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 Posted:   Aug 4, 2011 - 1:25 PM   
 By:   Michael Condon   (Member)

Great music. Liked the movie too.

 
 
 Posted:   Aug 4, 2011 - 3:13 PM   
 By:   GoblinScore   (Member)

Still a great score, agreeden, and a fun, varied album.

I knew I was screwed back in '95 when I went to see this, and the opening
shot has our 'hero' pissing in the ocean.....

How about that Tina Majorino (sic?) all grown up in NAPOLEON DYNAMITE now!
I crack up that she is the little map girl in WATERWORLD almost daily....

 
 Posted:   Jan 14, 2013 - 7:23 PM   
 By:   Travis   (Member)

I noticed Amazon is rereleasing this score as an MP3 album release tomorrow. I was thinking about getting it, but is there any expectation that this score is up for rerelease by the likes of Intrada or LaLaLand any time soon?

 
 Posted:   Jan 15, 2013 - 6:09 AM   
 By:   Shaun Rutherford   (Member)

I'm obsessed with knowing what Jeff Bond thinks of this score today. I seem to recall that he didn't like it that much back in '95, but this sounds like Star Wars compared to what we're hearing these days (especially from JNH himself!).

 
 Posted:   Jan 15, 2013 - 7:35 AM   
 By:   JasonComerford   (Member)

I've always liked this score too. It's great fun, and more interesting to my ears than much of Howard's more recent output.

Someone correct me if I'm wrong, but I remember hearing once that the gorgeous "Swimming" cue was actually ghostwritten by Brad Dechter. Not sure if that's true or not.

 
 Posted:   Jan 15, 2013 - 8:28 AM   
 By:   Shaun Rutherford   (Member)

I've always liked this score too. It's great fun, and more interesting to my ears than much of Howard's more recent output.

Someone correct me if I'm wrong, but I remember hearing once that the gorgeous "Swimming" cue was actually ghostwritten by Brad Dechter. Not sure if that's true or not.


It incorporates part of JNH's theme from Intersection, so I never thought about that cue being ghostwritten. I've always wanted to hear something as huge as "Deacon's Speech" in a western. Imagine hearing that for the OK Corral sequence in Wyatt Earp, for instance.

 
 Posted:   Jan 15, 2013 - 8:35 AM   
 By:   David Sones (Allardyce)   (Member)

I'm obsessed with knowing what Jeff Bond thinks of this score today. I seem to recall that he didn't like it that much back in '95, but this sounds like Star Wars compared to what we're hearing these days (especially from JNH himself!).

You should raise this question to Jeff on facebook. I'd love to know what he has to say, too!

 
 
 Posted:   Jul 7, 2014 - 12:03 AM   
 By:   bobbengan   (Member)

Wonderful score, the action/big fantastical bits are just bitchin'. The main theme is a marvel and I'm amazed it wasn't sued more prevalently throughout the body of the score.

Here's the full, lengthy 7-minute end title suite:

https://www.youtube.com/watch?v=IFqSW-UzOGA

The "End Credits" on the original album being more a finale than an end title cue properly...

Did anyone ever notice that the "Deacons Speech" cue is a pretty transparent rip of CONAN's "Anvil of Crom" Prologue march?

 
 Posted:   Jul 7, 2014 - 2:11 AM   
 By:   Frank V   (Member)

The "End Credits" on the original album being more a finale than an end title cue properly...

Only the first two minutes is original music. The rest of the end credits has music from other cues edited together.

 
 Posted:   Jul 7, 2014 - 2:21 AM   
 By:   Thomas   (Member)

Like both film and score. Always thought the CD was a generous offering of the score. I actually enjoy most of Costner's films from around this time.

 
 
 Posted:   Jul 7, 2014 - 2:26 AM   
 By:   Thor   (Member)

Yeah, I feel the exact same way as I did when I posted my first entry in this thread, exactly 5 years ago. So no need to reiterate, I guess.

 
 Posted:   Jul 7, 2014 - 11:52 AM   
 By:   BornOfAJackal   (Member)

Glad to have read some even-handed analysis on this one. I enjoyed it much more than did its comtemporaneous critics, who were out to get Costner because of the huge budget and his recent string of hits.

I remember this LaserDisc really hammering the sound system in a really positive way, and I think Coster interacted convincingly with Jeanne Tripplehorn and Tina Majorino.

As for the ending, I think "The Mariner" was supposed to be like a Comanche scout: willing to interact with outsiders when necessary, even willing to invest himself temporarily in their fortunes, but ultimately destined to ride alone.

Good score, but I would've preferred something like Victor Young when Shane rides off into the sunset.

 
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