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Most of the guys who do these score restorations and re-mastering's* (Mike Matessino, James Nelson, Chris Malone etc) do work for Intrada AND La La Land? *and do a bloody great job, in my opinion
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Well, it's only one cue that mimics Orff. And he's hardly the first film composer to dip from that well. Goldsmith won an Oscar for it!! The greater steals are from Prokofiev and RVW. But it's what Horner does with them and his own material, that makes this score so magnificent.
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Well, it's only one cue that mimics Orff. And he's hardly the first film composer to dip from that well. Goldsmith won an Oscar for it!! The greater steals are from Prokofiev and RVW. But it's what Horner does with them and his own material, that makes this score so magnificent. I don't even think it sounds that close to Orff, unless you're talking about something that's not Carmina Burana. Sounds like Horner used it as a jumping off point, but that's it.
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The ebb and flow is the same as the Orff piece, plus the pay off. But yeah, Horner skirts it quite nicely.
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Well, it's only one cue that mimics Orff. And he's hardly the first film composer to dip from that well. Goldsmith won an Oscar for it!! The greater steals are from Prokofiev and RVW. But it's what Horner does with them and his own material, that makes this score so magnificent. I don't even think it sounds that close to Orff, unless you're talking about something that's not Carmina Burana. Sounds like Horner used it as a jumping off point, but that's it. I've always thought the same thing. Carmina Burana is an easy mark and clearly provided inspiration and perhaps a temp track, but it's not a lift.
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