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Showing content with the highest reputation on 08/06/19 in all areas

  1. Anyone else want to just talk about how cool Powell’s score is instead?
    3 points
  2. 2 points
  3. Built my own lightsaber tonight. I do not regret the $200 expenditure...quite an experience and quite an end product. I wanted to share, though, because the entire experience has orchestral underscore. The Galaxy's Edge thematic material is prominently featured, but there are also statements of the Force theme, Kylo Ren's theme, and other material adapted from the films. The beginning and end have synched performance and lighting elements; the middle section seems to be a loop during the actual building process. It's effective, but I would bet my lightsaber that Williams didn't pen any of these arrangements. Probably Bill Ross's work...unlike, say, COS, the parts that aren't taken directly from existing arrangements don't quite have that Williams sound. (Still very competently put together, though.) I'm sure there are YouTube videos out there; I haven't looked. I just thought I'd share my firsthand observations. (And if any of you big Star Wars fans have the opportunity, I'd recommend trying to save up for this. Egad, the thing is made of real metal...)
    2 points
  4. I've never really enjoyed this score very much. Perhaps the additional minute will change my mind.
    2 points
  5. Stop hitting yourself. Stop hitting yourself. Stop hitting yourself.
    2 points
  6. This summer I'll do a runthrough of many classic iconic influential or just plain popular films... that I have never seen, with a few exceptions. The very wide general name could be historical epics, but war is also a common theme, as is a mostly non-fantastical, at least semi-realistic setting and some are not that epic perhaps... let's just call it the butt-numb-a-thon. Got 28 of them lined up, but we'll have to see for how long can I tolerate the military stuff and how heavy some of them will be on jerking them off! Where else to begin than... Gone with the Wind (1939) Quite grand! I was almost surprised I made it through (with a dinner break at the intermission) quite enjoying it - only from the middle of the second part was I a little bored before things went south (ha!). Looks great, too. Isn't it a bit scary that it's two years closer to the year the opening takes place than to today? Some of the aspects and implications of the setting are of course unfortunate... it did, as I read, remove the book's KKK glorification reference and toned down the language a bit, but still, "a dream remembered" and all... eh, at least race and slavery are not the central focus at all, just an element.
    2 points
  7. Hymn To The Fallen wasnt written for the purpose of a memorial or remembrance ceremony though. And it was mainly known at the end credits to Saving Private Ryan. It's unusual for a piece of film music to become part of a very serious repertoire, and in quite a lot of counties, including The Netherlands. John Williams is a legend!
    2 points
  8. Empire's case got a bit cracked in transit. SL looks alright.
    1 point
  9. Thor: The Darkworld This is not good. I mean, I guess it has enough spectacle, good visuals and Marvel's trademark humour to avoid being considered "bad", outright. But that's just the issue: it feels like the approach of a risk-averse businessman would take to narrative. i.e. by rarely giving into complete earnestness, Marvel's ensuring that their films will rarely be impactful but - on the other hand - they will always be too light for critics and audiences to rib them as they would a more earnst narrative. Nowhere is this more appearant than in the villain, Malekith (had to look his name up). Its not that he lacks nuance. Its that he lacks menace. We just don't see him do much villany, and his Azog-esque foreign-language syndrome isn't working for me. The narrative of the film contains vestiges of what one would assume were fleshed-out subplots in the screenplay: an implicit romantic triangle between Thor, Jane and Sif which never materializes; a vengeful Odin (for a grand total of five minutes); Jane becoming corrupted by the Ether, etcetra... **1/2 out of *****
    1 point
  10. Zimmer's approach to this score...
    1 point
  11. Casablanca Not bad! Interesting setup, had some great and funny lines. I don't quite see the object of massive glorification in it.
    1 point
  12. I guess I’ll be double dipping.
    1 point
  13. They stumbled with their second album, but I dig everything else. If you like Marcus Mumford you should also check out his work as part of The New Basement Tapes.
    1 point
  14. Like a lot of us, I guess, I discovered JW through Star Wars. Then I realized I knew - and loved - a lot of his music such as E.T., Superman and Jurassic Park. I never looked back!
    1 point
  15. Common sense doesn't work around here, mister!
    1 point
  16. Currently into Mumford & Sons. Their latest album Delta is great imo. The last 2 minutes of The Wild are really cinematic and epic, so anyone willing to listen to the whole 5 minute+ song won't be disappointed I think.
    1 point
  17. Superman IV is more “true” to JW’s Superman and the original themes than, say, Superman III, which featured more music not by JW more prominently - the opening sequence (Streets of Metropolis) most of all. Two good albums, all in all, but for different reasons.
    1 point
  18. Sorry, it is not a hint by any means. I don’t have any insider info. It’s just a rational hope based on common sense.
