Basil Poledouris vs Leonard Rosenman

[NukeLord]

Though I've come to appreciate and like Rosenman's "2" score over the last 28 years - I've always felt it was vastly inferior to Poledouris's masterful work on "1" and "3".

I really do feel "2" would've been better accepted if Poledouris had scored the movie. Each and every Poledouris motif is so iconic to RoboCop - I feel it would have energised what we saw on the screen so much better.

Kershner felt Poledouris's score from the original was "too mechanical" (hello! It's a story about a cyborg cop!). Though I realise most (if not everyone) has seen this before - here's a little taster of "2" with the Poledouris score. Though us purists immediately attach the music to scenes from the first film...I think it makes this scene so much better.

https://www.youtube.com/watch?v=8c9WW3Pfp8E

Does anybody know how to rip the score from a film? I've always intended to add Poledouris music over the film. Even if that means borrowing from all of Poledouris's body of film compositions (and not just "1" and "3").

If a new RoboCop sequel is put into production I truly hope the composer utilises Poledouris's score. It needs to "feel" like RoboCop.

[Joined]

Though I've come to appreciate and like Rosenman's "2" score over the last 28 years - I've always felt it was vastly inferior to Poledouris's masterful work on "1" and "3".

I really do feel "2" would've been better accepted if Poledouris had scored the movie. Each and every Poledouris motif is so iconic to RoboCop - I feel it would have energised what we saw on the screen so much better.

Kershner felt Poledouris's score from the original was "too mechanical" (hello! It's a story about a cyborg cop!). Though I realise most (if not everyone) has seen this before - here's a little taster of "2" with the Poledouris score. Though us purists immediately attach the music to scenes from the first film...I think it makes this scene so much better.

https://www.youtube.com/watch?v=8c9WW3Pfp8E

Does anybody know how to rip the score from a film? I've always intended to add Poledouris music over the film. Even if that means borrowing from all of Poledouris's body of film compositions (and not just "1" and "3").

If a new RoboCop sequel is put into production I truly hope the composer utilises Poledouris's score. It needs to "feel" like RoboCop.

[Post Count]

Though I've come to appreciate and like Rosenman's "2" score over the last 28 years - I've always felt it was vastly inferior to Poledouris's masterful work on "1" and "3".

I really do feel "2" would've been better accepted if Poledouris had scored the movie. Each and every Poledouris motif is so iconic to RoboCop - I feel it would have energised what we saw on the screen so much better.

Kershner felt Poledouris's score from the original was "too mechanical" (hello! It's a story about a cyborg cop!). Though I realise most (if not everyone) has seen this before - here's a little taster of "2" with the Poledouris score. Though us purists immediately attach the music to scenes from the first film...I think it makes this scene so much better.

https://www.youtube.com/watch?v=8c9WW3Pfp8E

Does anybody know how to rip the score from a film? I've always intended to add Poledouris music over the film. Even if that means borrowing from all of Poledouris's body of film compositions (and not just "1" and "3").

If a new RoboCop sequel is put into production I truly hope the composer utilises Poledouris's score. It needs to "feel" like RoboCop.

[Comment]

Though I've come to appreciate and like Rosenman's "2" score over the last 28 years - I've always felt it was vastly inferior to Poledouris's masterful work on "1" and "3".

I really do feel "2" would've been better accepted if Poledouris had scored the movie. Each and every Poledouris motif is so iconic to RoboCop - I feel it would have energised what we saw on the screen so much better.

Kershner felt Poledouris's score from the original was "too mechanical" (hello! It's a story about a cyborg cop!). Though I realise most (if not everyone) has seen this before - here's a little taster of "2" with the Poledouris score. Though us purists immediately attach the music to scenes from the first film...I think it makes this scene so much better.

https://www.youtube.com/watch?v=8c9WW3Pfp8E

Does anybody know how to rip the score from a film? I've always intended to add Poledouris music over the film. Even if that means borrowing from all of Poledouris's body of film compositions (and not just "1" and "3").

If a new RoboCop sequel is put into production I truly hope the composer utilises Poledouris's score. It needs to "feel" like RoboCop.

