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I use IDRAX

I believe labels have tried to negotiate the fees on certain titles in the past, to no avail. Avatar springs to mind. They don't seem to understand that reducing the fees and having any release is preferable to prohibitive fees and no release, thus no profit whatsoever for their union members. Basic economics.

oh no

Digipacks, I hate those guys!

Le ass smarte.

Well, I just thought it was terrifically entertaining. For a long film that barely has any moments of action and really takes its time with the dialogue, it felt like a breeze to sit through. This is particularly impressive to me, because I genuinely hate having to commit to 3hr movies these days, especially when I haven't even pressed the play button till almost 9:30pm. So it must a a bloody good film if I wasn't struggling to stay awake during its final hour. I think they should adapt this pressure cooker farce into a stage play and go on tour with it, because it would be a top night out to see a good ensemble cast up close and intimate, with this dialogue in this log cabin setting. The extreme wide-screen does feel at odds with the interior heavy staging, but I dunno... it's not as if this is the first time Tarantino has indulged himself with the use of gimmicks just because he can - the self spoken narration for example is surely the apex of this director's ego so far, and it only served to take me out of the experience (even though that was probably precisely what it was meant to do - reinforcing the idea that he designed the whole thing as a stage play). So I'm hesitant to criticise the film for aspects which didn't really negatively impact the whole experience for me personally, I don't believe Tarantino's quirks detracted all that seriously from what is a fresh feeling and very worthwhile few hours. Besides, I'd be willing to bet that there's a legion of this film's fans who adore it for the exact same eccentric quirks others were put off by. When this meandering yet effortlessly watchable story eventually kicks off in the final thirty minutes, it was unlike anything I can remember seeing before: a farcical bloodbath with a closing exchange between the last survivors which for me is up there with the greatest in movies. In a way this reminded me of The Thing's concluding denouncement; only Hateful Eight turns it into one of the most pristinely funny moments I've had at the very end of a film in a long time. That's how I'd describe The Hateful Eight to anyone: it's a western take on The Thing as made by Ealing Studios when they hired Quentin Tarantino that one time.

C'mon, this is ridiculous.

He was feeling bad about his portrayal of dinos.

The fact that they're extremely violent films (the four of them) doesn't count, though.

That whole scene is fascinatingly shot. Indulge me. ()

I think the variance and variety of SW, TPM and TFA is what I really look for in a SW score, after 5 years of being a Jwfan. 😊 Back in 2014, when I first saw Star Wars, I never would’ve thought that I’d be able to hear Rey’s Theme in 2015. I didn’t even know the prequels existed. My heart goes to ROTJ because of Luke and Leia, but my brain enjoys SW, TPM and TFA the most. These 3 scores set up vastly different musical worlds for their sequels. They are also great lessons on composition and musical storytelling. TLJ, was a disappointment for me because it’s very self-aware and self-referential. There’s a lot of fourth-wall-breaking and gotcha moments going on in TLJ. I don’t think those ha-ha moments work very well with the seriousness and earnestness of those quotes of Leia’s Theme and Yoda’s Theme. But if it’s meant to be deconstructive, to be like Kylo Ren, I’d say TLJ as a musical work is a much more enjoyable and friendly kind of deconstruction than most of “modern” and “contemporary” music. I’m just glad the soundtrack is selling and SW is still a huge pop culture thing. TLJ may not follow previous lines of thoughts. It falls into the wild-card category of deconstructive music. It’s commercial. It’s a Disney soundtrack. It’s a pop culture thing. Still, if I have to choose between TLJ and every single piece of music that is meant to be deconstructive, I’d pick TLJ. TLJ may be JW’s eighth/ninth best SW score, but it still has heart.

The word "outdated" is a strong one. It implies a judgement of the thing so described as being out of touch, inferior, and not worth as much consideration as newer things, which, by implication, are superior. Is all this what you mean?

no.

^ I agree with all of this and rank them thusly: SW ESB TPM ROTJ TFA ROTS AOTC TLJ There's not a single one I dislike, but my love for some is much greater than for others.

