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Henry Buck

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Everything posted by Henry Buck

  1. To kick it off, here's my timeline theory. GameTrailers had it close, but in light of Twilight Princess, several changes need to be made. I spent a while trying to organize my thoughts and get the facts recorded, but then I had a better / lazier idea. I will simply present the timeline. Any questions? Ask! This is, of course, a split timeline. At the end of Ocarina of Time, Zelda sends Link back in time. Without Link, the world continues on, and The Wind Waker occurs. However, in the child timeline, Ganondorf is unsuccessful at stealing the Triforce and is sentenced to death for his crimes. However, perhaps because of the residual effects of the adult timeline, the Triforce of Power is bestowed upon Ganondorf as he is put to death, and he uses it to kill the Sage of Water. The remaining Sages then banish him into the Twilight Realm. .......................... The Minish Cap ................................ ......................... Ocarina of Time ................................ Majora's Mask ............................... The Wind Waker Twilight Princess ............................ Phantom Hourglass The Legend of Zelda Adventure of Link Oracle of Seasons or Oracle of Ages Oracle of Seasons or Oracle of Ages Four Swords Four Swords Adventures A Link to the Past Link's Awakening Actually, I've been reading some more stuff online, and some of this still doesn't make sense. Fuck it!
  2. Absolutely hilarious movie reviews that I stumbled upon. You'd think it would be hard to sustain the humor after over an hour, but not for this guy. Check them out, unless you're turned off by profanity and, um, disturbing sequences: http://www.blancscreencinema.com/redlettermedia/phantom_menace.html'>The Phantom Menace http://www.blancscreencinema.com/redlettermedia/clones.html'>Attack of the Clones He's also done Avatar and various Star Trek films.
  3. Henry Buck

    The Angry Video Game Nerd

    I've linked to these videos before, but I believe this man deserves his own thread. James Rolfe, a.k.a. the Angry Video Game Nerd The Angry Video Game Nerd (Angry Nintendo Nerd until 2007) is an amateur filmmaker with a lot of talent. Typically, he will draw a terrible, old Nintendo game from his collection and review it with such exaggerated rage and obscenity that it's impossible not to double up laughing. He's made forty-one videos, so there's a lot to go through. I recommend watching them chronologically. If you want to see just one, see .AVGN features a hilarious theme song (which you should buy; it's only 99 cents) and a variety of "guest stars" from films and television series. There's a lot to appreciate in the acting (Jersey accent!) and filmmaking. Rolfe's sense of cinematography and editing is dead on. I wasted half my summer laughing my ass off at the absurdity of these videos. Here's your chance!
  4. Henry Buck

    John Powell's SOLO: A STAR WARS STORY (2018)

