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Harry plays fly on the wall while John Carpenter composes and performs music for GHOSTS OF MARS!!!
There are moments throughout my overly lucky life where I am sitting in a place watching a thing going on where suddenly I realize…. "Holy shit, I’m really here watching this!"
I constantly had that feeling in New Zealand while watching the various actors embody and become the characters of Middle Earth. I would look around and just realize… "What the hell am I doing here?!?!"
There was the first time I walked onto the set of Ebert & The Movies and took the seat opposite Roger and looked at the miniature set before me and just realized…. "Oh my God, I’m doing this!!!"
Those are a pair of the more… unbelievably cool moments I’ve lived. Flashes of time and of experiences where I became so self-aware of my sheer luck and unbelievable good fortune to be in a place and time. Today was another.
Today, I woke up in Los Angeles… I’ve been there this weekend working on the TV show with my producer and working on a pretty cool business deal and while I was there my father called to tell me that my 16mm print of FIEND WITHOUT A FACE arrived back at Geek Headquarters in Austin.
I love that film. I love that movie like you wouldn’t believe. And at that moment I thought of only one pair of people I know in the world that share an unadulterated love for the classic B-horror sci-fi flicks of the period. The Carpenters. John Carpenter and his wonderful wife and producer Sandy King.
Since GHOSTS OF MARS started I have been notably out of contact with them. Trying not to be a nuisance. I hadn’t spoken with Sandy in about 5-6 months. Turns out she’s just had knee surgery and is suffering the joy of being immobile. I love immobility (sarcasm spread like jam on morning toast). When I told Sandy that the first person I thought of when I got the news that my print of FIEND WITHOUT A FACE arrived was her… she giggled with delight. You see, Sandy and John have a pure love for films like IT CONQUERED THE WORLD, INVASION OF THE SAUCERMEN, Howard Hawks’ THE THING… well if you’re cool you know the rest.
We chatted for a bit, when suddenly she asked me how long I’d be in town. I told her till late Monday (President’s Day) and that is when she told me that John was scoring GHOSTS OF MARS and that I should check it out.
At this point… My tongue enlarged about 5 sizes in my mouth… It just laid there… unmoving producing gobs of saliva dripping from the red chin hairs…
Sandy said, "I’ll see if John’s ok with it and get back to you ok?"
This was the point where I was supposed to answer. My jaw closed and opened while I gutturally muttered… "Yeaahhh"
As I left the phone conversation I just sort of sat there in my hotel room looking out my window just gob-struck.
The next day, Sandy calls me back confirming that I was on for Monday at 2pm. I was given the address and I really had no idea what to expect. How many musicians would there be? Would I be sitting in some sort of soundproof room staring in wonder at what was going on? I had no idea.
I thought about it briefly, went in my bathroom and flushed a plastic bag covered note that read, "Moriarty… Call Me On The Cell" and watched it spin down the drain to the evil one’s domain.
32 minutes later, the good professor called saying, "What’s up Harold," See… that’s how powerful Carpenter’s influence is… James even calls me Harold, on the account that subconsciously he knows I’m the BRAIN!
I mention to the M-man that I was going to need a ride to a thing on Monday… and if he was busy that I’m sure I could find someone else to fill in.
He asked what I would be doing and I said, "Well… I don’t know if it is up your alley, but… I am going to check out John Carpenter scoring GHOSTS OF MARS."
The next thing I know I hear a clunk… about twenty seconds later I hear the heavy panting of Mongo followed by… ummm… It sounded a bit like slurping… I’m not insinuating anything, but it was slurping sounds… kinda gross slurping sounds. Moriarty returned to the phone in a dazed voice saying, "The Cops took away my license for driving 5mph on the Freeway" Heh… Old people… And he suggested that Harry Lime be the get-away driver on this adventure.
He swore that Lime would leave his zither at home and wouldn’t begin launching into elegant monologues about cuckoo clocks and long periods of peace and the stifling of creativity that peace brings. Well…. I agreed.