The beginning of the "2M4 Insert Diagon Alley Reveal" sketch says "Overlap Bar 6 Orig 2M4" and shows it starting at 0:10.2 seconds The end of the sketch says "Overlap Bar 9 orig 2m4" and shows a time of 0:25 something, so the Insert was certainly meant to replace a portion of the original cue I wanted to include 2M4 without this Insert as a bonus track on disc 3, but it wasn't meant to be. Luckily, you can hear WIlliams' original intentions before the Insert existed via the session leak. As for the logo music, I don't think you can read too much into the whole prologue cue being 1M1 and the logo cue being 1M2; There was certainly never an intention to put the WB logos anywhere but at the beginning of the film, and the prologue cue ends with a flourish that only could have been written for the same on-screen titles it syncs to now. I'd guess when spotting the film initially they didn't think that perhaps they could override the WB music that normally plays over the WB logo with their own music, so that was written later when someone came up with the idea.

Hi everyone, So I was just sat watching a YouTuber play a cover of The Family Farm from The Patriot on piano (love that cue) and an idea came to my head. Imagine a concert where John would play a full concert of all of his famous compositions aswell as some lesser known cues for us fanboys on piano alone. I personally would love to see him just sat on a piano on stage playing cue after cue with the odd story about each cue inbetween. Who else would love to see something intimate like this and get the chance to see the man himself playing all his famous scores in there original format?

I'm sorry, I'm not an expert about the various different film stock used in the production of older movies (I had to search the web to find out the presentation of The Hateful Eight). You shouldn't concentrate on the technical specifics of my post too much though - otherwise my point will be missed. The point being that old westerns did not look this clean and perfect when I used to watch 'em on a Sunday afternoon on the telly as beamed down by way of old RF aerial broadcasts. You can't my drift?

Yes a rather terrible event for both people involved. His music is the most impenetrable of the trio that's he typically cited in, but it is impossible not to marvel at its inner logic and deceptively expressive character when you take the time to become familiar with it.

Now that you put it in that angle, I will say that this is not limited entirely to the orchestral world. I've played in and listened to way too many electronic shows where it basically consisted of one person--or even worse, multiple people--with their precious custom handbuilt mega modular synthesizer rig or software just holding a tone for thirty minutes while slowly tweaking some knobs or laptop parameters. Essentially a tech demo for the kinds of _timbres_ their equipment could create. I remember listening to some of my peers hold one of these kinds of concerts, and right after a piece a dude in front of me got up, turned to me and said, "I guess I can respect what they're doing, but this is boring as shit", then left. When people asked about the show(s), I said, "You know the original Star Wars? Imagine that movie if Luke Skywalker never left Tatooine."

Has anyone noticed how Disney...ahem (cough) I mean Daisy Ridley, is slowly morphing I to Keira Knghtley?

I think either it's supposed to start at 0:11 as I suggested before, or it doesn't replace material (since the music in the video posted above seems to work OK too).

Um, way to completely miss the point. We were specifically discussing the viability of LA-recorded soundtrack expansions post-2005, of which there appear to be 2 options: a) expanded soundtrack release with reduced payments to union members, so the label can break-even financially b) no expanded soundtrack and no payment for union members, because the release is financially unviable (a loss-leader) I have no idea what argument you're attempting to muddy the discussion with, but it couldn't be more irrelevant to the topic at hand.

What I remember about The Hateful Eight is thinking the story is way too slight for the arse-numbing runtime, why you would make such a big deal about shooting in 70mm when most of it is set in a fucking cabin and why the now supposedly 'mature' Tarantino couldn't resist including exploding-head gore. Ah well, Once Upon A Time In Hollywood looks promising. Casino Royale (2006) - felt much the same after this rewatch as previously ... Craig is great, Green and Murino are gorgeous, Mikkelsen is suitably reptilian and the action is mostly A1. But there's too much 'meandering' in the second half, 15 minutes or so could go without being any great loss. After all, aren't the Bonds supposed to be taut action-adventure-thrillers?

Whatever puts money into the hands of the people who did the work is never good for nothing.

I got around to watching The Hateful Eight last night. It took me ages to get to sleep after it had finished, because I kept thinking about it. The scenes were swimming around in my mind for so long that I don't think I managed to go off till gone 2am ffs.

