Back in the early days of ring tones for cell phones, I had Tubular Bells from the Exorcist as my ring tone. Was in line at subway once when I got a phone call. Lady next to me was fucking HORRIFIED. "Is that the music from The Exorcist?!?!?!? Wha whaaa wwwhhhh WHY do you have that?!?!?!" I shit you not, this lady was freaked the fuck out. Guarantee she lost her appetite. Exorcist and Halloween for me.
I don't think there's a thread yet on 1 specific horror tune from a movie... ("Tubular Bells" might sweep that if it did exist, though.)
I miss 80's-early 90's Jerry Goldsmith (if he did the Gremlins 2 score... yes, I'm blanking on who did the Gremlins 2 score). Who does great scores anymore? I don't know if great scores can exist anymore.
The last great Mr. Goldsmith did indeed score the Gremlins sequel. The Hans Zimmer/James Newton Howard collaboration on the Dark Knight Trilogy is a tremendous reason why the films are so wonderful. Whether you like action, Batman or superhero films or not, there's no denying how amazing this track is (skip to the 20 second mark):
I could see a bunch of millennials younger than me (I've heard millennial = anyone born after 1980, so that's what I'm going with) wondering what the point of all the amazing 70's and 80's synth scores were, what they were supposed to be feeling or doing when they sat and the music came on... ...But, no, I seriously wonder what the point of listening to all of these "rousing" orchestral scores that sound like soldiers marching into some goofy Army of Darkness type battle (especially around the 0:37 mark) is. What I'm supposed to feel and what I'm supposed to do sitting while this music plays. I know I can't say it just sounds the same as anything else and expect younger people who have grown up with these kinds of scores to not feel the same way about the amazing scores of the 70's and 80's... but, no- really: it sounds like every single other score from the last 18 or so years. I swear film music is 1,000x more homogeneous than it used to be. It certainly is more rigid in its desperation to seem classy. (Therefore: orchestral = classical.) Thanks to the love for this kind of score, we'll never see musical experimentation in film anymore. Never again. (Okay, maybe if it's from the makers of Amer. But... from anyone else? Likely not so much.)