That brings us to today. We arrive at the small little recording studio in an unassuming building somewhere in West Hollywood (I don’t know this town). We walk in, I give my name at the desk and they lead us into this small small small room where I’m greeted by some of the sound guys that help master this music for John. And I turn to see a single director’s chair and a large keyboard. Against the far wall was a couch and against the back wall was a nice black leather chair.
OH MY GOD. It’s just John. He’s the only musician that’ll be playing. Oh My God!
So… I make my way over to the couch, John hadn’t arrived yet and as I sit there I take in the atmosphere of this damn cool room. There is a monitor playing scenes from GHOSTS OF MARS… stuff from the first 15-20 minutes of the film. Scenes with Pam Grier, Jason Stratham, Clea DuVall, Natasha Henstridge and Liam Waite… This isn’t the crux of the film… this is set up… There was one scene of bodies hanging upside down with no heads… And the camera motion all of it felt very Carpenter-esque but we couldn’t hear sound. So we sat and watched.
My eyes danced around the room… Looking at the long tube of purple/blue lightning dancing about… A flashing siren like pig head with a cigar (must be seen to understand), a beer sign… STROH'S… there’s a table with pretzels and roasted peanuts… a music stand with books on beats and program notes for the monster of a synthesizer that John plays. To my right was a tiny brown fridge with drinks… Pepsi and bottled water I believe. Moriarty and I grab a water.
After about 5 or so minutes, John arrives and comes over to greet us. Asks us about whether or not any of us had ever watched any scoring before. The professor trying to exhibit his blasted superiority to me says, "But of course I have! You think me a knave from Texas? I was once privy to the scoring of MYSTERY MEN by Stephen Warbeck."
John looked at the feebled wrinkled mass of prunish skin (aka Moriarty) and said, "Oh, well that was a big set up… they had the music all written out, a big professional gig." And the entire time he said this you could see this smile in his eye. This, ‘boys sit back and watch cause I’m hot’, sort of vibe. Not cockiness… just confidence.
The track he was creating was going to be called… WILLIAMS BREAKS OUT and involves a hostage situation between Desolation Williams (Ice Cube) and Bashira Kincaid (Clea DuVall)… as well as Melanie Ballard (Natasha Henstridge) and Descanso (Liam Waite) who are trying to negotiate her release.
The scene played without score ok. Not great not bad… just a sort of neutral vibe. And it also didn’t feel completely Carpentery yet.
John begins to lay down the first track of the piece… a percussion rhythm… a bit cool and groovy… He knew where to come in, but was trying to figure out where he wanted the percussion to come out… to go away. He watched with it twice and ended the rhythm just as Cube grabs Natasha.
Next he began laying down the real Carpenter sound… that Synth-vibe… echos and pops… Heavy bass work… and over the next 20 or so layers he begins laying in the pieces.
Like in the 1 in the 1.2.3.4. count, he’d lay a quarter note of mid-range foreboding synth sound. Then on the next track, he’d be laying in the bass… which was at first just on the synth, but then with a real electric bass which he also played. The bass part came on the 2 & 3 with a quarter note followed by a lower Half note bass riff that came every other 4 count.
As I watched the screen as John played I began to completely feel that Carpenter feeling creeping into the scene. At this point I began smiling like a complete idiot. Moriarty began covering up the bottom half of his face to hide the drool that was constantly flowing down his chest and Lime? He was in a strange Hindu chant mode… Somewhat distanced from the world about him.
As John played he’d be smoking and getting into the music behind the keyboard… his face while playing reminded me a bit of Bruce Lee after he delivered the leaping death blow where he breaks a neck (Think ENTER THE DRAGON)... John would react emotionally to the music while always watching the screen.
Around this time, John introduces us to the ORGASMOTRON! His secret weapon. It is a electrical sound reactive red light drip like device that moves to the music. If the Orgasmotron isn’t moving, John is not happy. But if the Orgasmotron is happy… then the world is happy.
After the initial 5 tracks I was happy with the piece…. Thinking, well this works great, but John continued to add layers that just textured the piece all the way out. Adding cues to motions and actions that took place on screen… like the big timpani boom at a key grab moment… followed by the big reverse cymbal crash as a knife is drawn to a throat.
