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Showing content with the highest reputation on 05/08/17 in all areas

  1. What bothers me is the prevailing attitude that only the C&C matters and the composer's original album was a mistake that should be thrown to the dustbin of history. It just reeks of disrespect to the composer's intentions. Of course I'm not keen on Thor's opposite-end extremism either. Then there's the other weird practice where scores like Batman Forever get an expanded release, but the composer is still allowed to axe bits from the C&C program, while his OST program is also on the second disc. Make up your minds!
    4 points
  2. (Serious) composer's just never intended a cd album being a souvenir for anal film memorabilia collectors, which they have become now. Musically the practice of c&c really makes no sense. 98% of film music is in serious need of hard pruning and just because a few JW albums suck or have a few seconds of a cue trimmed doesn't mean releasing dozens of 40 second transitional cues is doing the composer's reputation any favours.
    4 points
  3. I also realized that an expanded set of the Maestro's scores to the first three Harry Potter films is another possibility, considering the Live to Projection concerts happening (as that was one factor that led to the Jurassic Park set).
    3 points
  4. Alex

    JW's Worst OST Decisions

    The Peter Pettigrew harpsichord "theme" not being on the POA album also struck me as weird considering its use in the film. I don't think it is even hinted at.
    3 points
  5. A.I. Artificial Intelligence. Much better. Karol
    2 points
  6. USB shaped like a Lidless Eye, wreathed in flame!
    2 points
  7. Of course not but that's not really the point, anyway. Getting an itch to watch individual movie scenes for me is usually less about wanting to jump right into an emotional storytelling experience and more about just wanting to look at something specific. Could be a million reasons, usually it's because I'm reminded of something while watching another movie or reading an article or forum thread or just daydreaming through a boring day, and so I'll go skip to it on the DVD or look it up on YouTube. Sort of twofold, it's not like I don't simply enjoy watching it again but it always starts from looking for something in particular, like trying to recall how the music was used or what the timing of the editing was or remembering exactly how an actor took the character through a complicated series of emotions step by step. And then maybe that's it, or I get lost in the film and keep watching from there, or it makes me want to start over and watch the whole thing, or it just sends me through a rabbit hole for the evening of skipping around to bits and pieces of various things. But it's not like it's the same thing as seeing it in full. On the other hand listening to a great cue or a song or a Williams concert piece is pretty much the same listening experience for me whether in context with the rest of the album or not. Tbh there aren't many albums where I really have had that overwhelmingly cumulative "big picture" impression like I do with movies. I just don't have that particular affection for the full listening experience the way people talk about loving here. Really just a handful of albums do that for me and even then it's sort of a rare, special thing when I set aside the time to go through the whole thing again. Otherwise it's pretty much always one and done whereas I often want to sit through entire films multiple times.
    2 points
  8. Incident At Isla Nublar OST > (Film Version)
    2 points
  9. This is an issue I'm somewhat torn on. While I don't at all get Thor's extraordinarily dogmatic angle, I do very much believe that some - most? - scores just don't play very well in complete format. After all, this is music written for picture, and that is its native context. Honestly, there are few scores that I listen to all the way through, whether complete release or curated album, so this affects what I value here. I understand that some film score albums are put together with great artistry, but some are not. I can't really think of many, if any, instances where even a truncated album presentation greatly benefitted from having any music out of chronological order, though. So proper order, at least, is almost always desirable regardless of if material is cut or not. I well understand that sometimes great, interesting musical moments are left off of initial releases. The idea of multiple releases is inherently silly, so would the ideal be that all scores are always just released in complete, ordered format? I can accept that. I don't really feel that the "album experience" that would be nixed with this approach is much to be torn up over, especially since it can be achieved by the listener on their own terms if need be. Except in the case of Zimmer. He puts together fantastic albums that are indeed different enough to warrant existing alongside the complete scores. I don't want them to go anywhere. As for the rest, I say just put it all out there and let the listeners sort it out as their hearts desire.
    2 points
  10. I think the biggest mistake, not just from Williams, but all film companies, is the fact that they only release single disc albums. I mean, can't they afford just one more disc? Two discs could include just about every cue from a film. I hate the people (some of them are here) that say "oh well then it's not as good of a listening experience". That's a stupid excuse. There's no significance of leaving out music other than for a greedy corporation to save a few bucks on an extra CD. That would be a far better listening experience in my opinion.
    2 points
  11. Hopefully fans will be able to buy all three sets again sometime, in whatever format can be worked out.
    2 points
  12. The Lost World OST was a bit off-balance. While the complete score is perfect, many exciting parts were left off the OST and instead, dark brooding material in its place. It was a bit too much of that sort of thing and not enough of the other. But we don't have to worry about that now. KOTCS didn't have much to work with, but it's like he didn't even try to make that album entertaining.
    2 points
  13. Every JW OSTs contain several bad decisions
    2 points
  14. I'm glad this thread got bumped, because I've been meaning to do so myself recently! Mostly just to say, that I freaking love this release sooooooooo much! We've been so blessed in the last decade to get a steady stream of expanded versions of whatever our favorite scores are from the 70s-90s on a regular basis, month after month after month. Often, one becomes a favorite for a while, then a new one comes out, and that one gets the most listens for a while, etc. But this one is different. I've continuously listen to this REGULARLY since it came out, which was 8 MONTHS ago now! I don't think there's been a single week since it came out that I didn't listen to either JP or TLW or both all the way through. This music is all so amazing, especially The Lost World, no matter how many times I listen, I never get sick of it at all. This could very well be my favorite film score release of all time!
    2 points
  15. Disco Stu

