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Showing content with the highest reputation on 30/12/18 in all areas

  1. I'm not actually a massive fan of the SW Main Title. That being said I really enjoyed assembling my personal playlist of TLJ which starts with The Rebellion is Reborn, which then leads to... well, here you go. 😄 https://drive.google.com/file/d/1c7_drpSdTytWvespnxgWYuCLO0AU2stc/view?usp=sharing
    7 points
  2. Dude. You came into the thread and told people to stop having the discussion they were having. (Or, as you just put it, "get the hell outta here.") Then you said it again just now, while incorrectly claiming that I've been focusing on the release's shortcomings. (I've been extremely complimentary.) Not sure what to tell you, bud. Anyway, I'm sorry if you're annoyed by me; not my intention. Feel free to avail yourself of the forum's "ignore" functionality; I think I may explore it myself.
    6 points
  3. Anyone who develops the impression that this set is "deeply flawed" needs to have both their hearing and their reading comprehension checked, haha. I'm not aware of any members that are disappointed with this set in the slightest; it's obviously been crafted with great care, and the results are incredible. Also, some people have noticed some small hiccups in the source recordings. It's possible to love something while also noting its minor shortcomings. If you prefer an "ignorance is bliss" mindset - not entirely unreasonable! - I'd recommend you don't participate in discussions about the release. Or perhaps create your own "positive comments only" thread. But this is a discussion board. Generally speaking, people are gonna...you know...discuss.
    4 points
  4. The standard OST should have been 1 disc, very much like the LOTR ones. The deluxe fancy editions should have been 2 discs. Its so simple!
    3 points
  5. Has this been posted? Desplat: John Williams' Catch Me If You can should have won everything. His opening titles is forever. Just for that he should have had the oscar. Done. Genius.
    3 points
  6. Disc 3: my thoughts. Opening with the children's suite is a great idea. Hearing the entire thing as a whole for the first time in ages was really refreshing. Though I don't like Fluffy's harp, those violins in Diagon Alley are such a delight, Quidditch is wonderful and Harry's Wondrous World at the end works so well, especially because it references previous movements. I do think that including HWW on disc 2 was a bit superfluous/overkill: I know that's how it is in the credits, but now it's a little repetitive and we have HWW in Chamber of Secrets again too. I would also have preferred the pub music to come first, because that flute solo is Hedwig's theme yet again. The vocal Hogwarts forever versions is great, Hedwig's theme for harp is a little weird but great fun, the coke ad is as magical as ever, but the teaser music is rather redundant. The trailer is interesting because it was seemingly recorded in a smaller studio or by a small/inexperienced orchestra and given the short running time of this disc, I think it would have been nice to have Owl's Flight at the end of a Dumbledore's Advice reprise. It would have given Hedwig's theme a well-deserved break and casual listeners might have had a better idea about where the cue belonged.
    3 points
  7. Really? I've come around. I love this score! Tons of great themes, setpieces, and cues! Many have such negative feelings towards this score because of WR! I blame WR!
    2 points
  8. Disc 4: my thoughts. The difference in sound quality between the OST, sessions and this one is striking. What a detailed and crystal-clear mix. Having said that, there were a few minor issues. The Escape From The Dursleys was a little too quiet. The beginning was certainly okay, but the action material could have been a tad louder. I'm beginning to understand most of the track combinations now and it's clear to me that Williams or Matessino don't like to end tracks with 'cliffhanger' endings. While I totally support that decision, Flourish and Blotts - Harry Meets Lucius Malfoy doesn't make much sense to me. The transition between The Train Station and The Flying Car isn't done very well, which surprised me a little because I managed to make a better edit (in my opinion, of course) two years ago by just crossfading the two sessions cues and my editing skills aren’t the best. The biggest problem here is that I can hear the end of Train Station suddenly fading out, The Flying Cr starts a little too early and is too soft as well. This change in volume doesn't really make much sense to me and Whomping Willow is way too quiet too. Harry Is A Parselmouth is a really interesting little cue, but if they don't like 'cliffhanger endings', wouldn't it have been great to combine that cue with Petrified Justin?
    2 points
  9. I think this set is the holy grail for most of us JW fans! The problem is, if all of us start pointing out the tiniest flaws, the rest of us cannot unhear them (or start noticing them as well), and before we know it, we might get the feeling that this set is deeply flawed and riddled with glitches. There really should be a separate thread just to discuss the flaws and glitches and whatnot!