Those sound cues that only live in Carpenter movies… the high squeal as Snake throws a knife followed by a grooving beat…
After about 2 hours I noticed that my foot had subconsciously began tapping along… I found myself counting and noticing where things came in and went away. When he put in what sounded to my untrained ear to be a reverse chromatic scale that came down 5 notes before going 2 notes back… and I actually got a cold chill… the Professor and I just smiled like a pair of geeks in heaven.
The amazing thing for me was that John came in with nothing… not even sure what was going to be scored this day. As he watched the scene… then watched it again as it was about half composed… then two-thirds… then done it was amazing to see him being both conductor/composer and director. Every now and again, I’d hear him say under his breath, "Keep it simple stupid!" and that would usually be followed with a "Alright Time Out, I think I want to try something… and for the next 2 minutes he’d scroll through sound and menu options while one hand danced across the keys playing various Carpenter-y bits… till he’d finally find the right sound and emotional chord to add.
Ever since I left the recording studio today, I’ve had Carpenter themes in my head… just dancing. I am still in a bit of a shock that I got to do what I did today. I mean… Christ Almighty, I’m a Carpenter Music NUT! I can’t even count the number of hours I’ve driven the streets of Austin to his themes. There is nothing like driving in Austin in the fall down residential neighborhoods after school has left out while listening to HALLOWEEN! Or driving downtown to ESCAPE FROM NEW YORK! Or driving cross-country with VAMPIRES! Or hanging in San Francisco to BIG TROUBLE IN LITTLE CHINA.
But remember… when you hear "WILLIAMS BREAKS OUT"… I was there watching it come together… layer after layer. Watching John intuitively place the tracks. Way Cool. Watching John in his sweatpants and sweater… dancing in his pure white socks to the music he was creating instantly… Heh… BLISS! A great great fun time. Watching him play with the keyboard and discovering what he could make it do and his delight at each discovery. That was what it was about.
The ride from the studio to the airport was non-stop… OH MY GODs… Moriarty’s first film set experience was STARMAN, right after he first fled to America to escape British justice…. So for him, John symbolizes the direction he took with his life at that point. For me… John has scored entire sections of my life with his music. Played with my heartbeat and is one of the few guys that can make a synthesizer be really really cool.
I can’t wait to hear what the score beneath my HEAD ON PIKE scene will sound like. I can’t wait. I can’t… really I can’t!
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You Jammy Git..!
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Carpenter's a better director than he is a composer. That Vampires soundtrack was the most repetitive and inappropriate music I'd heard of for quite a while.
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Its all in the timing.
how about a Dr and Quinch film. -
Feb 20, 2001 6:20:55 AM CST
It's time that everyone should realize what a genius Carpenter r
by timmer33
They Live. The Fog. Prince of Darkness. Big Trouble in Little China. The Thing. Halloween. Starman. Escape from New York. The Mouth of Madness. Vampires. And yes, even Village of the Damned. This guy is a god. He has total control over his films - script, directing, producing, even the MUSIC! - and it shows. THE THING is on almost every critics best 10 list of sci-fi or horror films of all time. BIG TROUBLE is Kurt Russel's best comedic/action performance (though Tango and Cash is close behind). HALLLOWEEN was the film that started the whole Slasher genre. Carpenter isn't just a great filmmaker - he's a maverick in the industry who pushes the envelope and makes great films. He's forsaken the studios to retain control over his films, and while this shows with lower budgets, it also shows with innovative new ideas and great storylines. THE MOUTH OF MADNESS was one of the most underrated movies of 1995. I for one applaud Carpenter for retaining his vision and providing us with great entertainment. His scores in particular are fantastic. Do you think a studio producing a 100 million dollar picture would allow Carpenter to do his own music? THey'd probably want a huge orchestra etc, and while Carpenter could do it, it would remove that very Carpenteresque quality that all his films have ... that thrumming bass line ... those synthesizers ... the 20 tracks of music which gel completely to form a single track of brilliance. BIG TROUBLE's track was the best of all. That movie under performed because it was released on a tough weekend (can't remember its competition .. anyone?) and maybe because it made fun of the stereotypical american hero image ("I was BORN ready!"). Carpenter's movies draw you in and make you a believer. THE PRINCE OF DARKNESS ... one of the scariest movies of all time, but not well known because of a lack of marquee names. Still an amazing film, and if you haven't seen it, rent it now! Keep it up John Carpenter! I'm looking forward to GHOSTS OF MARS - and after Harry's post, especially the score. Let's see some DVD's too, with interviews and your voiceover. I'd really pay big bucks for your VO over Big Trouble, Escape, or The Thing.
