Leaderboard

Wow. Someone is having delusions of grandeur.

Is that your shortest post ever?

I guess he just ate it all.

No. He made it up as he went along.

I just happen to have counted my Williams collection - 189 individual CDs, counting double CDs as two discs and multiple releases individually (e.g. I have 5 discs for E.T.). Using 1 CD = 1 hour as a rough estimate, that would be about 190 hours, though quite a bit of that consists of duplicates. On the other hand, not everything has been released, and I don't have all of his non-film stuff (and a handful of minor gaps in his film output). So I'd say a minimum of something between 150 and 200 hours of released music is not an unreasonable guess.

I believe Kathleen Kennedy said as much. Rian Johnson, too, said he didn't have any story stipulations set upon him in crafting his film, which caused some uproar among those who chose to believe that such a story plan was indeed in place. Really, from the moment it was announced these films would have helmed by different directors and writers, and be released two years apart each, I knew that was the way they were going.

Except that we already had a rather lengthy discussion on this very issue (that you were a part of). And what you didn't recognise then was that while you're correct that there wasn't any grand vision or plot mapped out (despite GL's repeated insistence to the contrary), there was back then at least one person...George Lucas...who was steering that ship creatively. He may have been making it up as he went along, but he's the guy who created those characters and situations, populated that universe and at least had a general idea of where it was all going. That's a big difference from what we've got now.

Original meme by The Illustrious Jerry. Circa 2018.

Holy crap! They keep on coming!

@Mattris, the enemy is moving. Kathleen Kennedy's forces are massing at Disney — her eye is FIXED on malcontent fans. And @Chen G.. Arpy tells me, has betrayed you. Your list of allies grows thin.

I can't wait for his classic story - "This next piece is from the new Star Wars films. I recall J.J showing me the film, and Daisy was so mesmerising that I told J.J he needed a better Composer than me for this film, and he said 'I know, but Daisy's already dead.'"

Miguel doesn't need to confirm. Drasnin said so himself. Plus, Williams is credited on the record.

Unless I mssed it on the list, John Williams plays piano on Robert Drasnin's Voodoo, later released under the titles Percussion Exotique and Exotic Excursion.

The Superman OST double LP from 1978 is made up entirely of film cues, and it would be all the same takes since they would have used the same process as Star Wars and CE3K back then where the first gen tapes were literally cut to make the selected take assemblies. But isn't there something different about one of the Krypton cues that isn't heard on the Rhino or FSM editions? I don't remember now. Also the OST is the whole reason we have the Theme From Superman "concert arrangement". I put "concert arrangement" in quotes because it only became one after the fact. For the OST they just combined the opening of the early unused prologue cue with end credits cue (which had replaced the intended main title cue in the film) and called it "Theme from Superman" instead of something like "Prologue and Main Title". And a concert staple was born.

Interesting you say that. It's pretty much how I felt watching World Trade Center. We'd all become so accustomed to watching the actual footage from the day, which all covered it better than any phony Hollywood crew could hope to replicate. The movie tried but failed to capture the scale of the events unfolding that day. Hell, in a lot of the actual 9/11 videos, you'd be forgiven for comparing it to a 'found footage' horror movie - the most frightening one ever made.

The Inception BRAAMs have been overly misconstrued as being a real part of Zimmer's signature, thanks in large part to his poor imitators. Look to his use of minor thirds, Gorecki-esque passacaglias, melodramatic neo-classical cadences (think Bach/Mozart) and additive minimalist rhythmic structures as better defining characteristics of his style. And yes, Zimmer's Interstellar is good stuff, and I'd say its better than the film it's written for.

It works 5/4 of the time!

I just saw the movie for the first time and then listened to the score. Phenomenal. A great feel from John Williams and a fast paced and capturing film.

It's in subway stations, too. Doug Adams posted this: The colouring around the door shows that it's a U4 station.