    That idea gels with just about every score except for The Empire Strikes Back. The Rebel Fanfare doesn't coincide with any scenes or shots of the Falcon. And there are the cameos of the theme in TPM and RotS, if you want to count them.
  5. Loved the film and the soundtrack, but I agree wholeheartedly that the Force theme is a dead horse. I was highly annoyed to hear the music for the last ten seconds of the film - that's three films in a row that have ended with nearly identical variations on the Force theme (though I do enjoy TFA's expansion of this musical moment). And with so much to work with - the "Jedi Steps" theme, Luke's new theme, Luke's old theme, etc. - there's no excuse for such an overreliance on the Force theme. I'll throw another opinion out: There's too much music. Kylo Ren's scene in the elevator didn't need to be scored with that brassy blowout (adapted straight from the TFA end credits). Sometimes silence is the best music. I loved the moments in TFA where Williams' score was dialed out, like Rey's introduction and Hux's speech. Not because the music was bad, but because it would have gotten in the way.
  6. This is a thread for discussion of universally renowned composer Alan Menken. Menken wrote the scores to a slew of Disney box office smashes, starting with the revolutionary The Little Mermaid and ending with Home on the Range ... or something. He is currently working on Enchanted, a new Disney film that combines traditional animation with real footage, a technique sure to breed a winning film. But, actually, I like Menken quite a lot. Despite the simplistic, kid-friendly feel of his music, he has captured the romantic spirit and the soaring optimism we are capable of at our best moments. Little Mermaid didn't deserve to take the Academy Award from Williams, but if it had been Beauty and the Beast that year ... Menken's best work was with amazing lyricist Howard Ashman. Tim Rice and those other guys weren't so great. Did they come up with something on the caliber of "Tale as old as time / Tune as old as song / Bittersweet and strange / Finding you can change / Learning you were wrong / Certain as the sun / Rising in the east / Tale as old as time / Song as old as rhyme / Beauty and the beast?" Yeah, right. Speaking of The Little Mermaid, isn't "The Storm" an ethereal cue? It's along the lines of what I wish Pirates had been. Here are some chronological orders (Aladdin supplied by Kendal_Ozzel) The Little Mermaid Fathoms Below Main Title - The Little Mermaid * Fanfare * Daughters of Triton Part of Your World Fireworks * Jig * The Storm * Part of Your World (Reprise) * Under the Sea Sebastian and Triton * (see The Music Behind the Magic) Destruction of the Grotto * Flotsam and Jetsam * Poor Unfortunate Souls Les Poissons Tour of the Kingdom * Kiss the Girl Bedtime * Wedding Announcement * Eric to the Rescue * Happy Ending (*) Under the Sea (no opening dialogue - DVD rip) Part of Your World (no opening dialogue - DVD rip) Beauty and the Beast Prologue * (see The Music Behind the Magic for instrumental version) Belle To the Fair * Wolf Attack * (see The Music Behind the Magic) Belle Reprise Gaston Gaston (Reprise) Be Our Guest West Wing * Something There Human Again (see Special Edition) Beauty and the Beast The Beast Lets Belle Go * The Mob Song Battle on the Tower * Transformation (*) Beauty and the Beast (pop version) Transformation (Alternative) - used in end credits Aladdin Arabian Nights Legend of the Lamp * On a Dark Night * One Jump Ahead Street Urchins * One Jump Ahead Reprise Jasmine Runs Away * The Marketplace * The Cave of Wonders * Friend Like Me To Be Free Prince Ali A Whole New World The Kiss * Aladdin's Word * Jafar's Hour * Prince Ali (Reprise) The Ends of the Earth * The Battle * Happy End in Agrabah (*) A Whole New World (pop version) * Denotes score-only track A few words on Aladdin - cut "Jafar's Hour" off at around 38 seconds and sub in "Why Me?" (available, orchestra, John Freeman and all, on the The Music Behind the Magic box set) for an expansive, alternative version of "Prince Ali (Reprise)." The "Arabian Nights Reprise" track was recorded for the film's finale but ultimately discarded in favor of "Happy End in Agrabah." I haven't found a satisfactory way to edit this, replacing the choral ending of the track with "Arabian Nights Reprise," and I like "Happy End in Agrabah" better anyway. Nevertheless, "Arabian Nights Reprise" is a great listen. You can find it on the Music Behind the Magic box set or in better sound quality on the obscure Aladdin and the King of Thieves soundtrack (well, PM me if you're interested in an Apple Lossless or AAC or MP3 file). The end credits (a great instrumental version of "Friend Like Me") can be ripped from the DVD; however, they blend right into the awful, pop "A Whole New World," so there's no good way to separate them. Anyway, I'm starting to sound like a Disney representative. Menken is cool, though. Let's discuss, eh? I know Kendal_Ozzel is a big fan, and... um... others?
  7. Electronic music is not a monolithic art that one either understands or doesn't. Williams has incorporated synthesizers and electronic instruments into many of his scores, so it's safe to say he's not totally ignorant of the electronic side of music. I think it's also safe to say that Williams doesn't have Hans Zimmer's fluency in modern digital audio production. There are some things he knows and there are some things he doesn't know. Yeah, he wrote Heartbeeps almost forty years ago. That doesn't mean he's fully equipped to write the kind of electronic music that's in vogue right now.
  8. Henry Buck

    Composers' sketches

    No, it's condescending either way.
  9. Henry Buck

    Composers' sketches

    Thanks, skyy! I really needed that condescending answer to a rhetorical question I asked seven years ago.
  10. Yeah, I kind of fell out of the editing loop around 2009, so while I have saved documents somewhere (on some external hard drive in storage, I think), they wouldn't be optimal. Others have done up to date work, though.
  11. Henry Buck

    The Quick Question Thread

    Yeah, the big downside with the 2CD release is just the sound quality. There were some hiccups in the production process that made some of the tracks, particularly in the latter half of the score, come out sounding very compressed and degraded. The source material is still in good shape - I believe that was proved by the remastering of one track for the "Musical Journey" CD in 2005 - but the production of the set garbled it. That said, if you're dealing with the roar of a car or plane engine, you might not notice much of a difference.
  12. Henry Buck