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I've never heard a Carpenter
score I've liked. His music has
all the sophistication of a high
school kid playing around with
his first synthesizer. He has no
concept of melody, form, timbre,
or texture. He isn't even a good
synth technician. His
"orchestration" of Debussy's
"La cath -
Timmer33>
Jusat thought I'd let you know that both the Thing and Vampires are available on DVD with commentaries, the Thing DVD is part of the Universal Collection with a sweet little hour long documentary on it as well. -
the music for vampires was the thing that killed that movie for me....sounded like some kid on an old yamaha dx-7 fucking around in his basement with a tape recorder.
I just don't get the excitement out of this that others do i guess. -
***DrX
Why with the Dr & Quinch? What's the connection?
Great idea, though. Somewhere between The Grinch and Hard Boiled. -
I agree with you that Carpenter
has lost whatever he had, but he
was *never* in the same league as
Coppola and Kubrick. Maybe
Lucas, but just barely. Carpenter
has never come close to matching the
brilliance of Coppola c. 1972-79,
or Kubrick c. 1956-99 (yes, even
Eyes Wide Shut was better than
Carpenter's best; but then my
opinion of it differs sharply
from yours). -
I totally agree with you on this Harry.Carpenter is a musical genius.He still is.His early films even Christine incorperated the score just as much as the actors.But nowadays his music is just a sad reminder of what a truley great director he used to be.
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Iknow that most peope out there could give a flying f.ck about the next Carpenter movie. People call him sub-par, a B movie director with no true hit besides Halloween.
Well, I for one am a huge Carpenter fan and have been since I first saw The Thing when I was a wee lad.
ABOUT HIS MUSIC: There's John Williams and then there's John Carpenter... two different ends of the spectrum. Carpenter doesn't compose a score so we can buy the soundtrack and listen to it while driving to work (I lsiten to Williams' best every day... brilliant). He composes in order to pull us into the mystery of his films. It comes to the point where you can hardly hear the music because it seems like the "creepiness" of the film has turned into the score. Confusing sentence... sorry. What I mean is, the music is merely the undertone of what's going on. Picture THE THING without those few unimpressive beats (although Carpenter was not credited for the music, it's obviously his creation... listen to his other films that he DID get credit for). Or go to ESCAPE FROM... without those very same few beats! Those few depressed keyboard notes are the key to THE MOOD of the film.
Now, CARPENTER AS A DIRECTOR:
What I love about him is that he usually just throws you into the story without wasting anytime with intros. In THE THING, we see about a minute of footage in the camp, of all the characters, before the action and mystery take place.
In ASSUALT ON PRECINCT 13, there is almost less.
PRINCE OF DARKNESS is a brilliant, intellignet film in my opinion. The science, the religious undertones, etc. WOW!
He is a marvel at the "Shit, I'm caught in this freaky place with these freaky things after" kind of story. Carpenter should remake NIGHT OF THE LIVING DEAD!!!! Perfect for him.
HIS TRUE EXCELLENCE: He writes (not all , but most) his films, directs them, produces them with his wife, scores them, etc. He is in control of his own destiny!! Like Lucas, he doesn't need to answer to anyone! That my friends, is excellence. If his movie bombs, no big deal. He just continues to make these small scary films while knowing that he'll always have a following going to his movies. He doesn't need to spend $100 million dollars on a film.
HIS MISSES: I HATED "VAMPIRES"!! I wanted to like it so much, but I can never bring myself to that. WHY? Because it's like every other Vampire movie ever made. The vampires blow up, melt, or whatever, in light. They always look the same. They always act the same. And most of the time, they're easy to kill. There was a great sotry there, but it never truly came out. Woods was okay, but you can tell that Carpenter wanted Russell. Boring gore... boring, boring.