[HOB888]

99% of the audience prefer Poledouris score, wich feel more epic.
But I will always find Rosenman's score more fitting with Robo2 because this is the way
I've discovered it the first time so in a way this score and the movie can't be separated in my mind.

The R2 workprint features the score of Poledouris and it kinda fits too, but that's not the same feeling.

If you want my personal opinion, the Poledouris score really translates the rebirth of Murphy and his
rise while the Rosenman score translates something more tragic, but not epic.Murphy remains a cyborg during
R2, yes at one point he becomes robo PC and fights these directives, but that's not as epic as a human
becoming a cyborg.

I wish Varese would release the complete Rosenman score thought.
_________________
http://robocop2directive5.blogspot.fr/

[Joined]

99% of the audience prefer Poledouris score, wich feel more epic.
But I will always find Rosenman's score more fitting with Robo2 because this is the way
I've discovered it the first time so in a way this score and the movie can't be separated in my mind.

The R2 workprint features the score of Poledouris and it kinda fits too, but that's not the same feeling.

If you want my personal opinion, the Poledouris score really translates the rebirth of Murphy and his
rise while the Rosenman score translates something more tragic, but not epic.Murphy remains a cyborg during
R2, yes at one point he becomes robo PC and fights these directives, but that's not as epic as a human
becoming a cyborg.

I wish Varese would release the complete Rosenman score thought.
_________________
http://robocop2directive5.blogspot.fr/

[Post Count]

99% of the audience prefer Poledouris score, wich feel more epic.
But I will always find Rosenman's score more fitting with Robo2 because this is the way
I've discovered it the first time so in a way this score and the movie can't be separated in my mind.

The R2 workprint features the score of Poledouris and it kinda fits too, but that's not the same feeling.

If you want my personal opinion, the Poledouris score really translates the rebirth of Murphy and his
rise while the Rosenman score translates something more tragic, but not epic.Murphy remains a cyborg during
R2, yes at one point he becomes robo PC and fights these directives, but that's not as epic as a human
becoming a cyborg.

I wish Varese would release the complete Rosenman score thought.
_________________
http://robocop2directive5.blogspot.fr/

[RoboPimp]

I must speak up in defense of the Robo 2 score. It had something that the first didn't: flair. Now, the original score is perfect for the film, so nothing more need be said about that. But Robocop 2's score lived up to the sequel I thought, not trying to do the same thing again but present a slicker product. That's the plot of Robocop 2 after all, and even things like the cheesy chorus of "ROOOBOOOCOOOP" works for me there.

What doesn't work for me as much is the score of Robocop 3. Aside from the returning music from Robo 1, which is great, I found Poledouris's new contriubutions to Robocop 3 were not nearly as in synch with the film thematically as the first time around. The compositions are not the problem, but I almost feel some would be better suited in other films, as his work there is often quite somber and procedural. This is the first time I have ever really compared the scores, but not the first time I've felt that way about the Robo 3 score. Some of it just feels to generic, too morbid for the screen. Of course, he might not have expected the PG-13, more kid friendly romp, but in the movie that finds room for splatterpunks, 'loyal as a puppy', and pimpmobiles, I could have used more of the bounce of the original.

Altogether, the first movie's is the only one that really nailed it, with classic, memorable themes, and humble passages that let the action on screen shine. But I respect Robocop 2's score for trying something different but still capturing the spirit well. Robocop 3's score also services the film well, but didn't add anything too memorable and at times was a little bland, to me. But here is my problem with the video edit you shared: with Robo's theme, it's too predictable. That is a triumphant piece, whereas Rosenman's piece perfectly captures the tension of the moment. You really don't know it's over until it's over and that brain is smashed, and I love how the score in the film swells with the chaos and deflates just as quick and Robocain's lifeless body flops to the ground.

[Joined]

I must speak up in defense of the Robo 2 score. It had something that the first didn't: flair. Now, the original score is perfect for the film, so nothing more need be said about that. But Robocop 2's score lived up to the sequel I thought, not trying to do the same thing again but present a slicker product. That's the plot of Robocop 2 after all, and even things like the cheesy chorus of "ROOOBOOOCOOOP" works for me there.