    Upcoming Films

    What's funny is that I when I tried using Google, the first result is you complaining that you can't find the review:
    1 point
  16. Humor, it is a difficult concept.
    1 point
  17. It's giving me the douche chills.
    1 point
  18. karelm

    The Austin Wintory Thread

    No, Austin's first year in LA was after JG died plus JG taught at USC in the early 90's. Beltrami studied with him and said it was unpleasant. JG is more composer than teacher and had little time for building someone up. But Austin was an avid fan who knew the composer's works inside and out so in a way studied it thoroughly the way some of us are well versed with JW without having been taught by him...we've absorbed his vocabulary and hopefully made it our own. Austin was very passionate about JG. I think that is not dissimilar to how JG did that with Herrmann when he was getting his start. We were classmates at USC and I will confess I appreciate his talent and the person he has become much more now than I did then. He had obvious talent but it was a competitive environment. I am delighted by the success and adoration he has received and it is well deserved.
    1 point
  19. Music for a gray saturday morning that needs a little bit of magic!
    1 point
  20. Such a shame this film is doing so poorly at the box office. Definitely the best big release of this summer. Karol
    1 point
  21. Disco Stu

    Mars Attacks!

    Elfman was clearly jealous of Howard Shore getting to use a theremin while he and Burton had their estranged period.
    1 point
  22. Voight's wink is cinematic history
    1 point
  23. Arpy

    JW's Worst OST Decisions

    snap! I get public transport so my listening experience is pretty involved, with the music getting my direct attention. I've gotten through so many scores in my time spent travelling, more than I would do in the comfort of my home.
    1 point
  24. Sure, but I prefer the whole album from start to finish. I'm talking musical narrative here, not the film's.
    1 point
  25. I like picking and choosing what tracks to listen to, especially when I'm in the train. Get a bunch of high-energy stuff together, so it can be heard over all the noise. Plus, it can save a lot of time. That being said, I should listen to full albums more often than I do. I'll admit that for sure.
    1 point
  26. Complete 'archival' releases should be offered as add-on but never being the sole soundtrack release. Composers like Tyler now do this (The Mummy) and i think it's a real offense having to wade through two hours of stuff dumped like a heap of rubbish.
    1 point
  27. With all the stuff being on display no one has the time, anyway. And honestly, there's so much great music out there and available, this stupid obsession with having every nook and cranny belongs to the 'get a life' fraction of fandom.
    1 point
  28. Here is an older article where he mentions Jerry Goldsmith as a definitive inspiration. Btw he also arranged this suite and someone on Youtube set it to images ("The Gold Standard" by Austin Wintory -- a tribute to the music of Jerry Goldsmith, arranged and conducted by Austin, performed by the Golden State Pops Orchestra, recorded live at the Warner Grand Theatre, San Pedro, California, June 11, 2011:
    1 point
  29. Very true. I found many of those 80 minute Horner releases post-Titanic to be a slog to get though. I couldn't imagine a complete and chronological Enemy At The Gates. Many scores can benefit from that treatment, but many many more don't
    1 point
  30. I've just counted my JG CDs. I have more than I thought, but less than I want.
    1 point
  31. Even when I am familiar with the music, some edits are impressive as hell, like on Elfman's Batman album, one of the benchmarks of the OST.
    1 point
  32. But would you have really known these tracks contained cues edited together that weren't near one another in the film unless you'd actually seen the film? There are many Williams albums for films I haven't seen and I have no idea what's been edited together in this way, so to me as a listener, it's of no consequence.
    1 point
  33. That would be like a painter giving you his most recent unfinished work and telling you "here, you finish it yourself".
    1 point
  34. I'm hoping for 80 minute audio cassettes.
    1 point
  35. The little missing section from "Anakin's Betrayal" in ROTS (when Anakin enters the Council Room).....
    1 point
  36. I think since we have Internet, The Lost World is the JW that gained the most from an expanded release.
    1 point
  37. Most JW-produced OST albums have frustrated me. All of them should have been presented complete and chronological since day one.
    1 point
  38. This is your shiny gold OST. Two coats, guaranteed. Shovel your way out of the complete score, and into the abridged album presentation. $29.99, that's right! Only $29.99. Plus shipping.
    1 point
  39. Speaking of PoA... I never liked the Wizard Bus queue. It works in the movie, somewhat, but on album... I cringe. And I totally agree about the beginning of the end credits. Still my fav HP movie and score though.
    1 point
  40. Seth