What little we know of Lucas' plans would seem to suggest that they were a) far from fully drawn and b) godawful. Personally, I don't mind that they're "not canon" - I just mind that they're extraneous: the story of Star Wars has a beginning (whether its The Phantom Menace or the original Star Wars - to each his own), a middle and an END. And now, there's three more (relativelly lengthy) films set after that end? Episode IX had better offer a really strong conclusion. If it doesn't, I'll probably end up ignoring the sequels trilogy - not unlike Kingdom of the Crystal Skull - not because of the quality of the films (which wipes the floor with Kingdom of the Crystal Skull, obviously), but because - even moreso than that film, perhaps - they're extraneous.

Doo-doo-doo! Doo-doo-doo! Doo-do-doo-doo-doo-doo-doo!

George Lucas on the set of The Mandalorian with Jon Favreau.

If not THE Hitchcock film (it's more entertaining than Vertigo or Psycho).

@Mattris Luke made a force projection of himself to stave off Kylo and give more time to Leia and the gang to escape. It wasn't exactly suicide, but it was a self sacrifice... Also, you can't call yourself a fan, and then call out our rebuttals as being the opposite as if we're somehow 'lesser'/deluded fans. You're not speaking from any point of authority or with substantial facts, you don't have a clear consensus backing you; you're using the bitter and bruised responses as a shield as if Star Wars was in the shitter and you're the last line of defense. Nothing, not one shred of your arguments have been made with anything broaching anything like objective assessment, that's what's so ridiculous Mattris - is that you are perfectly fine with accepting your subjective opinion as an objective unalterable fact, but our subjective opinions are just that - subjective. I have every right to call you out for being a troll and it won't hurt me in the slightest if you ignore/block. I don't want to believe you're a troll, but the way you've presented your arguments here make me think you're either a bitter, enraged fan (which I actually feel sorry for, truly) or you're a lurker, waiting, watching, doing whatever because seeing all the responses to your insipid posts are a real turn on - you just want to stir the pot further and further and I'll admit, it's been quite fun to see how you're going to infuriate me with each new post. In our early discourse in this thread, I and perhaps @Chen G. I think, felt sympathetic towards your concerns, and to some extent I (and Chen) can agree on several issues you've raised, but the more others have fed you and retaliated, they chipped away the veneer to reveal something that was there before all of this, something deeply disturbing and sad.

I honestly have no problem with catalog releases replicating the OST album, especially when it doesn't increase the price. I'm super glad to have the OSTs of Jaws 2, ET, Poltergeist, Total Recall, Basic Instinct, etc in their expansions.

Oh certainly, but individual tracks like these are perfect as alternates at the end of the programme. No need to replicate the entire album for that.

Is there any difference between the individual OST and score *tracks* though? And if so, is it significant? I don't remember any editing at least, though it's been years since I listened to the OST. But if it's just a matter of creating a playlist, I don'T see the need for an extra disc.

Has anyone ever been to the Cook Islands? I've been thinking about booking a holiday there but it seems the flights are pretty expensive. Are the beaches nice? Would the Maldives be better?

It has a lead who is a paedo.

Ditto.

I agree.

Yes! It's going to be a 10 disc set, with 2 discs dedicated to percussion-only tracks.

To be in London well ahead of time of the concert and our meeting I am leaving for the British Isles today! Also this is my first time in the country and the city so I'll be having a week long holiday while I am at it and am very much looking forward to exploring the city before the grand finale and crowning of the trip on Friday when I get to meet all of you and most of all seeing the Maestro Williams conducting the LSO.

I could live with that!

Superman 4k blu ray is coming out in Week 1 of November. I suspect the LLL Superman set is ready to fly as a 3cd set.

Not 100% sure about this connection. In terms of tone, definitely (tragic, string-dominated elegy), they're kindred cues. But in terms of a substantive motivic connection, the most I can detect is a short intraphrasal 3-2-3-1 melodic motion at 0:50 of "The Immolation Scene," no more and no less. I don't doubt that it's a dramatically fitting similar idea, and worth noting in an analysis, but my gut tells me it's a coincidence, and that the "Lament" only gets those other two airings during ROTS you mention.