What doesn't work for me as much is the score of Robocop 3. Aside from the returning music from Robo 1, which is great, I found Poledouris's new contriubutions to Robocop 3 were not nearly as in synch with the film thematically as the first time around. The compositions are not the problem, but I almost feel some would be better suited in other films, as his work there is often quite somber and procedural. This is the first time I have ever really compared the scores, but not the first time I've felt that way about the Robo 3 score. Some of it just feels to generic, too morbid for the screen. Of course, he might not have expected the PG-13, more kid friendly romp, but in the movie that finds room for splatterpunks, 'loyal as a puppy', and pimpmobiles, I could have used more of the bounce of the original.

Altogether, the first movie's is the only one that really nailed it, with classic, memorable themes, and humble passages that let the action on screen shine. But I respect Robocop 2's score for trying something different but still capturing the spirit well. Robocop 3's score also services the film well, but didn't add anything too memorable and at times was a little bland, to me. But here is my problem with the video edit you shared: with Robo's theme, it's too predictable. That is a triumphant piece, whereas Rosenman's piece perfectly captures the tension of the moment. You really don't know it's over until it's over and that brain is smashed, and I love how the score in the film swells with the chaos and deflates just as quick and Robocain's lifeless body flops to the ground.

[Post Count]

I must speak up in defense of the Robo 2 score. It had something that the first didn't: flair. Now, the original score is perfect for the film, so nothing more need be said about that. But Robocop 2's score lived up to the sequel I thought, not trying to do the same thing again but present a slicker product. That's the plot of Robocop 2 after all, and even things like the cheesy chorus of "ROOOBOOOCOOOP" works for me there.

What doesn't work for me as much is the score of Robocop 3. Aside from the returning music from Robo 1, which is great, I found Poledouris's new contriubutions to Robocop 3 were not nearly as in synch with the film thematically as the first time around. The compositions are not the problem, but I almost feel some would be better suited in other films, as his work there is often quite somber and procedural. This is the first time I have ever really compared the scores, but not the first time I've felt that way about the Robo 3 score. Some of it just feels to generic, too morbid for the screen. Of course, he might not have expected the PG-13, more kid friendly romp, but in the movie that finds room for splatterpunks, 'loyal as a puppy', and pimpmobiles, I could have used more of the bounce of the original.

Altogether, the first movie's is the only one that really nailed it, with classic, memorable themes, and humble passages that let the action on screen shine. But I respect Robocop 2's score for trying something different but still capturing the spirit well. Robocop 3's score also services the film well, but didn't add anything too memorable and at times was a little bland, to me. But here is my problem with the video edit you shared: with Robo's theme, it's too predictable. That is a triumphant piece, whereas Rosenman's piece perfectly captures the tension of the moment. You really don't know it's over until it's over and that brain is smashed, and I love how the score in the film swells with the chaos and deflates just as quick and Robocain's lifeless body flops to the ground.

[Comment]

I must speak up in defense of the Robo 2 score. It had something that the first didn't: flair. Now, the original score is perfect for the film, so nothing more need be said about that. But Robocop 2's score lived up to the sequel I thought, not trying to do the same thing again but present a slicker product. That's the plot of Robocop 2 after all, and even things like the cheesy chorus of "ROOOBOOOCOOOP" works for me there.

What doesn't work for me as much is the score of Robocop 3. Aside from the returning music from Robo 1, which is great, I found Poledouris's new contriubutions to Robocop 3 were not nearly as in synch with the film thematically as the first time around. The compositions are not the problem, but I almost feel some would be better suited in other films, as his work there is often quite somber and procedural. This is the first time I have ever really compared the scores, but not the first time I've felt that way about the Robo 3 score. Some of it just feels to generic, too morbid for the screen. Of course, he might not have expected the PG-13, more kid friendly romp, but in the movie that finds room for splatterpunks, 'loyal as a puppy', and pimpmobiles, I could have used more of the bounce of the original.