    2 points
  10. InTheCity

    The Composer's Thread

    My piano concerto album is finally out on youtube/itunes. Recorded at Abbey Road - hope you enjoy.
    2 points
  11. Hello folks, Was going to put this in the Composer’s Thread, but I really want to bring the film to your attention and not just the score! Fog on the Barrow Downs is a new Tolkien “fan film” which is currently in post production. “Fan Film” really sells it short I feel, as the quality and passion that has gone into this film is extremely impressive. It’s an original story set in Middle Earth, written and directed by my friend Patrick Robinson, who is also undertaking acting, costume and prop design, cinematography, sound design and visual effects and almost everything else. I will be composing the score, and have written the cue for this trailer. I told him he really needed a better composer than me, but he’s quite insistent that they’re all dead! Without further ado, here it is! I hope this whets your appetite for an interesting little excursion into Middle Earth!
    1 point
  12. Harry Potter and the Prisoner of Azkaban. After no Potter at all for a week. I enjoy how small and intimate this score feels. It is almost antithesis to what a typical blockbuster JW score normally would be. Karol
    1 point
  13. 1 point
  14. Pretty sure you’re just hearing a written break in the music. It does that in the film too (except the part before the break was replaced with an edit of the second part) Nah. I need to listen to this again to explain what’s going on better. I’m Jay can though.
    1 point
  15. Roast Mutton in particular is one where the Extended cue replaces a great section (Misty Mountains quote) with a much worse section with barely any force and tempo behind it, that's traded in for more of the actual cue that wasn't on the standard. It's just a mess.
    1 point
  16. And if JW hadn't done CoS, it's highly doubtful he'd returned for PoA!
    1 point
  17. I have an idea the entire movie of CoS was temp tracked with the score of PS!
    1 point
  18. Assuming there is one.
    1 point
  19. So it was recorded that way, repeating the cue in a single take? Interesting. I assumed it was two different takes - the one heard in the film, and then one that matches the sheet music (with the extra ornaments on the harpsichord part).
    1 point
  20. That's fun! A shame we don't have the TLJ recording to use instead, but that's surprisingly good.
    1 point
  21. Red Sparrow - James Newton Howard Silverado - Bruce Broughton Valerian and the City of a Thousand Planets - Alexandre Desplat
    1 point
  22. But that's my point. If film scores are indeed a niche market, and I don't doubt your claim at all, why on earth do they waste our time with two editions that only contain minor differences? Why can't we just have one edition that contains all the released content? Who buys/wants the standard editions?
    1 point
  23. It has the most badass theme. I'm usually not one of those people because I'd just prefer the music be good regardless of the presence of any melodic themes. However, in Rambo III Goldsmith introduced an entirely new theme (It's musically related to the original) and puts it through various permutations. It reaches peak badass in tracks such as Under and Over, Night Fight, Final Battle and I'll Stay.
    1 point
  24. Are you this obnoxious in real life too? I made a suggestion, that's all, and told how I personally felt. You can disagree with me, but don't tell me right away what basically amounts to "Get the hell outta here!" This thread is titled MUSIC discussion. If you don't want people here who prefer to discuss just the MUSIC (instead of focusing on glitches and flaws and shortcomings, like you), then you should create your own thread.
    1 point
  25. Actually I cannot imagine an official release just for this. If it is officially released, then probably as a part of a compilation, or maybe as a bonus track.
    1 point
  26. That's what I usually like to do with trailer music, too. (In cases where the film's composer got to write trailer music too, I mean.) I'll definitely be doing it with the teasers for SS and POA...not sure yet how I'm going to handle the trailers.
    1 point
  27. No. Casual movie fans don't buy soundtracks at all, unless the cover says Hans Zimmer, or features famous pop musicians. Film scores are a small niche, even the Harry Potter expanded scores are printed in very low quantities, and these 2 CD Hobbit OSTs are a fan service in the first place. You think even one casual movie goer would notice the differences between OST and movie, much less give one rat's ass about them? You're the only one making a fuss about it, buddy. For the price of one Spotify subscription, you can listen to all 6 different Hobbit soundtracks until you're blue in the face, and if you just want to collect the OSTs, what difference does the content make? So what the hell's your problem? You want the Soundtrack to be released two months after the movie? That's smart marketing. You want the LOTR re-recordings replace original score on the OST? Films 2 and 3 were recorded so early that you do get most of it on CD, but then ended up being butchered in the actual film. That's not terribly clever either.
    1 point
  28. I’d rather have it than not, but yes, as an ending it’s odd. In my playlists I typically place the trailer music before the score. Almost works as a warm-up to the main event.
