That's two big composer TB's in one week...hoo-ra for what's becoming a lost art.

But when he's gets his shots he really makes the most of them. All doubters should educate themselves to his scores for Cutthroat Island, SeaQuest DSV, The Halloween Tree, The Relic, Sudden Death, End Of Days, Dragonfly, Passion Of The Christ, The Stoning Of Soraya M., Elf, Zathura and especially his work on the video game Lair. Awesome stuff.

This is great news after having to endure Ramin Djawadi's lackluster, themeless, meandering flat-rock. Debney's a legitimate classically trained composer and is as versatile as they come, I hope all defamers will have the common courtesy to step forth and admit their blunder after Debney dips this thing in some serious heat!

Oh...and if you all are going to spew hate, at leat have the fortitude to back it up with some intelligent debate citing specific examples of your grievance instead of throwing words like "retard" and "temp hack" around. Do also remember; those remorseless souls who recklessly sling mud unabashed are usually inarticulate cowards, mmm kay?

When the material is there he has always rose to the occasion. And as far as Debney being a serial plagerist, cite an example beyond SeaQuest=King Of Kings, because there a bunch of scores that steal from that one (Battlestar Galactica, Beastmaster, Mummy Returns).

Hopefully he'll step up to the plate and hit one out of the park. Musically speaking.

Anyway, I disagree with you, Metal. And in fact, your own words make my argument that music can make or break a film. What would "Blade Runner" have been like without Vangelis's music?

See what I mean?

What would "The Lord of the Rings" films have been like without their music? How about "Star Wars" (the original trilogy)? "Indiana Jones" films? "The Terminator"? Not to mention hundreds of other films that everyone associates music with?

Music can make or break a film. It's important. Which is why Scorekeeper posted this news.

Yes, 'Driving With The Top Down' was the best track from the first score... and possibly the only good one. But for anyone who doubts Debney, please listen to the Cutthroat Island score.

Consider... 'The Mummy' was scored by Jerry Goldsmith. And yet, 'The Mummy Returns' was given to Alan Silvestri (a good composer, but one who himself has been pulled off projects and replaced a million times).

Sure the old radiophonic workshop stuff was eerie... but it was also not very good.

The Doctor has his own themes these days. It creates a 'whoniverse' which is so much more epic than it used to be. Sure, the show dumbed down regularly... and the score is not always used very well in the show itself, but I defy you to find better tracks than anything containing the Doctors Theme from series 4, Marthas Theme from series 3 and the Madame Du Pompadour track from series 2. (Although if the Sea Devils make a return, they need to keep the old creepy-as-fuck sounds that went with them back in the Pertwee days)

Judging by your comment, it means quite the opposite.

Anyone who says that their stuff "wasn't very good," obviously hasn't heard the album by White Noise called Electronic Storm. Take a listen to its proto-trip hop songs like this http://www.youtube.com/watch?v =K6pTdzt7BiI and eat your words. Delia was a visionary, compared to whom all these hacks Scorekeeper on plugging are completely forgettable recyclers.

As long as Debney gives IM2 a halfway memorable theme, I'll be happy.

Or did you stop listening to Howard Shore after 'The Fly'?

Howard Shore = LOTR = unmelodious? Ha!

But I'll conceed that as cool as the new 'Star Trek' main theme was... it is easy to hum. Hmmmm.

Apparantly the things that the industry has got right is shit (Cutthroat Island score, JJs Star Trek) and inventing bullshit stories about Debney being a Zimmerite doesn't matter.

And though The Incredibles score is good.... let me please present the score to 'On Her Majesty's Secret Service' as evidence to the jury.

At least Zimmer gives his guys credit in the small print so they can benefit from any royalties and helps to propell their careers as composers in their own right.

I don't mind actually how someone is trained or their method of writing so as long as the music is responsive to me. Alot of the classically trained guys who write everything out on paper tend to also over-orchestrate and become destractingly cloying. The same is likely true of any method eventually, but I don't think it has to be one way or another. If synthesizers and humming gets you there, if surrounding yourself with young protege apprentices begets that creative atmosphere, then I say; "so be it".

I think Zimmer is a more instinctual composer and actually comes from a more honest place then he is being given credit for. I personally find Zimmer's music to be more emotionally moving than the technically superior classical approaches of alot of more esteemed composers. On that level I have alot of admiration for Zimmer. Zimmer definetly took what was going on with Harold Faltermeyer, Vangelis, John Carpernder and Tangerine Dream, and successfully created his own unique style of film composition that is aped by most composers now whether they be Media-Ventures/Remote-Control or not. I mean everyone knows even the great John Williams stole from Zimmer's Thin Red Line for the very best portion of his entire score to Revenge Of The Sith. Say what you will, but aside from using collaborators, Zimmer never gets accused of ripping anyone off beyond himself unless it's a deliberate homage (as he's done a couple of times to Morricone). And lest we forget (or are just too stubborn to admit) Zimmer has actually produced some very good composers also, John Powell and Mark Mancina being chief among them. Unfortunely Ramin Djwadi is not among his best offspring, which is why John Debney is such a cause for celebration. Whatever Debney may lack in unique trademark style he makes up for in sheer versatility and proficiency. Anyway I don't know why Debney is being compared to Zimmer anyway, I cannot recall one instance where they could be similarly compared.