Altogether, the first movie's is the only one that really nailed it, with classic, memorable themes, and humble passages that let the action on screen shine. But I respect Robocop 2's score for trying something different but still capturing the spirit well. Robocop 3's score also services the film well, but didn't add anything too memorable and at times was a little bland, to me. But here is my problem with the video edit you shared: with Robo's theme, it's too predictable. That is a triumphant piece, whereas Rosenman's piece perfectly captures the tension of the moment. You really don't know it's over until it's over and that brain is smashed, and I love how the score in the film swells with the chaos and deflates just as quick and Robocain's lifeless body flops to the ground.

[artuditu]

I like R2 score, but R1 has so much more depth to it.

For me it's not just a discussion about the epic and iconic songs and moments that are remembered better, but all the other minor background songs blending with the scenes that are more plot and character-driven, or just atmospheric (opening Detroit landscape with the title card for example), adding layers of texture and emotion much lacking in R2.

If I say "Murphy Dies", "Robo lives", "Murphy's Dream", "Murphy Goes Home", "Clarence Frags Bob", "Robo drives to Jones". you'll be picturing in your mind whole scenes with their music, and none of these are the action-packed ones. I barely can think of the R2 non-epic songs, no matter how many times I've watched that movie.

I wonder how Poledouris would have adapted the music to the big change of tone from R1 to R2. He kind of adapted to R3 screenplay adding more adventure/epic and some melancholy to the soundtrack.

[Joined]

I like R2 score, but R1 has so much more depth to it.

For me it's not just a discussion about the epic and iconic songs and moments that are remembered better, but all the other minor background songs blending with the scenes that are more plot and character-driven, or just atmospheric (opening Detroit landscape with the title card for example), adding layers of texture and emotion much lacking in R2.

If I say "Murphy Dies", "Robo lives", "Murphy's Dream", "Murphy Goes Home", "Clarence Frags Bob", "Robo drives to Jones". you'll be picturing in your mind whole scenes with their music, and none of these are the action-packed ones. I barely can think of the R2 non-epic songs, no matter how many times I've watched that movie.

I wonder how Poledouris would have adapted the music to the big change of tone from R1 to R2. He kind of adapted to R3 screenplay adding more adventure/epic and some melancholy to the soundtrack.

[Post Count]

I like R2 score, but R1 has so much more depth to it.

For me it's not just a discussion about the epic and iconic songs and moments that are remembered better, but all the other minor background songs blending with the scenes that are more plot and character-driven, or just atmospheric (opening Detroit landscape with the title card for example), adding layers of texture and emotion much lacking in R2.

If I say "Murphy Dies", "Robo lives", "Murphy's Dream", "Murphy Goes Home", "Clarence Frags Bob", "Robo drives to Jones". you'll be picturing in your mind whole scenes with their music, and none of these are the action-packed ones. I barely can think of the R2 non-epic songs, no matter how many times I've watched that movie.

I wonder how Poledouris would have adapted the music to the big change of tone from R1 to R2. He kind of adapted to R3 screenplay adding more adventure/epic and some melancholy to the soundtrack.

[Comment]

I like R2 score, but R1 has so much more depth to it.

For me it's not just a discussion about the epic and iconic songs and moments that are remembered better, but all the other minor background songs blending with the scenes that are more plot and character-driven, or just atmospheric (opening Detroit landscape with the title card for example), adding layers of texture and emotion much lacking in R2.

If I say "Murphy Dies", "Robo lives", "Murphy's Dream", "Murphy Goes Home", "Clarence Frags Bob", "Robo drives to Jones". you'll be picturing in your mind whole scenes with their music, and none of these are the action-packed ones. I barely can think of the R2 non-epic songs, no matter how many times I've watched that movie.

I wonder how Poledouris would have adapted the music to the big change of tone from R1 to R2. He kind of adapted to R3 screenplay adding more adventure/epic and some melancholy to the soundtrack.

[NukeLord]

Excellent responses. This is what I wanted...a good natured debate where we dissect the scores and their differentiation. I'm at work at the moment but will check in with a more detailed response when I'm able to.

Keep 'em coming guys. It's a really interesting topic - and it's great to hear people's thoughts on this.