    1 point
  29. I just received the new Harry Portter set the other day so I’ve been listening to those scores off and on. Someday soon I will sit down and listen to them all in their glory! I’m very happy to see that the new set includes the children’s suite, I’m a huge fan of Williams’s chamber works. I can’t get enough of the wonderful counterpoint and his rich harmonies in the Quidditch piece! Also, I’ve been really into Hook lately. The arrival of tink track (specifically in the extended release edition) always manages to bring a beaming smile to my face!
    1 point
  30. Thanks everyone for your replies! This piece played on the organ would be magnificent!! I am sad sad that there is no plan (thus far) to record/release it. I can’t get enough of his lush Americana orchestral pieces! Hopefully someday! Hope you all have a good day!
    1 point
  31. Sorry @Josh500 I guess it's because these scores were my holy grails, I love the music, but I thought I would share the only few flaws I've found with it. 99.99% of the set is amazing!!
    1 point
  32. I understand, but i hadn't watched any before. Maybe one or two eps in Sky Channel in the 80's. Might have been season -4 or -5.
    1 point
  33. The Adagio from Bax's Third Symphony has a very pastoral feel to it. The opening makes me feel as if I'm walking on a country trail in the North Downs somewhere. And if I hadn't known beforehand, I would have been convinced that 18:47 was written in America...
    1 point
  34. It was a great year for him! Minority Report, Catch Me If You Can, Attack of the Clones...even if you're not a fan of any one of those, it's hard to deny that they feature some top writing from him, with at least a few musical setpieces that sing to even the most jaded listeners.
    1 point
  35. The Polar Express by Alan Silvestri He really went all out with this one - such a beautiful score. Fingers crossed for an expanded release one day.
    1 point
  36. Finishing duties with HARRY POTTER AND THE PRISONER OF AZKABAN A recent visit to the Royal Albert Hall for (my first) live movie/concert performance misled me regarding the score's true worth: its precise, often deliberately toned-down approach was dwarfed by the movie's elaborate sound effects - the whole idea seems more of an expensive marketing stunt anyway. LLL's recent expansion now makes you appreciate not only the fresh start the series got with its third installment, but also the considerable effort it must have taken Williams to abandon the well-trodden road he took for the leaden, show-value oriented first two Potters. Gone is the relentless operetta overscoring, substituted now by a gnarly, mischievous, often dissonant thriller approach still playful enough to conjure the wizarding world of Harry Potter, but doing so in a more idiosyncratic way (even the newfound minimalisms of 'A. I.' make a cameo). Director Alfonso Cuarón's musical aesthetics certainly are a far cry from the leisure old-school style of Chris Columbus, and he thankfully bonded enough with the composer to convince him to largely abandon the wealth of material he created for this series, as a result unleashing one of the high points of fantasy scoring of the 2000's. Given the quintessential englishness of this series, it's a bit surprising that it took three movies to reflect the islands musical heritage: an inconsistency even Williams might have noticed, as he not only employs medieval melodies here, but also quite a band of mediaval (folk and court) instruments playing them. The mix is delightful and with all the wacky additions (atonal bebop in 'The Knight Bus' or the shawm fanfare for Sir Cardogan) play well against the omnipresent mischievous motto theme of the movie, 'Something Wicked this Way comes', and the sinister music for the elaborate conspiracies involving metamorphosing rats, deadly dementors and time travels. The old album, well-intentioned as it may have been, was quite a disservice for the varied tapestries Williams creates here: due to less dense scoring, there are a lot of short cues in addition to some fanciful alternates that would have required a much more deft hand combining those into a good representation - the second half of the movie, where important story points coalesce is woefully underrepresented on the old release. The true worth of Williams' contributions can only be valued now, with the long Time Past modeled on the beat of a ticking clock sequence intact, or the textural interesting strings flirrings of The Three Broomsticks, or the modernist/aleatoric cues for the more frightening moments reminiscent of CEOTK (the choral alternates are a beaut) - or even the short Britten-esque carol A Winter's Spell. But even in short cues like 'The Executioner' you feel a playfulness that the album would feel less without it. If there's one thing this release is proof of is that Williams post-80's career could have used a few more Cuarons (at least we had Stone, Annaud, John Singleton and Barry Levinson) in lieu of George Lucas, Chris Columbus or Indy IV-Spielberg.