My feeling is probably not; sounds to me to be just an oscillating semitone, not enough to it to be even an accidental ref. to the Dies Irae. However, there are some pretty indisputable allusions in the Battle of Endor I (e.g. 7:23, 9:21). I'm of the opinion that drawing motivic linkages between the middle section of Across the Stars and other parts of the score, particularly the Anakin's Descent stuff, is kind of overrated. Expressively, sure, it's dark, brooding, minor music, very much the same musical topic as what's heard during Anakin's confession. And there is an embedded 3-2-3-1 motion in the primary ATS theme (and developed prominently in that turbulent episode) -- that's a little whiff of the Dies Irae to be sure. But as far as the specific cue for the confession (and later Ep 3's lament), that sounds to me much more like a happy accident than a crafty allusion to ATS. I hesitate to call any of these Dies Irae-like moments leitmotivic, seeing as how Williams just seems to be fond of the melodic motion and inserts into lots and lots of his scores (CE3K, Presumed Innocent, Jurassic Park, Nixon, Sleepers, many, many more). That it crops up repeatedly in Star Wars is not dramatically insignificant, but I doubt it's part of some master compositional plan on JW's part. But who knows -- as far as I can tell, no interviewer has ever asked Williams about his fondness for that motif!

Still, all good songs! The 3 Worlds of Gulliver by Bernard Herrmann. So completely unlike old grumpy Benny... and yet so much like him. Karol

The scene on the water planet is fantastic filmmaking

Ah the classic Isengard syndrome.

So what you’re saying is, Jim is actually the one to kidnap and force the info out of?

TPM holds together as... a weird, boring mishmash of ideas that mostly resembles a movie. In ROTS, nothing makes any sense. Nothing any character does is in any way logical, and there’s zero subtext to anything that happens. It largely serves as a feature-length powerpoint presentation where everything from the prequels metamorphosizes into the way it is in the OT, no matter how misguided or shoehorned in it turns out.

84 cd azkaban

Harry Potter by La-La Land would be sooo cool!

There is a very wrong way of interpretation. But I have nothing substantial to add to a 'discussion' with a tendentially contemptuous publicist. I know he does not have the collector's sense that many others have and therefore I consider him one of the most reliable persons concerning actual musical merits, but it doesn't really justify his occasional scornfulness. I don't know, where the problem is, when I buy a new release with improved sound quality for 30 bucks and sell the old one for 20 bucks. Although there are limits - Polergeist II? Again?! My ass!

Time is just another path, one that we all must take. The grey rain-curtain of this world rolls back, and all turns to silver glass, and then you see it. Howard Shore, and beyond, the far green Hobbit Complete Recordings and the Music of the Hobbit Films book under a swift sunrise.

Marmaduke is my favourite Great Dane.

That's actually not accurate at all. The film studios own the music. Full stop. The composer creates it, and gets publishing rights as the composer [meaning they get paid everytime someone else releases their own re-recording of it], but the studios own the recordings entirely. They are, after all, the entity that commissioned the compsoser to create it in the first place, and funded the entire process [composer salary, musician salary, recording room fees, etc]. The labels pay the film studio for a license to release the recorded music as a commercial product. There are certain cases where composers might have really good contracts that stipulate they be involved with these releases, but that is not the norm. The norm is that the composers have no say in the matter and the labels could choose to license the music from the film studios and release them without any involvement from the composer whatsoever. The labels usually don't have to involve living composers in the process, but they often choose to out of professional courtesy. Especially when the composer is still actively producing new scores. You never know when your label will be asked to release the physical CD of a brand new work by a composer, because they are happy with the relationship you've established with them as you worked through their catalog releases. This is generally why scores from composers who are now deceased come out more frequently and in more complete form. Involving the composer can make releases better in the best cases (maybe he offers a new statement or interview for the booklet, maybe he has some demo tapes in his house that would make nice bonus tracks, etc), slow down the process in some cases (if they are busy and things awaiting their approve sit around for a while because they can't make it a priority to get to it), or neuter releases in the worst cases (when they don't feel the presentation that would please most fans is the presentation they want to release). Despite those times when that happens, it is still overall worth it for labels to seek their involvement for all the reasons already described.