    The Quick Question Thread

    Hi! Well, I think there are several who could swoop in with more comprehensive answers, but in the meantime: It's about 95% complete. The 2CD release doesn't include the two source pieces that were replaced in the Special Edition: "Lapti Nek" and "Ewok Celebration" (of which there are three, I think, versions, two of which were included on the 4CD Arista Records Anthology set). It's also missing an alternate version of "Leia Breaks the News," which is included on the Arista set. There are then a couple pieces which have never been released, and the recordings are believed to have been destroyed. These include the concert suite "Jabba the Hutt," another source cue from Jabba's Palace, and a six-second insert recorded for the Battle of Endor. But part of the "Jabba the Hutt" concert suite is edited into the track "Han Solo Returns" on the OST. Or on the Arista set, maybe.
  13. There's somebody who's afraid here, but it's not Disney execs or "SJWs."
  14. One motif that I haven't seen any discussion of is the film's treatment of technology. It's faithful to the technical imagination of the 1970s, which seems quaint now in many ways. (Why didn't Leia just immediately upload the Death Star plans to Rebel Alliance servers all across the galaxy? Why did Obi-Wan have to physically shut down the tractor beam instead of hacking the Death Star's wi-fi network and doing it remotely?) The clunkiness of the 1970s is constantly throwing obstacles in the heroes' path. Bodhi can't get in touch with the Rebel Fleet because the communication cable isn't long enough. Jyn and Cassian have to alert the Fleet to open a special channel because the schematics are too large to be sent through normal means. I think it was totally self aware. And I loved that the Master Switch is a big, goofy lever.
  15. Loved it. New favorite bad movie. It was the cinematic equivalent of a raucous college party. Self-destructive and regrettable, but fun in the moment. Worth it alone for Vader's final scene. Minority opinion: I concur with Quint about Tarkin. I'm not bothered by the ethical implications of this Frankenstein monster. I just thought it was really cool to see a classic villain again. For what it's worth, I thought Stephen Stanton did a better impression of Peter Cushing on Clone Wars/Rebels, but I understand that they wanted to go with the same person for both the motion capture and the voice.
  16. Will, great job on the restoration. It's interesting to see how this was meant to be scored. About the music, though: in my opinion, that cue absolutely trashes that scene. Thank God it was cut. I think Williams is as strong a composer as ever, but I've felt many of his recent films have suffered from an excess of music. He's either forgotten how effective silence can be, or else his directors have just asked for too much music in spotting. It's hard to explain why I find this Hux music so grating, but it makes me feel like I'm watching the prequels. It turns the scene into B-movie material. The melodrama is totally unjustified and ridiculous. Some of my favorite moments of TFA are the ones without music: Rey's introduction, Finn's discovery of the crashed TIE Fighter, Han and Kylo's confrontation. Does anybody really believe that Han and Kylo's scene needed more elegiac, weepy strings right from the get-go? But I do love the alternate cue for Han's death! In that case, I feel Abrams played it too safe in a moment where all-out melodrama was appropriate.
  17. Henry Buck

    Rogue One: A Star Wars Story (Gareth Edwards 2016)

    This doesn't look like the original suit? But it has the red-tinted eyes, the cape over the shoulder plates, and the chest plate design. The only thing that isn't faithful to the original Star Wars, perhaps, is the glossiness. According to this report, they tried to base it on the original suit.
  18. The audiences for Symphony Hall need an intermission in a 2+ hour concert. There's alcohol served, and the patrons are mostly old, so you can imagine. I would think the situation is similar with the other orchestras that have played Raiders.
  19. Henry Buck

    Rogue One: A Star Wars Story (Gareth Edwards 2016)

    If Rogue One was going to be yet another slow, joyless, self-important, "dark," blockbuster film, thank goodness they're doing reshoots. Yes, it seems anti-creative to bring the film closer in line with The Force Awakens, but what if the studio is saving us from the next "Man of Steel"? Or maybe the movie was amazing, and Disney wants to ruin it. I'm just saying we shouldn't assume the worst.
  20. I loved it. The Boston Pops were every bit the equal of the often deified LSO, with the exception of just a single moment. When Indy climbs on top of the German submarine, the entrance of the trumpets playing the Raiders March sounded distant and dull, making the cue not quite as euphoric as it could have been. Ah well. The music came across prominently in the mix - probably louder than the theatrical mix - but never overwhelmed the dialogue and effects. I'm pretty sure I heard a recorded choir during "Map Room," but it's possible my brain was just filling in the blanks. I don't remember at all whether there was a recorded choir in the other cues. That new bit of music Williams wrote for the first confrontation with Belloq was not included. Everything was reproduced faithfully, although I do wish we could have gotten at least a full performance of the end credits without microedits.
  21. I'm seeing it tonight in Boston! I'll let you guys know if there are any performance oddities.
  22. It gives you a choice of different services to redeem the film from: iTunes, Google Play, Amazon, etc., but once you choose one you're locked in. I went with iTunes, and fortunately it did include all the extras, including the deleted scene of Maz's castle.
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