music & Art in New York City. He attended The Juilliard School of Music as an oboe major, graduating in 1945. Among his earliest friends was a bright kid named Stanley Kubrick. The two of them used to hang around Greenwich Village and talk about their budding interests, Fried’s in classical music and Kubrick’s in filmmaking. Their interests merged when Kubrick began filming DAY OF THE FIGHT, an 18-minute short about boxing. Knowing Fried was a music major, Kubrick asked him if he could write the score for his boxing picture. Fried agreed, then spent months going to the movies to learn how film scores worked, there being no schools or courses on film music in those days. Fried wrote an effective score, and Kubrick sold the film to RKO Pathé. Fried rejoined Kubrick to score four more of his films, including THE KILLING and PATHS TO GLORY, where the young filmmaker first gained his reputation. After the success of THE KILLING in 1956, Kubrick moved to Los Angeles, shortly followed by Fried, who was immediately hired to compose and arrange music for several films, including THE VAMPIRE, THE RETURN OF DRACULA, MACHINE GUN KELLY and I, MOBSTER, I BURY THE LIVING, and TIMBUKTU (1959). By the 1960s, Fried moved into television, scoring episodes of such seminal shows of the decade as GILLIGAN’S ISLAND, THE MAN FROM U.N.C.L.E., MISSION: IMPOSSIBLE and STAR TREK. By the 1970s Fried was composing music for numerous made-for-TV movies. His best-known score of the decade was for the 1977 miniseries ROOTS, which he took over scoring when Quincy Jones fell behind and was unable to meet the broadcast deadline for the eight-hour miniseries. Both Jones and Fried won Emmy Awards for their musical efforts on the series. During the ‘80s, Fried continued to compose music for television series, movies, and documentaries, and an occasional feature film. These are just two of the many magnificent scores Fried wrote throughout his career. The composer passed away on February 17, 2023 at the age of 95. His work remains a testament to his talent and dedication to the art of composition and he is remembered as a key figure in the evolution of music for film and television. Dragon’s Domain Records presents the world premiere release of WHAT EVER HAPPENED TO AUNT ALICE?, featuring music composed by Gerald Fried. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written author and composer Brian Satterwhite. WHATEVER HAPPENED TO AUNT ALICE? is a limited edition release. WHATEVER HAPPENED TO AUNT ALICE is expected to begin shipping the week of October 28th, 2025. 01. Come With Me (1:40) (Sherlie Matthews) 02. Prologue: The Respectable Widow (3:51) 03. Prelude To Murder / Opening Titles (3:27) 04. Miss Tinsley Death (3:55) 05. A New Tree / Alice Dimmock Arrives (2:44) 06. Snooping Around / A Stormy Night (4:11) 07. Falling In Love (1:24) 08. The Dog (4:50) 09. Discovering The Truth / $46,000? / Comparing Handwriting (4:16) 10. I Don’t Want To Lose You (1:26) 11. Late Night Call (2:25) 12. Fight To The Death (3:17) 13. Stamp Collection / Pine Trees / End Titles (3:06) 14. Come With Me (Alternate Version) (2:58) (Sherlie Matthews) 15. Cocktail Party I (4:30) 16. Cocktail Party II (4:19) 17. Car Radio (Source) (5:14) 18. Dixieland (Source) (3:42) 19. Mon Pauvre Amour (Source) (3:41) (Lilyan Chauvin) 20. Mon Pauvre Amour - Instrumental (Source) (3:41) 21. Viens À Moi (Come With Me) (2:04) (Lilyan Chauvin) 22. Viens À Moi (Come With Me) (Instrumental Version) (2:05) 23. Quand Revient La Nuit (Source) (2:25) (Lilyan Chauvin) 24. C’est La Vie (Source) (2:10) (Lilyan Chauvin) Total Time: 78:22 Dragon’s Domain Records presents THE HILLS HAVE EYES, featuring music composed by Don Peake (THE PEOPLE UNDER THE STAIRS) for the 1977 horror film written and directed by Wes Craven (LAST HOUSE ON THE LEFT, A NIGHTMARE ON ELM STREET, SCREAM), starring Susan Lanier, Robert Houston, John Steadman, Janus Blythe, Peter Locke, Russ Grieve, Virginia Vincent, Dee Wallace, Brenda Marinoff, Martin Speer, James Whitworth, Lance Gordon, Michael Berryman and Cordy Clark as Mama. Released in 1977, THE HILLS HAVE EYES