[Joined]

Excellent responses. This is what I wanted...a good natured debate where we dissect the scores and their differentiation. I'm at work at the moment but will check in with a more detailed response when I'm able to.

Keep 'em coming guys. It's a really interesting topic - and it's great to hear people's thoughts on this.

[Post Count]

Excellent responses. This is what I wanted...a good natured debate where we dissect the scores and their differentiation. I'm at work at the moment but will check in with a more detailed response when I'm able to.

Keep 'em coming guys. It's a really interesting topic - and it's great to hear people's thoughts on this.

[Comment]

Excellent responses. This is what I wanted...a good natured debate where we dissect the scores and their differentiation. I'm at work at the moment but will check in with a more detailed response when I'm able to.

Keep 'em coming guys. It's a really interesting topic - and it's great to hear people's thoughts on this.

[NukeLord]

I think much of my problem with the Rosenman score is that so much of it sounds like ambient noise. It feels very 60's/70's in parts.

https://www.youtube.com/watch?v=xRkZAfoaEw8

From 0.01 seconds that brass "RoboCop 2 the bad guy" theme that plays throughout the movie and again at 0.16 seconds sounds so generic. This coupled with the over-the-top percussion sounds just makes it feel like Rosenman phoned the score in.

He was probably rushed to create the score with the infamous Orion executives rushing to get the movie into a summer release. I don't dislike it these days, I think parts of it are really good - I just think Poledouris would've brought so much more to it.

I do think "3" is the definitive Robo score. It's the "cleanest" version of the famous motifs. I do however think that the classic RoboCop theme itself is lacking. There's a string part that sounds too high.

[Joined]

I think much of my problem with the Rosenman score is that so much of it sounds like ambient noise. It feels very 60's/70's in parts.

https://www.youtube.com/watch?v=xRkZAfoaEw8

From 0.01 seconds that brass "RoboCop 2 the bad guy" theme that plays throughout the movie and again at 0.16 seconds sounds so generic. This coupled with the over-the-top percussion sounds just makes it feel like Rosenman phoned the score in.

He was probably rushed to create the score with the infamous Orion executives rushing to get the movie into a summer release. I don't dislike it these days, I think parts of it are really good - I just think Poledouris would've brought so much more to it.

I do think "3" is the definitive Robo score. It's the "cleanest" version of the famous motifs. I do however think that the classic RoboCop theme itself is lacking. There's a string part that sounds too high.

[Post Count]

I think much of my problem with the Rosenman score is that so much of it sounds like ambient noise. It feels very 60's/70's in parts.

https://www.youtube.com/watch?v=xRkZAfoaEw8

From 0.01 seconds that brass "RoboCop 2 the bad guy" theme that plays throughout the movie and again at 0.16 seconds sounds so generic. This coupled with the over-the-top percussion sounds just makes it feel like Rosenman phoned the score in.

He was probably rushed to create the score with the infamous Orion executives rushing to get the movie into a summer release. I don't dislike it these days, I think parts of it are really good - I just think Poledouris would've brought so much more to it.

I do think "3" is the definitive Robo score. It's the "cleanest" version of the famous motifs. I do however think that the classic RoboCop theme itself is lacking. There's a string part that sounds too high.

[Comment]

I think much of my problem with the Rosenman score is that so much of it sounds like ambient noise. It feels very 60's/70's in parts.

https://www.youtube.com/watch?v=xRkZAfoaEw8

From 0.01 seconds that brass "RoboCop 2 the bad guy" theme that plays throughout the movie and again at 0.16 seconds sounds so generic. This coupled with the over-the-top percussion sounds just makes it feel like Rosenman phoned the score in.

He was probably rushed to create the score with the infamous Orion executives rushing to get the movie into a summer release. I don't dislike it these days, I think parts of it are really good - I just think Poledouris would've brought so much more to it.

I do think "3" is the definitive Robo score. It's the "cleanest" version of the famous motifs. I do however think that the classic RoboCop theme itself is lacking. There's a string part that sounds too high.

[ChAnOoD]

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[NukeLord]

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