    JW's Worst OST Decisions

    The most recent one that sticks out to me is the album version of "I Can Fly Anything" from The Force Awakens. The film version as heard on the FYC site has such a solid structure and I think it's a great cue. It's a shame to me that the album version cuts so much out. There are also the frequently mentioned microedits at the end of "Anakin's Dark Deeds" that drive me and so many others nuts. I don't know why he felt the need to pare down those fanfares. I also wish the album of Revenge of the Sith had featured the film version of the end credits and used the extra space for something like "I Am the Senate" or the full version of the cue that underscores Anakin's nightmare at the beginning of the film (I forget how the track is labeled on the album). It also annoys me that the first two prequel albums don't follow the main title with the first underscore of the film, because in both cases it's quite interesting and effective music that's a little buried in the mix.
    1 point
  41. By "orchestral score" I assume OP is asking about sheet music. And if the rumours are true then Williams would have "Christmas in Hogwarts" together with all his other Harry Potter cues neatly collated in a leather-bound tome, on the bookshelf in his study. The only problem left is lifting the spell he placed on it...
    1 point
  42. The thing about Nolan, and I assume the most divisive aspect of his work, is that he is a mainstream director with some arthouse pretension. I'm not making a claim he is sophisticated just stating he has a tendency to inject his work with some elements that are often associated with so-called "high-brow" cinema (for what it's worth). And those types of film often don't offer you any guidance. I'm not saying Dunkirk is a great work of art but at least it's refreshing to see a war film that doesn't resemble some sort of propaganda piece from 1940's. American Sniper, I'm looking at you. But I largely agree with you on the ending. It does break that illusion somewhat. I think it was largely meant to bring some sort of closure to characters, not so much a patriotic swell, but still felt bit off. Karol
    1 point
  43. Uh-oh, he don't look too happy. He's been listenin' to Composer Xxxxxxxx... But with my new Jerry brand, I can get a grin. Again. And again. Oh-oh-oh-oh-OH--oh!
    1 point
  44. On a related note, I always thought that showing the mothership in its full glory (as it's been done in all posters since 1998) is a huge spoiler for those unfamiliar with the film. Watching its arrival for the first time *without having any idea of its size and shape* is an essential part of the whole experience.
    1 point
  45. I know they trying to have more younger people to the theatre... But those youngsters are going to be disappointed, its so slow...and its so good.
    1 point
  46. I'm dreading the next Giacchino threat.
    1 point
  47. that's fine. I know there's a lot of people that personally feel that way. funnily enough, I have trouble seeing TFA as a 'true' Star Wars score beyond the excellent new themes, a lot of it just didn't do it for me like the Prequels and the Original Trilogy did. in addition, I'm having that trouble with the new movies that just feel like really high-production fan-films, they're missing something that is quintessentially Star Wars but I don't really know what. me personally, there are four soundtracks that have given me the feeling of a true Star Wars score: ~ Knights of the Old Republic 2 by Mark Griskey ~ The Force Unleashed by Mark Griskey ~ Knights of the Old Republic 1 by Jeremy Soule ~ Star Wars the Old Republic by Mark Griskey, Gordy Haab, Lennie Moore, Wilbert Roget II, Jesse Harlin et al. KOTOR 2 in particular really took the Star Wars sound in an interesting direction. the score is much darker in tone, with a very thick atmosphere of ancient evil and dread, all the tracks feel very cohesive if a bit same-y bar a few tracks. despite this, its very essence is Star Wars, and I think that's a mark of a truly great composer that's able to take someone else's material, put a spin on it, and have it still recognisable as the original material.
    1 point
  48. Gorgeous piece! And what rich, wonderful colors and textures, even within an essentially monochrome ensemble. Love Williams in this darkly lyrical, expressive mode.. Also really like the polymodality of the main melodic idea, which stays pretty consistently in a dual state of upper phrygian explorations pitted against a warm D major b13. The final duet between soloist (in the lower octave) and first violins (in the higher octave) towards the very end is notable for inverting what would have been the conventional sonic distribution between these forces. The G-string accellerando/tremolo idea is unusual for Williams, as it seems to stem from a kind of "sturm und drang"-abandon. I suspect this is somehow informed by his take on Mutter's personality as a violinist. And it really suits her playing, instantly lending a dramatic flair which adds to the overall gravitas of the piece. Despite its relative brevity, I think the piece feels complete, and completely satisfying.
    1 point
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