follows Big Bob Carter (Grieve), a retired detective, his wife Ethel (Vincent), their son, Bobby (Houston), daughters Lynne (Wallace) and Brenda (Lanier), Lynne’s husband, Doug (Speer) and their granddaughter as they travel together through the desert on their way to California. Stopping at an isolated gas station to refuel and rest, Fred, the owner (Steadman) advises Big Bob to stay on the main road. Being stubborn, Big Bob ignores his advice and takes a shortcut through a nuclear testing site. After wrecking the car, the family finds themselves stranded in the middle of nowhere. And they are not alone... Don Peake is a multi-talented musician who has worked as a guitarist, arranger, record producer, and film music composer. Starting his professional musical career as a guitarist in 1961, Peake's talent was recognized early when he toured as lead guitarist with the Everly Brothers at the age of 21, playing in the U.S. and Europe for two years. Peake returned to Los Angeles to establish himself as a recording musician, and played for many of the legendary performers under Phil Spector's production including The Righteous Brothers - "You've Lost That Loving Feeling," Ike and Tina Turner - "River Deep Mountain High," as well as recording with Mahalia Jackson, Billy Preston, Cannonball Adderly, Marvin Gaye, and Diana Ross. Peake became the first white guitarist to play with the Ray Charles Orchestra, touring with Charles, and recording with him for ten years. During that time, Peake studied guitar with Barney Kessel, Howard Roberts, and Joe Pass, three legendary guitarists. Peake became one of the premiere session guitarists in Los Angeles, recording for Jan and Dean, The Mamas and the Papas, Sonny and Cher, The Beach Boys, and many others. Don was inducted into an elite group of musicians led by drummer Hal Blaine known as "The Wrecking Crew." This amazing range of musical experience led Peake to composing music for film and commercials. He studied composition and orchestration extensively with Dr. Albert Harris, Academy Award winning composer Paul Glass, and conducting with Broadway's beloved Maestro Samuel Krachmalnick. His film scores include Wes Craven's cult classic WALK PROUD, MOVING VIOLATION, MODERN LOVE, and BREAKIN’, which earned him a Platinum Album. Don spent three and a half years scoring the popular Universal Television series KNIGHT RIDER. He also scored the American Playhouse production of THE MEETING, a film about the meeting between Martin Luther King and Malcolm X. Previously released on compact disc as a limited edition release by Hitchcock Records, Dragon’s Domain Records is excited to bring THE HILLS HAVE EYES back to the marketplace, with the music remastered by James Nelson at Digital Outland, reprising liner notes by the composer. THE HILLS HAVE EYES is a limited edition release. THE HILLS HAVE EYES is expected to begin shipping the week of October 28th, 2025 1. Opening Credits (2:07) 2. Stay On The Main Roads / Truck Explosion / Here They Come / Mutants Watch / Pretty Girl / Spider (2:58) 3. Bobby Runs After Beauty The Dog / Bobby Runs Back Down The Hill (3:42) 4. Oil Can Spout / Old Man Tells Story / Mutant Attacks Big Bob (3:28) 5. Bobby Hears A Noise / Nailing Big Bob To A Tree / Bobby Runs / Mutant Enters The RV (2:47) 6. Explosive Diversion / Big Bob’s Burned Corpse (2:10) 7. Stealing The Baby / Lynne Is Shot / RV Fight / Finding The Walkie-Talkie (2:46) 8. Dog Scare / Running Back Up The Hill / Finding The Camp / Mutants Run To RV / Ruby Steals The Baby (2:48) 9. Ruby Runs With Baby / The Rabbit / Brenda Sees Mutant / Dead Mom Decoy (2:11) 10. Gas Trap / The RV Explodes / Chasing The Baby / Rock Fight / The Rattlesnake (2:42) 11. End Credits (1:23) 12. Bobby Runs Back Down The Hill (Alternate) (0:35) 13. Bobby Runs (Alternate) (0:23) 14. Lynne Is Shot / RV Fight (Alternate) (1:22) 15. Chasing The Baby / Rock Fight (Alternate) (1:04) 16. Dog Scare / Running Back Up The Hill (Alternate) (0:55) 17. Wild Synth Wind (0:18) 18. Wild Axe Hits (0:10) 19. Percussion Suite 1 (0:40) 20. Percussion Suite 2 (1:02) Total Time: 36:24

