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 Posted:   Oct 5, 2007 - 7:29 PM   
 By:   LeHah   (Member)

I'd've put in quotes around "spotted" but I know some browsers have a problem with that...

Anyway, in your opinion, what movies would you say had the best musical spotting? Not so much the quality of the score - but its use and timing in the film.

Goldsmith's sparse, violent First Blood as well as Shirley Walker's absolutely lavish Batman: Mask Of The Phantasm come to mind.

 
 
 Posted:   Oct 5, 2007 - 7:46 PM   
 By:   Tender is the Knight   (Member)

Best spotted movie?

Luchino Visconti's "The Leopard."

 
 
 Posted:   Oct 5, 2007 - 7:51 PM   
 By:   joan hue   (Member)

I was always impressed with the spotting or placement of music in Leone's Once Upon A Time In America scored by Morricone. On the surface, themes displayed characters. On another level, the music was used for nostalgia and the recall of painful memories.

 
 
 Posted:   Oct 5, 2007 - 8:31 PM   
 By:   John Mullin   (Member)

I think the first MISSION: IMPOSSIBLE is very well spotted. The music dissappears for portions of the film to great dramatic effect.

 
 Posted:   Oct 5, 2007 - 8:37 PM   
 By:   CH-CD   (Member)

Best spotted movie?

Luchino Visconti's "The Leopard."



You beat me to it.
I was going to say "101 Dalmations" !

 
 Posted:   Oct 6, 2007 - 2:09 AM   
 By:   Bill Carson, Earl of Poncey   (Member)

Scott Bradley's Tom and Jerry cartoons!!
Unbeatable in the spotting department.
although on second thoughts, Im not sure they count because they had music virtually all the way through - but it was just so often used very cleverly and effectively at all the right moments.


 
 
 Posted:   Oct 6, 2007 - 10:16 AM   
 By:   Morricone   (Member)

HUD

 
 
 Posted:   Oct 6, 2007 - 11:20 AM   
 By:   floyd   (Member)

American Beauty

 
 
 Posted:   Oct 14, 2007 - 2:05 PM   
 By:   skyy38   (Member)

Star Wars,because it didn't have wall to wall music and a good chunk of the Death Star Battle relies totally on musical silence until Red Leader dies.
Same goes for the duel between Vader and Kenobi-no dramatic thrashing around,just the force theme when Ben decides to leave this mortal coil,which makes the proceedings very poignant indeed.

Less is more,but try telling some directors that today....

 
 
 Posted:   Oct 14, 2007 - 4:37 PM   
 By:   vwing   (Member)

Back to the Future. I didn't realize this until I watched it recently, but pretty much the entire first act of the movie is entirely unscored except for some source rock music.

The first score notes coincide with the first science fiction-y shot of the movie: where the back of the truck opens to reveal, for the first time, the DeLorean. I just love that a director planned it out so that there was no score music for so much time in the movie, and brings it in when the real story starts. So many other directors would've dominated that first part of the movie with generic "happy" music (I'm thinking strains of John Debney), and it helps the movie so much that he did not do this.

Then in the rest of the movie, you have very good and efficient use of the score, with the themes popping up in different variations (my favorite being when it serves as counterpoint to the end of "Earth Angel").

Also, Field of Dreams. I love the way it turns from an ethereal, synth-y score(I think the main theme is even played on synths early on when Shoeless Joe first appears and plays),and gradually becomes full-blown orchhestral score at the end. Wonderful progression of music that parallels the wonderful progression of the movie.

With regards to Star Wars, it is actually very well-spotted, which is so surprising considering how horribly the prequels are spotted. I still can't believe the Arena theme was used when Anakin was leading the clones into the Jedi Temple, and not some new original, dramatic music. And that's only one of the dozens of offenses the prequels committed in the score department.

 
 Posted:   Oct 14, 2007 - 4:40 PM   
 By:   ctblass   (Member)

I think the following movies have scores that were able to evoke the right moods at just the right times.

The Village
Munich
Psycho
Signs
Vertigo

My list gets more interesting the more I think about it. wink

 
 
 Posted:   Oct 14, 2007 - 9:12 PM   
 By:   joffa   (Member)

'Jurassic Park' has some genius spotting. Two examples that spring to mind are the unscored T-rex attack on the kids in the jeep, and the sequence where Sam Neill and the boy are trapped in the tree with the car - no score for the initial getting out of the car/climbing down the tree/the car starts to fall after them, and then propulsive action music kicking in when the car STOPS falling just short of Neill's head. A pitch perfect denotation of the moment when the scene becomes a race against time.

 
 
 Posted:   Oct 15, 2007 - 1:20 AM   
 By:   Pariah   (Member)

At work, no time to type much but here are two choices of mine:-

The Russia House: The 'creeping about' music worked very well throughout and the long gaps with no scoring were offset with that gorgeous love theme and the Slavic-like parts. Every scene of the film worked for me - and I love the album.

Finding Neverland: The music helped us cross the boundaries between 'reality' and the 'supra reality' of our main character; on disc, it is boring - in situ, it is great.

 
 
 Posted:   Oct 15, 2007 - 1:29 AM   
 By:   JSWalsh   (Member)

The Edge

 
 
 Posted:   Oct 27, 2016 - 2:42 AM   
 By:   swodniw   (Member)

I finally found a thread about film spotting, and the best spotted film is quite blatantly Chinatown.

 
 Posted:   Oct 27, 2016 - 1:58 PM   
 By:   FredGarvin   (Member)

I finally found a thread about film spotting, and the best spotted film is quite blatantly Chinatown.

Agreed...Chinatown always pops in my head as perfectly spotted.

Probably any classic Goldsmith / Barry score. Agree with The Edge and First Blood.

 
 
 Posted:   Oct 27, 2016 - 3:15 PM   
 By:   Graham Watt   (Member)

It's a good question, and one which embraces various facets - but without becoming overly turgid ("too late", they cried) about effectively brief scores and wotnot, the one that springs immediately to mind is Alan Silvestri's original PREDATOR. It's a film which is quite extensively scored, but Silvestri still gives the scenes room to breathe, even within the scored scenes themselves. I think it's very Goldsmith-influenced in that way - long pauses (I mean like two seconds, which is a lot) broken by a bit of subtly-scored tension, then furious outburts.

 
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