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Basil Poledouris vs Leonard Rosenman
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Posted: Sun Mar 25, 2018 9:59 pm Reply with quote

Also calls into question his ability to judge other's music. Even if it isn't a score you find favourable. You have to be short-sighted (yes I'm aware of the irony contrast because it's audio Smile ) to say the original score is "dreadful". He didn't "get it".



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Posted: Mon Mar 26, 2018 11:10 am Reply with quote

Not classy at all to say something like that about a colleague, as some say, but even worse considering how his R2 soundtrack is so much less carefully worked and crafted, it feels as he put so much less effort in it...

Plus "dreadful"?? I'm not an English native speaker but wouldn't dreadful be more accurate to describe R2 meanspirited tone?? R1 story and music have much more hope and human warmth to them.

I found interesting the quotes from Poledouris about leaving out from R3 the electronic/machine music since Murphy is now more human. And it makes me think (again) how difficult is to keep Robo an interesting character after he regains his humanity and the struggle with being a machine is left behind. R3 played down a lot the internal conflict, focusing on the social hero and giving him back a (symbolical) family. Robomake also had the awkward robodad moment and the (real) family reunion at the end, which did not work at all.

R2, as flawed as it is, tried to explore the conflict, at the beginning with the wife stalking, and then (in my opinion) by entering into depression and becoming obsessed with Cain, plus being reprogrammed as PG Robo.




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Posted: Tue Mar 27, 2018 1:48 am Reply with quote

artuditu :
Not classy at all to say something like that about a colleague, as some say, but even worse he should have been even more careful considering how his R2 soundtrack is so much less carefully worked and crafted, it feels as he put so much less effort in it...

Plus "dreadful"?? I'm not an English native speaker but wouldn't dreadful be more accurate to describe R2 meanspirited tone?? R1 story and music have much more hope and human warmth to it.


Nailed it. Classless. Just so much in poor taste to do that.

Quote:
I found interesting the quotes from Poledouris about leaving out from R3 the electronic/machine music since Murphy is now more human. And it makes me think (again) how difficult is to keep Robo an interesting character after he regains his humanity and the struggle with being a machine is left behind. R3 played down a lot the internal conflict, focusing on the social hero and giving him back a (symbolical) family. Robomake also had the awkward robodad moment and the (real) family reunion at the end, which did not work at all.

R2, as flawed as it is, tried to explore the conflict, at the beginning with the wife stalking, and then (in my opinion) by entering into depression and becoming obsessed with Cain, plus being reprogrammed as PG Robo.


This also. In fact very much this in regards to why R2>R3 for me. Though going back to the score I can't really include that in it so much, for the reasons all previously stated.
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Posted: Tue Mar 27, 2018 5:30 pm Reply with quote

I was gonna go on a long rant about the definition of the word 'dreadful' and how Robocop used to be in the horror section of the VHS store in my town, but I wouldn't want to stir the pot, better to smoke it instead!



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Posted: Mon Jul 29, 2019 3:29 am Reply with quote

I have enjoyed the conversation on the Robocop movie scores! The music can add so much to a film (if it's a good fit). I understand from the comments and article that Rosenman probably had his own feelings about the project, Poledouris, etc. and I am not the type to criticize someone's artistic vision, but I think that at some point, if the music that was being put together for the movie wasn't what the filmmakers wanted, they probably should have said something and changed the direction earlier. That is, if they really cared about the project and how it was being put together. My feeling is that Kershner was going to be fine with whatever came out of Rosenman, that Rosenman would probably have done it his way no matter what, and that Orion was going to put of the film with it anyway. Forgive me if I am being too judgmental, but it just seems to me that many individuals were working on their own projects, not working together. Eye of the beholder stuff, man.



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Posted: Sun Jun 28, 2020 12:24 am Reply with quote

Movie scores are so important so that whenever you hear the theme to Indiana Jones, Jaws, Rocky, Superman, or Star Wars you get pumped up! The first Robocop movie had the best music and it was Robocopís theme. The music in R2 was fine, but I wanted to hear the original score again. The music thatís played when Murphy goes home should have been used when he meets his wife again. It was an emotional scene and him telling her that he doesnít know her anymore definitely would make you cry. Plus, seeing your spouse turned into a cyborg and standing behind a fence like a caged animal would really be upsetting.



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Posted: Mon Jan 08, 2024 4:08 pm Reply with quote

pengbuzz :
I felt the R2 score was too "baroque"


I think your sentence is "baroque" by using that word Laughing

I get you though. Poledouris' score for RoboCop 3 very much an extention of the first film's, but I don't think he wasn't feeling it. I reckon the third film's score is eclipsed by the original, if only marginally in my opinion, making it feel that he may not have been as invested. Maybe it's a case of being a product of your own ability.

I do have a soft spot for the RoboCop 2 soundtrack. It feels heavier to me and less heroic compared to the first which adds to the dirty feeling of the second film in terms of content. Yet somehow, the second film's score feels heroic in it's own way, at least to me.




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