Netflix Music has released the first track from the soundtrack for Guillermo del Toro’s Frankenstein. Available to stream/download now on all major digital music services is Fire written by the film’s composer Alexandre Desplat (The Shape of Water, Harry Potter and the Deathly Hallows, The Grand Budapest Hotel, Jurassic World Rebirth, Godzilla, The King’s Speech, The Queen). Also listen to the full track after the jump. Frankenstein is written and directed by del Toro and stars Oscar Isaac, Jacob Elordi, Mia Goth, Christoph Waltz, Felix Kammerer, Charles Dance, David Bradley, Lars Mikkelsen and Christian Convery. The movie, which premiered at this year’s Venice Film Festival, will be released in select theaters next Friday, October 17 before making its streaming debut on November 7 on Netflix.

Riesen Film! Bester Shane Black. Und einer meiner Lieblingsfilme Kurioseste Einfälle und derenUmsetzungen und dem Dreamteam Gosling und (vor allem Crowe) und deren Dialogen und Slapstickeinlagen. Bei Erstsichtung bekam ich regelrecht Schnappatmung vor lauter Lachen (etwa das Entsorgen der Leiche über die Gartenmauer oder die Kollateraltoten bei diversen Schießereien oder was da alles in und um die große Party im Hollywoodhaus abgeht. Einer dieser Filme, den ich jeden Tag bei jeder Laune anschauen kann und mich immer noch beömmele trotzdem ich den Film schon über 10 mal geschaut hab. Aber ich mag auch Blacks THE PREDATOR Film, vor allem den Anfang, wenn das Vieh im Militärstützpunkt erwacht, wütet und mit kraftvollem Springen und Rennen entkommt. Außerdem: # ein Wahnsinns-Score von Henry Jackman, der einerseits das Silvestri-Thema ideal nutzt und noch tolles eigenes thematisches Material einbringt. Bin ja kein Jackman-Freund, aber diesen Score von ihm und seinen Gulliver-Score find ich beide große Klasse. # klasse Action und Effekte und Spannung und Sound # rrrrrrrr Olivia Munn und rrrrrr Ivonne Strahovsky Aber Punktabzug gibts von mir für # Boyd Holbrook, der allenfalls als ausdruckslose Stehlampe taugt, aber sicherlich nicht als Schauspieler oder gar als Leading Man bzw. Hauptdarsteller. DER trägt keinen Film. # Holbrooks Filmsohn und seine Einbindung in die Handlung # den nicht ganz rund inszenierten Showdown

Sooo, ich habe nun noch deutlich tiefer in den Score reingehört und muss meinen ursprünglichen (recht schnell gefassten) Eindruck revidieren. Mich stören die Elektro-Passagen zwar immer noch, aber vor allem im letzten Drittel nimmt der Score mit zahlreichen Chase-Stücken doch ziemlich (orchestral) Fahrt auf. Ich würde hier 3,5/5 Sternen geben. Ist gewiss keine wichtige Silvestri-Arbeit, aber heutzutage freut man sich ja auch schon über halbwegs passable Scores 🙊😃

Bin gespannt was du berichten wirst 😃

Kein Fan von THE NICE GUYS?

Rambo hat die erste Frage falsch beantwortet bzw. er hätte weiter ausholen müssen, dafür die zweite korrekt. Die zweite Frage war dafür aber dämlich.

