Datameister

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  1. Which Cues Showcase JW's Use of Percussion?

    Land of the Sand People comes to mind, as does the chess game from HPSS. Both put percussion in the spotlight with some neat support from the rest of the orchestra.
  2. Yeah, there's no real musical connection between that initial Imperial motif and the actual Imperial March.
  3. Dammit, I should have tried something like this when I used to live near there! I guess now it would just be tacky. In all seriousness, to see him just come out and chat good-naturedly like that is pretty remarkable. And I feel admiration tinged with just a little annoyance at these wonderful musicians' cojones.
  4. Star Wars Episode VIII (Rian Johnson 2017)

    It's an interesting question I hadn't really thought about...we've never seen a Star Wars film that picks up right where another left off...what do you put in the crawl? I'm guessing part TFA recap, part introduction of characters/ideas/developments that weren't included in TFA.
  5. Star Wars Prequel Music General Discussion

    Oh, the writing is horrendous. Lucas has never been much of a writer. He's a big-picture guy, a story guy. The level of control he had over the prequel screenplays was one of the biggest issues with those films. Hiring actual writers to write would have gone a long way toward producing films that achieved more consistent acclaim.
  6. Star Wars Prequel Music General Discussion

    There it is.
  7. Star Wars Prequel Music General Discussion

    And fewer holes. Too far?
  8. Star Wars Prequel Music General Discussion

    I enjoy them all, and I think they're all incredibly disappointing when you compare them to what they could have been. The underlying story is solid and there's some great visual design going on. The details of the execution are just so off.
  9. Star Wars Prequel Music General Discussion

    It's most certainly always been in vogue to hate on the prequels, but mostly just because they shat vigorously on everything most Star Wars fans had previously loved. The original trilogy featured archetypal characters, clear plots, minimal kiddie humor, and acting that rarely dipped below "passable." For the prequels, the "faster, more intense" mantra was replaced with slow expository dialogue that didn't actually expose much, a lot of it revolving around political subplots that never connected with the audience in any human level. "Tell, don't show" was the name of the game. The degree to which you enjoy the prequels is mostly just a function of what's important to you in a film. The films have plenty to offer. Those offerings just don't line up with what most people wanted.
  10. Star Wars Prequel Music General Discussion

    As someone who enjoys the prequels for what they are, I'd recommend Plinkett's hilarious yet insightful YouTube reviews to anyone who holds the prequels on high esteem. They may help clarify others' point of view - although if something like the quality of the acting doesn't influence your enjoyment of a film, your perspective may just be fundamentally incompatible. If you're not just trolling, that is...no offense intended whatsoever, but when someone starts calling the prequels the greatest filmmaking achievement ever, little alarm bells start going off.
  11. The Force Awakens The Force Awakens Disney Records OST

    For Kylo Ren Arrives at the Battle, it's an insert, as far as I can tell. The Abduction is just an alternate take, it seems.
  12. Universal Fanfare Showdown - Horner v. Goldsmith

    Goldsmith wins for me. That's not to slight Horner's effort, which I would agree is magical...it really makes me feel good to hear it. But Goldsmith's version has a perfect, inevitable simplicity to it. I love everything about it - the majestic horn soli, the beautiful noodling up above, the punchy brass and percussion, the absolutely glorious introduction of the whole orchestra, and the perfect recapitulation of the opening fanfare. It may be my favorite logo cue, period...though there's a lot of great competition.
  13. I have an inexplicably hard time listening to it. The orchestration, performance, and engineering are all fantastic, and I even like the themes, but somehow the score as a whole really wears on me. Maybe it's just too relentless, too over-the-top. Even the softer passages have a certain intensity about them, and not necessarily in a good way. Williams has gone nuts with scores like TOD and whatnot, but even those find ways of giving respite from the madness.
  14. The buildup at the end of TLW's "The Compys Dine", perhaps?
  15. Anything's possible, but I feel very confident that the OST simply presents the cue as it was written. This misterioso material would have scored Rey scavenging inside the Star Destroyer. As I recall, the timing still matches the final cut of the film and everything.