    1 point
  37. Black Panther...and both Creed scores. The latter ones show that he can write and really properly develop a theme. I think the main Creed theme consists of no fewer than 3 sections. It's first rate stuff and he runs with it. Karol
    1 point
  38. To those who doubt his chops, I can only present this:
    1 point
  39. I don't see any problem with it. His Black Panther score was great
    1 point
  40. Alexander Bernstein, Nina Bernstein Simmons, Andris Nelsons, Jamie Bernstein, John Williams, Steven Spielberg, and Bradley Cooper.
    1 point
  41. Ugh, I hate that scene so much. It's kind of amazing how Yates turned one of the most coolest moments in the books into something so lame. Even Christopher Columbus could have made that scene awesome.
    1 point
  42. That's the weird contradiction of the later Potter movies is that they tried their damndest to make the threat dark, gritty, and real, and yet they were perfectly willing to trade a gruesome death scene for a notable character in exchange for a bit of slapstick. David Heyman claimed they thought it would look silly, so I guess they just decided to go even sillier? Maybe it was a studio note in reality, who knows. David Yates, Steve Kloves, and their biggest fans claim those later movies prize character above all but then you look at some of the stuff they invented for Part 2, the time spent on blowing a bridge up with really no insight into Neville's leadership in the process, or elaborate battle scenes with no palpable sense of fear (except comically, like Flitwick hopping around), or extending the Harry/Voldemort duel into several nonsensical action beats that for me aren't especially exciting and really dilute what should be the intense emotion and revelation of their final conflict. Bellatrix and Voldemort don't die, they explode into puffs of confetti. Oh, but it's grey, not multi-colored, how dark! Where's the humanity? When Molly says "Not my daughter, you bitch" you can barely even tell Bellatrix went after Ginny and you certainly don't see Molly take notice so the line has no power and just amounts to fan service. Then it's a bit of silly mickey-mousing action music, boom, pow, Molly wins in about 10 seconds and it's done. Where's the character? Where's the struggle?
    1 point
  43. This sounds like it comes from someone who hasn't a clue what the Wizarding world is about, and I doubt you know a lot about it. JK Rowling, in the first book alone, included an 11 year old boy burning a man to death with his bare hands, a double murder, tales of war and torture, a man being possessed by another, his head grafted onto the back of his head, the consumption of animals for power...the books are dark. The source material is certainly darker than any entertainment brand today. Star Wars and Marvel are both "fluffy and light" in comparison to Potter. Again, I really can't lay a finger on what exactly you mean by "how little was actually there" when they turned dark. They were dark from the beginning, and it was apparent she was building up to something. You keep on inventing your own weird names and mentioning organizations of Quidditch leagues, except...since when has that been the limits of Rowling's political relevancy when she's literally written about war crimes, geonocide, mass murder, mudblood death camps, kangaroo courts, torture, assassinations, human trafficking, prohibition, the murder of children...like, at least try to care. Your justification for calling it "light and fluffy" seems like a mindless attempt to trivialize the series. This woman wrote an 8 installment series about a boy coming to terms with the increasingly violent world around him and the losses he had to go through to mirror her own experience with the death of her mother, suicidal thoughts, and depression and it's told really quite excellently. The fact that an entire generation clung to it more voraciously than any generation has before to a story, and have come to Rowling to tell her how her books got them out of depression, gave them the strength to confront abusers, accompany their child as they died from cancer...to say it has no substance and is light and fluffy is an insulting, patronizing, bald faced lie, and it flies in the face of everything the books stood for. The books never attempted to be "light and fluffy" outside of a few irrelevant world building details. They were dark books. No ones claiming it's the greatest piece of literature ever, but for highly commercial fantasy, it's really quite mature, and lying about its tone and patronizing it to disclude it from the creative conscious is really disrespectful. This is the forum that will praise Star Wars and Jurrassic Park, both of which are much lighter and fluffier than JK Rowling's Wizarding World, (particularly the former: Ewoks, Jar Jar Binks, farting aliens, come on people,) so I don't really understand the voracious hatred and dismissal of her work. Basically, the Potter stories are dark and tragic. They're not light and fluffy in any significant way, and you're not going to find many people who will agree. The "heart of the story" as Jo claims, is the scene where Harry walks into the forest and uses the resurrection stone to confront the murdered loved ones he's lost, and use them to comfort him will he died for the community that took him in and gave him a family. Cursed Child sees him bonding tearfully with his son at the gravesites of everyone he lost. And at the end, he built a family. Something that was ripped away from him at age 1. For something so commercial, that really is quite mature and tragic. Cultural elitism doesn't get people anywhere. Sorry.
    1 point
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