Von Quartet: Quartet Records presents the soundtrack album composed by Pedro Osuna (ARGENTINA 1985, THE LEGEND HUNTERS) for the horror thriller CRAZY OLD LADY, produced by J.A. Bayona (A MONSTER CALLS, SOCIETY OF THE SNOW) and directed by Martín Mauregui. The film is a tour-de-force starring Carmen Maura and Daniel Hendler, about a man whose ex-girlfriend asks him to temporarily take care of her senile mother, Alicia. But Alicia won’t let him leave, turning a simple task into a nightmare from which he must escape. Pedro Osuna is a talented young Spanish composer who has already been part of Michael Giacchino and Hans Zimmer’s teams on several major productions. He surprised audiences with his music for ARGENTINA1985, and his new score for VIEJA LOCA is a declaration of love for the genre of classic horror film music, where echoes of Herrmann, Goldsmith and Christopher Young coexist in a personal style of writing and orchestration entirely the composer’s own. Osuna conducts a large orchestra recorded in Los Angeles. Without a doubt, it is one of the most pleasant surprises in recent film music. Vieja loca 1:52 El hechizo de César 0:51 El hombre más malo del mundo 1:24 Comienza el viaje 2:58 No se grita 1:08 Antígona 2:23 ¿Es verdad o mentira? 2:58 Bigotudo 0:54 Sueño convertido en pesadilla 2:07 La pesadilla llega 0:47 Esperanza 5:32 Campeona metropolitana 1:12 La visita 3:01 Franquito 3:38 La verdad 3:18 Mordeme 3:36 Final 8:02 Caja de música 1:11 Antígona (versión alternativa) 2:01 Vieja loca suite 8:53 Total Disc Time: 57:56 Quartet Records presents the soundtrack album composed by Víctor Reyes (LOVE GETS A ROOM, ESCAPE, DOWN A DARK HALL, the Emmy-winning THE NIGHT MANAGER) for the war drama film LA TREGUA, directed by Miguel Ángel Vivas and starring Miguel Herrán, Arón Piper, Javier Pereira and Fernando Valdivielso. Set during World War II, the story takes place in the frozen steppes of Kazakhstan, home to Spassk99, a Soviet gulag where the USSR crammed together the “enemies of the people.” Among them were two groups of Spaniards: Republican soldiers trained by the USSR who were condemned for wanting to leave Russia when the war in Spain ended, and volunteers from the Blue Division, captured after fighting alongside the Nazis in Leningrad. These enemies must put aside their ideologies and unite. Victor Reyes composed an intense, atmospheric, exciting vibrant, and dark score, written for orchestra and electronics, in a combination that is sometimes terrifying and sometimes hopeful, representing the inner voices of the characters. Capitán… Teniente 2:20 De uno en uno 2:23 Estrépitos de música 3:43 Vuestro lugar 1:49 Quédatelo 2:01 Alcohol 0:54 Una tregua 1:17 Todos españoles 2:24 Ella 2:52 Consejos de un comunista 1:30 Kazajistán, Invierno de 1941 4:08 Lo siento 1:04 Memoria 2:03 De aquí a Muros 3:44 Hablas Kazajo 2:09 Ciudadano soviético 1:51 Pater 1:30 Una brújula 1:34 Despedida 1:34

Hier noch der beste Dialog aller Rambo-Filme 😁 :

ohgott THE PREDATOR war doch ein Schlag ins Gesicht... ein Verbrechen an der Franchise... totgeschnitten vom Studio im krampfhaften Versuch da noch irgendwas zu retten... was da bei der Produktion schiefgelaufen ist würd mich ja mal interessieren... also nach 3 mauen bis grausigen Filmen hat sich Shane Black echt disqualifziert bei mir...

ist ewig her hab etliche tracklisting damals gemacht ist alles weg.

Creation of the Gods 2 von Gordy Haab gibts jetzt auch endlich auf Spotify:

The Long Walk - Jeremiah Fraites

Creation of the Gods 2 - Gordy Haab

ich tues mir heute abend an... a) nen Kumpel will unbedingt rein und den schleif ich sonst in alles mit und b) hier in Delhi kostet imax nur 2,50 euro hahaha und da kann man sich wenigstens bei dem Film 2h sound und bild um die Ohren hauen lassen... ich erwarte aber das SCHLIMMSTE...

zeich ma das Tracklisting! 🙂

Die Frage ist natürlich jetzt, was macht den Film in seiner Gesamtheit zu selbstverständlichen Schrott. Der technische Aspekt, die Action und der Score sind es doch eigentlich nicht. Eigentlich doch nur Stallones Schauspiel und etliche Dialoge. Das Drehbuch ist zumindest zweckmäßig.