I have faint memories of VILLAGE OF THE DAMNED... but for what I remember, it was a sub-par Carpenter film. The original was hard to beat. And they had Kirstey Alley starring:)
ESCAPE FROM L.A.? Too camp. Sure, the first Escape was campy... but not on purpose. The sequel just tried too much... I especially was bored by the fact that at-the-time-IT-BOY Steve Buscemi had a huge part. It was fun, but nothing compared to the original. WORST SCENE: That frickin' surfing part! Snake surfing????
All in all, Carpenter is one of those underrated artists that will be deemed A BRILLIANT CLASSIC DIRECTOR OF HORROR AND MAYHEM when he passes on and our children come to discover his films. -
Hey, I don't know what the hell you guys are talking about Vampires sucking (no pun intended, well... maybe). It was one of the best vamp movies to come out in a while, better than that crap that Wes Craven just produced. Every time I have people come over for my famous ribs, I always make sure to have Vampires playing in the background on dvd (great scene to watch while eating ribs, the hotel sequence at the beginning!)ahahaha! Great story Harry, you truly are the luckiest sunuva bitch ever to walk the streets of Austin!
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This is defintitely up at the top of my must-see list. Even if some of JC's recent stuff has been off-stride - it still rocks enough for me to keep the faith. I think of all the horror superstar directors that came out of the '60s and '70s (Romero, Hooper, Craven), Carpenter has been - after Cronenberg - the most consistently excellent over time and has had the most classic films to his name. JC fans should check out my (brand) new (and very small) site as we're totally into JC's stuff up to and including Vampires. www.undertakerslounge.com
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That must've really been something. Carpenter's scoring style has worked brilliantly in some movies (Thing, Prince of darkness, Escape from NY) and not so well in others (They Live). Sounds like Ghosts of Mars is going to fall into the good category. And we're all still waiting for the next JC classic, his last one being PoD - or In the Mouth of Madness. As for 'Vampires', it had a few great moments but fell really flat - what happened to the chill factor that was there in the early 80's? Genre-wise it only stands up to Dracula 2000 because D2000 was even less convincing. Near Dark remains the quintessential underground vampire film in my book. Re Ghosts, I'm impressed by the energy that Carpenter is apparently bringing to it. The real John Carpenter may be back from his hiatus!
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You know, John Carpenter is like a fine wine.....does thats make sense...cause Halloween really does suck. But the you look at great features, Vampires and....um...Vampires. Ok, thats not all I really like i mean, Escape was good and so was the Thing. But beyond being a great writer, AHEM, he blows at direction. And now I move on to Wes Craven.....I'll wait.
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I admit, when I here Carpenter's name, it warrants my attention...THE THING is still my favorite horror movie of all time, and BIG TROUBLE; I lost count how many times i've watched it and how many times my friends have raved about it. But let's be honest, ESCAPE FROM LA; i've only seen the last 10-15 min, and i've never gone back to see the rest of it....ugh. And as for VAMPIRES, I had such high hopes, but the reality of it was no matter how good or bad the music was, it could'nt have saved that film, it was terrible but as far as proffesional vampire slayers went, they sucked! and all deserved to get it... John Carpenter is still the man though, he's human like the rest of us...he makes some great stuff, he makes some bad stuff...just as long as he doesn't make the bad stuff a habit. :) Love ya J.C. keep up the good work!
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Some poster just made a great point. Unlike a lot of scores, it is not as easy to take a Carpenter score out of context to his films. When you listen to the score of "Escape From New York" or "Halloween," there is absolutely NOTHING generic about the sound - they are rigidly locked to those two movies. Jerry Goldsmith's score to "Deep Rising," one of my faves, could be the score to anything. A Carpenter score is part of the package that makes a movie his. Great story, Harry.
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JC is the fuckin' Main Man! Although he's faltered as of late, you just can't ignore classic shit like Big Trouble..., They Live, The Thing, Assault on Precint 13, Christine, The Fog, Halloween, Escape from NY, and Darkstar. Look at that fucking list, man! You just can't ignore what a bad-ass this mother is.
