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      (UPDATE 1) Server migration next weekend   11/26/16

      Hi JWFAN.COM members,   Update: The migration need more time.   5-11. Dec. 2016.   The server is ready, a dedicated system:   Intel Xeon® E3-1225v3 Quad-Core 32 GB DDR3 RAM 2x 512 GB SSD   New os: Ubuntu 16.04 LTS Plesk Onyx Management system
      Server backup 250 GB, not the same datacenter. External backup   Server location: DataDock in Strasbourg
      Fully redundant MPLS ring structure with a total capacity of 550 Gbit/s Core backbone Frankfurt-Strasbourg: 100 Gbit, Deutsche Telekom: 17x 10Gbit,
      Level(3): 10x 10Gbit, TeliaSonera: 8x 10Gbit, Cogent: 5x 10Gbit, Telefónica: 3x 10Gbit,
      DE-CIX: 6 x 10Gbit, ECIX: 6 x 10 Gbit Uptime 99.99%  (Network)     server migration next weekend.
      3 or 4. Dec. 2016.   I post a update when I start the migration.
      JWFAN.COM is offline for 3-4 hours.   Andreas  

Henry Buck

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  1. Will, great job on the restoration. It's interesting to see how this was meant to be scored. About the music, though: in my opinion, that cue absolutely trashes that scene. Thank God it was cut. I think Williams is as strong a composer as ever, but I've felt many of his recent films have suffered from an excess of music. He's either forgotten how effective silence can be, or else his directors have just asked for too much music in spotting. It's hard to explain why I find this Hux music so grating, but it makes me feel like I'm watching the prequels. It turns the scene into B-movie material. The melodrama is totally unjustified and ridiculous. Some of my favorite moments of TFA are the ones without music: Rey's introduction, Finn's discovery of the crashed TIE Fighter, Han and Kylo's confrontation. Does anybody really believe that Han and Kylo's scene needed more elegiac, weepy strings right from the get-go? But I do love the alternate cue for Han's death! In that case, I feel Abrams played it too safe in a moment where all-out melodrama was appropriate.
  2. This doesn't look like the original suit? But it has the red-tinted eyes, the cape over the shoulder plates, and the chest plate design. The only thing that isn't faithful to the original Star Wars, perhaps, is the glossiness. According to this report, they tried to base it on the original suit.
  3. The audiences for Symphony Hall need an intermission in a 2+ hour concert. There's alcohol served, and the patrons are mostly old, so you can imagine. I would think the situation is similar with the other orchestras that have played Raiders.
  4. If Rogue One was going to be yet another slow, joyless, self-important, "dark," blockbuster film, thank goodness they're doing reshoots. Yes, it seems anti-creative to bring the film closer in line with The Force Awakens, but what if the studio is saving us from the next "Man of Steel"? Or maybe the movie was amazing, and Disney wants to ruin it. I'm just saying we shouldn't assume the worst.
  5. I loved it. The Boston Pops were every bit the equal of the often deified LSO, with the exception of just a single moment. When Indy climbs on top of the German submarine, the entrance of the trumpets playing the Raiders March sounded distant and dull, making the cue not quite as euphoric as it could have been. Ah well. The music came across prominently in the mix - probably louder than the theatrical mix - but never overwhelmed the dialogue and effects. I'm pretty sure I heard a recorded choir during "Map Room," but it's possible my brain was just filling in the blanks. I don't remember at all whether there was a recorded choir in the other cues. That new bit of music Williams wrote for the first confrontation with Belloq was not included. Everything was reproduced faithfully, although I do wish we could have gotten at least a full performance of the end credits without microedits.
  6. I'm seeing it tonight in Boston! I'll let you guys know if there are any performance oddities.
  7. It gives you a choice of different services to redeem the film from: iTunes, Google Play, Amazon, etc., but once you choose one you're locked in. I went with iTunes, and fortunately it did include all the extras, including the deleted scene of Maz's castle.
  8. It's not necessarily this music vs. the Starkiller music. Assuming the music for Han's death starts at 1:25 in the clip, the music is about 40 seconds long. The film/album version takes about 30 seconds before going into the Starkiller Reprise. Doesn't quite match, but this clip seems to only cover the beginning of the moment, not Han's body falling away, Leia's reaction, and so forth.
  9. Maybe the shorter version is the one from the end credits, assuming each part of the end credits was recorded separately.
  10. Interesting. I agree with you that the transition in ROTS was stilted, but the TFA modification of it fixed everything, I thought. If you were looking for an authentic V-I cadence it's not that, but the harmonic rhythm and trajectory felt right to me. I can't qualify it further. It is pretty embarrassing, though, that the crash cymbals are half a beat off on the downbeat of the end credits. I think it's an editing issue, not a performance one.
  11. So does the Resistance March actually disappear from the score just a couple minutes after it's introduced? It's a little strange that this boisterous new theme isn't included in the Starkiller battle, although I think Scherzo for X-Wings is fine as it is.
  12. The Force Awakens

    Womp. Okay, thanks for the info.
  13. The Force Awakens

    Hey guys, I remember reading some discussion that the HD release (HDTracks etc) was "faked," upsampled from CD-quality files. However, I haven't been able to track this thread down on JWFan or on the entire internet. Can anyone relink to that discussion?
  14. The fanfare at the beginning of the FYC version of "Snoke" and the fanfare for the reveal of the star destroyer (Main Title and the Attack on the Jakku Village @ 1:35): pretty much the same, yeah? Some sort of First Order fanfare? It also seems like the low string figure at 4:12 in the end credits has something to do with this motif.