Du hast es sehr schön und treffend beschrieben 😊. Seine Ideen sind interessant und oftmals sehr aufregend. Ich gehe auch davon aus, dass die Themen und die konzeptionellen Ideen wirklich von ihm stammen. Seine Minions bei RCP werden ihm das dann fürs Orchester zu Papier bringen. Ich höre bei seinen Scores oftmals das „Hansi-Herz“ (wie ich es nenne) heraus und das kriegt mich einfach! Daher ist er auch mein Lieblingskomponist - obwohl andere deutlich deutlich DEUTLICH besser sind (Goldsmith, Williams, etc etc). Vielleicht ist jetzt ein bisschen besser greifbar, weshalb ich bei Zimmer von einem „guilty pleasure“ spreche 😊

Naja, mit einem „guilty pleasure“ geht zumeist aber auch eine relativ schlechte Qualität einher. Ich nehme mal ein Beispiel aus der Filmwelt: RAMBO III Selbstverständlich ist der Film Schrott und völlig überzogen. Aber viele Leute finden trotzdem ihren Spaß daran (meine Person eingeschlossen).

Ach alles gut 😊. Wollte es nur klären

Guilty pleasure heißt eher, dass man seinen kurzweiligen Spaß mit der eher oberflächlichen Musik haben kann. Style over substance.

Ich hätte nicht gedacht, dass mich eine so "alte Serie" vom Hocker reißt. Habe sie ja damals nicht gesehen. Nicht eine schlechte Folge dabei, sondern überwiegend sehr gut bis ausgezeichnet. Hier zeigt sich, dass bei einer Serie das wichtigste die Figuren und ihre Darsteller sind. Mit Catherine Bell als neue Hauptdarstellerin ab der 2. Staffel hatte man einen echten Glücksgriff gemacht. Und der Score ist einfach nur erste Sahne. Obwohl das Hauptthema in jeder Folge mehrmals variiert vorkommt, wird es nie langweilig oder kommt aus den Ohren. Aber auch die restlichen Themen und Melodien sind sehr gelungen. Eine Doppelfolge ist der Backdoor Pilot zu NCIS. In dieser Doppelfolge wurde der Musikstil aus NCIS verwendet, statt der aus JAG. Was für ein Bruch. Hippe Wall to Wall Elektro Musik, ohne auch nur irgendwas in der Folge zu bewirken. Neben dem NCIS Team selbst, welches ich nicht leiden kann, hat auch die Musik die Folge etwas runtergezogen. Ich war sehr positiv überrascht, dass man die Orchestermusik für alle 10 Staffeln durchgezogen hat. Vielleicht kommt hier ja nochmal irgendwann was. Populär war die Serie ja.

Da ich mir bisher nichts aus der Musik im Voraus angehört habe, bin ich mit recht niedrigen Erwartungen ins Kino gegangen - und habe weitaus mehr bekommen, als gedacht. Ich war sehr überrascht und angetan von der Vertonung, zumal sie so "rau" und "ungeschönt" daherkommt. Dass das ganze etwas unzusammenhängend wirkt, liegt auch am Film, der sich mir noch nicht ganz erschlossen hat. Die erste halbe Stunde entpuppt sich letzten Endes als überlange Vorgeschichte, der Mittelteil wirkt mir zu humoristisch (hat der Regisseur meiner Meinung nach in INHERENT VICE besser hinbekommen), erst am Ende geht's "ums' Ganze". Es ist wahrscheinlich wie mit Scotts NAPOLEON: Jetzt, da ich weiß, was ich vom Film erwarten kann und was nicht, dürfte eine zweite Sichtung ihn mir vielleicht nochmal näherbringen.