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Feb 20, 2001 2:28:48 PM CST
Carpenter The Musician (And Why Harry's The Luckiest SOB On The
by mrbeaks
Carpenter's scores are simple, but effective; composed by a self-taught musician who rarely overreaches. Great story, Harry. You really know how to make a geek envious.
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i'm with smilin' jack ruby-most modern scores are a non-specific zzzzatmospheric canvas that would fit quite well under any number of big budget 'career' movies-as interchangeable as light bulbs...carpenter creates the complete environment for his movies-he works his way and does his own thing-how many of us can say that? ...ok,some are better than others-thats life-but you always know the man and his work...the influence of this man is not over by a long way....John Carpenter?see,even the initials are the same!
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Forget Jon Carpenter. He's basically a hack whose career has been distinguished by a series a great ideas that he couldn't pull off.
The real story here is the long overdue recognition of "Fiend Without a Face" as a seriously scary movie. I was so creeped out when I saw it all by my lonesome on a sweltering summer evening back in the Seventies that I ended up locking every door and closing every window in the house. I sweated out the rest of the night staring out the window looking for the headlights of my parents' car to come up the driveway. -
Both aspects of the man are crap today. I lump Carpenter with Woody Allen and Mel Brooks. Once upon a time all three were good and knew what they were doing, but today they're living off their early success. Thank god Orson Wells isn't still alive. He'd be directing commercials for Pizza Hut.
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Hearing that John Carpenter is a fan of those wonderful grade Z sci-Fi and horror flicks only makes me appreciate him more. I envy you Harry for being privy to such a wonderful experience as watching, and hearing him work. Judging from some of the posts I've read, it's obviously a lot easier to punch up bile on a computer keyboard, then it is to score your own feature film. Keep on spewing you impotent wanna-bes.
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I think Carpenter makes enjoyable movies, certainly. His sense of what is cool and what isn't is mostly good. I don't understand why his film adaptation of VAMPIRE$ was so fucking lifeless, though. With a cool concept and cool actors, HOW could he turn the story from a double shot of whiskey into a glass of warm Gatorade? That score, too, was the epitome of his musical lameness. It was basically one 'riff' (a single bent guitar note) over and over again, mostly in the wrong places. It's as if he was TRYING to reduce dramatic tension with it. At any rate, no one's saying you have to have a degree in music to be a composer, but Carpenter's musical work is like a kid messing around on a low-end synth; he's got some vague idea of his musical goals but doesn't have the knowledge, either technical, or, i think, musical, to achieve it: weak, wavering, and extremely short melodic lines (mostly about 2 bars of guitar riffs), and weirdly dissonant harmonic backgrounds for no good reason. It's his privilege, but I don't enjoy his musical side at all.
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A lot of people rip on good ol' John and his scores, but his scores match the films. They come from within him, where the whole picture and sound are brewing...and when they get glued on to the screen, the whole picture is painted. He would propably admit that his scores aren't the most intricate and complex...but that doens't make them bad or novice. His are simple...direct...and work.
BTW the way, I went back and listened to that Debussy piece to compare. I thought that Carpenter's knock off was great and worked perfectly. So what if it inspired him? (Also, Tomita is for 70's electronic music school rejects.)
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Boy, Mickey has really let himself go. (I kid because I love)
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His scores match his films, but
that can be taken two ways :-)
A score doesn't have to be
"intricate and complex" to be
good. It just has to be good.
I will say that he shows admirable
restraint -- he clearly knows his
limitations, so his music never
sounds pretentious. But it never
sounds particularly interesting,
either. It isn't unpleasant or
cringe-inducing, but it is nowhere
near as effective as it could be. -
This movie is probably going to blow. and now we find out that Carpenter is going to score it. This man is the worst composer. I don't think he even relizes that the Halloween and The Fog score are almost exactly the same. Also what's with Carpenters movies looking crappier and crappier since The Thing. The Thing was a masterpiece, but all his movies since look cheap, and very low budget. Vampires was the worst, I seen better set on the orginally Star Trek series. Well maybe that's a slight exaggeration.
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