Come in here, dear boy, have a cigar, you're gonna go far.

I bought the Blu-ray for a fiver and that's exactly my score: 5/10. The film tries so desperately to be sympathetic (or likeable) that it actually works counter productive. Nothing feels genuine any more, but rather simple-minded. 8 Oscar nominations? Baffling!

Incorrect.

Helllll yeah, dude! Hirasawa's gold! If you like his sound from Paprika, he's got a _vast_ discography for you to check out.

I can’t reveal much about the missing pieces except to say that it’s effectively righting a, not a wrong per se, but rather giving overdue attention. I can say that LLL has nothing to do with it though. Sorry. Now how about I vague it up a little more.

John Williams has said that he reads Beethoven before going to bed. Beethoven remains relevant because he did something no one else has quite done since. Subjectively, you may like the sweeping gestures of Romanticism and Modernism. But, objectively, it is very hard not to give Beethoven his due as an immortal. There are two things you can fault Beethoven for, his writing for voice and some of his orchestrations. You may think his harmonies are just par for the times, but there was something titanic there that is not replicable, nor ever unfashionable.

Paprika, by Susumu Hirasawa  Great stuff. Lots of interesting and downright bizarre textures and orchestrations. Love it!

Nelsons taking it slightly faster than my preferred interpretation (Slatkin) but the orchestra is singing beautifully. Filled with nobility and tenderness. But wait for dat boisterous scherzo! The orchestra sounding a little more clumsy here and way too slow. The scherzo movement can be tricky to get right, it should sound a bit hectic but not comic. I know they'll pull off the delicate trio in the middle though. The grand climax of the scherzo sounded amazing though. All is forgiven for whiffing on the opening of the movement! The opening of the 3rd movement, so mysterious. Copland's most private and introverted moment in the midst of this symphony that's all about community and connection with fellow man. I love the balletic section in the middle. Holy moly the 3rd movement came off so beautifully. Just an amazing piece of music that. But it's time for that finale. Let's do this! The development section of the finale is so quirky and so Copland. His orchestration style is unmistakeable. The piccolo that introduces the recapitulation/coda after the dissonant climax of the development. Just a perfect choice. Oh fuck yes, they played the original 1946 version with the restored 10 bars. I guess that's the standard version now. I'm very very happy about that. I got goosebumps at the end there. Nelsons really convinced me tonight, he is a worthy interpreter of my favorite music.

Live action Goofy Movie will send them into a meltdown like that computer in Logan's Run. Neither man nor beast. Does not compute...

Also when Dustin is in the booth. Brought some color to the action for once!

Perhaps the Nicholas Hooper Harry Potter Soundtrack Collection?

There are definitely benefits to Disney having the rights to Star Wars. For starters, we'll almost certainly get the music in high definition 24/192 which LLL can't do with mechanical rights. I actually wouldn't be too phased about a 'bare bones' expansion either, because we've really heard everything there is to say about the series and its scores over the years. What else is left to add except maybe a few musician anecdotes? We all know the story about how he got involved in the first place. We know about John's collaboration with the LSO thanks to Mike's excellent liner notes for Dracula. He's given heaps of interviews over the years about the series. It's really just covering old ground at this point. I'd rather the effort went into a separate book, something like Doug Adams' amazing LOTR book, once the entire saga is finished. Hire Titus to art design it, get a bunch of interviews with musicians and filmmakers, a foreword from Lucas, and analyse each theme. Have a bonus section on the spin-off films and video game scores.

I do find it funny that anytime LLL says something big is coming, everyone on this forum assumes it must be John Williams related. That doesn't happen on other forums!

I still do.

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Ditto. it's a perfect compliment to the 1994 score. I love how Stampede's been worked into Battle of Pride Rock (so maybe Scar isn't going to spill the beans immediately)

Just picked up Randy Newman's 'Toy Story 4' after seeing the film earlier today! It's more of the familiar tropes that Newman has offered, but it's still lovely and sentimental after all this time; the two new songs aren't bad either! Also nice to see Don Davis orchestrated it, like the other scores.