    1 point
  19. No-one is ever going to convince me that Alexander Courage - except where mentioned - wrote a single note of the score to SUPERMAN IV. JW wrote it; Courage adapted it. It doesn't matter if it came from SUPERMAN, or JW's ass, it's his music!
    1 point
  20. This lot has arrived 😬 a bit if listening to be done this weekend.
    1 point
  21. She went home to Xelaya. Don't shatter the illusion of which my fragile emotions lie.
    1 point
  22. Yes and despite all that the overall number of fans represented by Youtube or otherwise still can reasonably be estimated in the millions you twat.
    1 point
  23. Listened to the first half hour, this is lots of fun! I've missed this sound from Elfman. Hints of Willy Wonka but that trademark off-kilter MIB style in full effect.
    1 point
  24. I like the Michael Kamen X Man soundtrack.
    1 point
  25. I even remember the TV commercial for the movie in 1982 had those loud chords at the end of Gloria that kind of sound like parts of E.T. . I instantly knew it was JW and wanted that music JW was nominater for a Razzie Award for this score
    1 point
  26. I remember getting the skiff from Return of the Jedi from the flea market for my vintage Kenner dolls. I found out later on that it was actually from a Play Doh set and not meant for the dolls. Of course, none of my vintage dolls had their old accessories so I used to stick colored Q tip sticks up the arms of the Jedi for their lightsabers. I also painted them with Sharpies to correct paint wear. I even cut capes from this vinyl-like material so they'd have their robes.
    1 point
  27. Apolcalypse score is pretty good! Both Apocalypse and Jean Grey theme are good and the X-men theme shines nicely.
    1 point
  28. I think the piece is helped by a couple of things - first and foremost it is a choral piece. That definitely makes it a selection in many memorial services which have a choral element. It being a modern piece has the clarity and simplicity of a film music cue - a very clearly delineated theme very clearly stated throughout the piece. So it makes it very accessible for any audience. Not saying it is dumb - just easy to grasp as compared to some of classical music which can be quite complex for regular audiences. And it is a memorable theme and at about 6 minutes, just the right length - neither too long nor too short. Also it has the perfect tone - it is linked to a war movie, and it manages the golden trick - it is BOTH elegiac and mournful and solemn but also soaring and uplifting. Which just about makes it perfect for these occasions. This piece is indeed going to stick around forever.
    1 point
  29. I was wondering today if this would be played today, and I am not surprised to hear that it was. Thanks for sharing the video. Even in German, it was cool to see (and of course bits were in English from the speeches). I suspect JW is too humble to have thought that this piece would become part of memorials the world over (we heard it during President Bush's funeral last December too), but I bet Spielberg figured this would happen the first time he heard it.
    1 point
  30. Mike Matessino on the FSM discussion page:
    1 point
  31. Godzilla fans have no clue what they want. Sometimes I think they, along with Trekkies, think their fandom is much bigger than it actually is. Outside of the original and a few of the Showa films, most of the films are terrible, cheesy and disjointed. KOTM is entertaining and much more polished than the Japanese films but it lacks the buildup and structure of the 2014 film. I do wish Edwards had returned to direct this film. You cannot make a film just for the fans, unless your fandom is big enough to cover a $200 million dollar budget.
    1 point
  32. Of course it's Williams. Every note in Monsignor is composed by him.
    1 point
  33. Never owned or was interested before (certainly not as a 14 year old sci-fi nerd in 1982), but based on what I've listened to from it recently and given it's golden decade JW restored by MM, I'll go for it. Ordered.
    1 point
  34. It should be noted that in addition to the two previously-unreleased cues totaling around 3 minutes, there are also several other cues here being premiered in their film performances, the original album using alternate takes for those cues. So technically this includes more than 3 unreleased minutes (and even that would be a lot more than Saving Private Ryan, and *that* still got an expansion!) Yavar
    1 point
  35. Bacon wrote a fair bit of music for Goosebumps, and helped with Avengers, but the rest of his contributions have otherwise been relatively minor. He wrote two cues for Alice Through the Looking Glass and Mr Peabody (minor cues which didn't make either score album) and he has one cue credit for The Grinch's album. For Dumbo, he arranged a handful of Elfman's cues. At least this is what the cue sheets suggest. To be fair to Elfman, he at least credits those who help him out. There's an A-List composer whose ghostwriters have ghostwriters and they often get no credit whatsoever (not Hans, by the way). Sven Faulconer has been uncredited for his work for JNH on many occasions. Christopher Young often gets help on higher profile projects (six additional composers for Priest, but no mention of them in the album credits). This is the nature of the business these days. Powell only has a single credit on a handful of cues for The Hidden World.
    0 points
  36. Per MM over at the Intrada board... Sorry to disappoint, but we had Jeff Eldridge update his notes for the new release and I just added the "tech talk" section. Mike M. http://www.intrada.net/phpBB2/viewtopic.php?p=81419#p81419
    0 points
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