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Not going to pick all his wrongness in that clip to pieces, but Eagle comics Judge Dredd issue 1 was the biggest selling indie comic in the US (at least until that point - may have been changed since). So yes, I'm not trying to say Dredd is "big" in the US, as thats ridiculous, but the Eagle comics were incredibly popular for a short time (probably until "Quality" moved in!).

And you can believe me on that as I've read a bunch of Dredd comics books.

That's how I found out about JD and 2000AD.

[spoiler]It's been replaced by a rubber chicken![/spoiler]

But then to trample all over the financially and commercial  successful franchise a few years after (upcoming Spiderman movie for example) to make a quick buck as well as cashing in on the current 3D money pot is just wrong!  

...but what's new?, the comic industry does exactly the same thing every few years, re-booting/re-making characters, killing off villains/heroes, ridiculous resurrections, ignoring continuity, multiple publications etc. It's all par for the course and the fans lap it up despite complaining.

Why should Hollywood be different?, comic fans complaining of such things as remakes/alterations should question the comics industry before they complain about Hollywood which is just giving them what they all ready pay for in the comic world. If you don't like it, don't pay for it that's the greatest power fans have.

Hollywood is a monolith that rarely takes chances that are perceived too risky, look at Scott Pilgrim, it's a fine film but it tanked because there wasn't enough interest shown by fans or the public-at-large so the industry perceives it as the 'audience' doesn't want it to change too much at all.

Yeah, that always makes me laugh, the fanboys who practically bleed from the eyes regarding some paradigm shift in their favorite book - yet they still buy it month after month, confirming that despite the whining the book was a success.

I thought the cars were awesome - they made no sense - but they looked good.  Those lizard guys were pretty clever, too.  Okay, that's about it.

You gonna poop on my parade everywhere go, Joe?

Judge Dredd '95 is actually a lot like Super Mario Bros.  Seriously, it has that same kitchen sink approach, soundstage-y claustrophobia going on.  A lot of work was done on the design side (SMB is one of the worst movies ever, but it had great design - same with JD '95) but to no avail as clearly no one else came to work.

But that's got nuthin' to do with music!  I was just thinking about it...

It takes two.

Babaaaaay!  It Takes Two, Babaaaaay! To Make A Dream Come True!  It Takes Two!

From all I've read, dollar for dollar, the production got twice the value as they would have had the film been shot in, say, Montreal by shooting in South Africa.

I'm really excited for this.

[They both seem like 80's films]

Ah, but the Robocop score is actually really good and often worked in synergy with the scenes it was used, more often than not.  The Dredd soundtrack sounds arbitrary half the time, Dredd's first piece of screen time is a perfect example - it's completely histrionic in it's attempt to introduce import to the film's main character to where it actually amps up the film's ridiculousness - those were my thoughts at the time, they haven't changed!

I think that's more to do with the crapness of the scenes than Alan Silvestri's music, he hadn't much to be in 'synergy' with. Trying to improve crap by adding 'life' tension and drama where it doesn't exist, via music, is a hard job. RoboCop's music is equally histrionic but the scenes work, are dramatised well, Dredd's don't and aren't. Dredd's 'main theme' has the same tone, mood, pomp, ostentation as RoboCop's except slower. They both seem like 80's films.

Well, one actually is an 80's film (Robocop - 1987 vintage) and one is smack dab in the middle of the next decade. 

I think this is going to be one of those 'agree to disagree' situations as you've no hope of convincing me that Silvestri's OST is good, despite not having much (anything?) to work with.  This is, of course, just a matter of opinion and I certainly don't think less of you if you like it - I listen Library music and, potentially, it doesn't  get any cheesier than that.  And believe me, I'm not trashing Silvestri on the whole, either, I don't know what else he's done.  But the Judge Dredd OST?  No, I don't like it no matter what.

They should have got some of these tyres for the Lawmaster.

This made me very happy - thanks!

[It was the wrong time to make it and the wrong people made it]

Man, I really loathe the '95 soundtrack - totally tonedeaf to the material on hand, like all else in the film.  Pomposity was so the wrong way to go.

It may seem that way now but the majority of people, fans included, would have chosen such a score for Dredd back then. Attitudes have changed in 15 years on how you treat films like this, tastes have become more sophisticated and been allowed to develop so we expect more in terms of visual and musical texture, but it just didn't happen for 80's/90's big-budget action films, even RoboCop had a similarly big 'operatic' soundtrack- Basil Poldouris after all was one of the most melodramatic composers of all time.

Ah, but the Robocop score is actually really good and often worked in synergy with the scenes it was used, more often than not.  The Dredd soundtrack sounds arbitrary half the time, Dredd's first piece of screen time is a perfect example - it's completely histrionic in it's attempt to introduce import to the film's main character to where it actually amps up the film's ridiculousness - those were my thoughts at the time, they haven't changed!

I see where you're coming from in how my post was composed, but I didn't mean to imply that they should have gone with what I think would work - I just think it was poorly composed even within the era it was made.

Hindsight is always great but hindsight can only work after mistakes have been made. Dredd was always a difficult adaptation, even more so back then. It was the wrong time to make it and the wrong people made it but that's how it goes.

Very, very true.

Man, I really loathe the '95 soundtrack - totally tonedeaf to the material on hand, like all else in the film.  Pomposity was so the wrong way to go.

I hear something that crosses the gulf between Ennio Morricone spaghetti western guitar bombast and John Carpenter's 'Assault On Precinct 13' shock and drone - updated with modern electronics, bolstered with orchestration for the dramatic scenes and hints of guitar noise to taste.

Jim 'Foetus' Thirwell would be the PERFECT go to guy for the Dredd OST.

That both styles have already been mentioned (spaghetti western and Carpenter styled synth) says it's probably a good idea.

In any case - stark, not anthemic.

Unless the bike has a fair amount of screen time, I'm not sure I care too much about the bike.

Weirdly - I care very much about the Eagle Pad... I love the Eagle Pad...

Sing. This Corrosion to me!

Well, thank you!

[BIG]

Okay, to be clear - we didn't play with any of the BIG Sub-
Pop names - Mudhoney, TAD, Nirvana or Soundgarden.  I guess I should have said 'second tier Sub-Pop / grungy bands' (Codeine, Screaming Trees, Das Damen, Dinosaur Jr., Bullet Lavolta etc.) .  I did meet Cobain and Noveselic a few times back then - once at a Melvins / Cows gig in Boston (right before Nevermind dropped) and again a few years later at a pizza place in Portland, Maine - very cool guys.  We mostly shot the shit about Melvins and Earth (to be honest, I was kinda over Nirvana at that point - they were in town mastering 'In Utero' and Nirvanamania was still pretty out-of-control).  Lummox (not the Canadian, Dayglo Abortions spin-off) fit more in the Amphetamine Reptile camp (Cows, Lubricated Goat, Killdozer, godheadSilo, Hammerhead, Today Is The Day et.al), really.