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    • Jay

      Donate to JWFan, win a CD!   05/30/17

      Hello!

      We are significantly behind on our funds for keeping JWFan alive, and need to collect donations again.
      As an incentive, I am offering a series of free CDS to anyone who donates over a certain amount!   Donate at least $10 and you will be entered into a pool to potentially win one of the following once we hit our $250 goal:   Tyler Bates - God of War; Ascension (OST, La La Land Records) Danny Elfman - Planet of the Apes (OST, Sony) Danny Elfman - Taking Woodstock (OST, La La Land Records) Christopher Lennertz - Identity Thief (OST, La La Land Records) Christopher Lennertz - Medal of Honor: Rising Sun (OST) Michael Giacchino - Mission: Impossible - Ghost Protocol (OST, Varese Sarabande) Dave Holmes & Various - Ocean's 11 (OST, WB Records) Joel McNeely & Various - Hollywood '94 (Varese Sarabande) Joe Kraemer - Jack Reacher (OST, La La Land Records) John Williams - Born on the Fourth of July (OST, MCA Records)   Donate at least $20 and you will be entered into a pool to potentially win one of the following once we hit our $500 goal:   John Barry - First Love (La La Land) Jerry Goldsmith - The Challenge (La La Land) Jerry Goldsmith - In Harm's Way (2009 Intrada edition) Jerry Goldsmith - The Red Pony (Varese) Alan Silvestri - Dutch (La La Land) Shirley Walker - Willard (La La Land) John Williams - Family Plot (Varese Sarabande) or, any of the above CDs if you prefer   Donate at least $30 and you will be entered into a pool to potentially win one of the following once we hit our $750 goal:   James Horner - Gorky Park (OOP Kritzerland Edition) James Newton Howard - Outbreak (2CD, Varese Deluxe Edition) Laurence Rosenthal - Clash of the Titans (2CD, Intrada) John Williams - The Fury (2CD, La La Land) John Williams - Jane Eyre (OOP, La La Land) or, any of the above CDs if you prefer   Donate at least $50 and you will be entered into a pool to potentially win one of the following once we hit our $1,000 goal:   Jerry Fielding - The Wild Bunch (3CD, FSM) Ira Newborn - The Naked Gun trilogy (3CD, La La Land) Shirley Walker and Various - Batman: The Animated Series Volume 3 (4CD, La La Land) or, any of the above CDs if you prefer     All shipping will be paid by me to anywhere in the world!   I will pull names from a hat for each pool, and you get to pick whatever CD set you want if I pull your name!   To be eligible, leave your JWFan username in the comments area of your donation.  If you want to donate but not be in the running for a free CD, mention that in the comment.   Use this link or the link on the mainpage.       Thank you!   Jason, Ricard, and Andreas.

Thor

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Thor last won the day on March 2

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  1. Yeah, it's my favourite track on the soundtrack (which I really like, btw -- Waxman is my favourite Golden Age composer).
  2. Well, the action/adventure part is one thing. My favourite part of the movie is actually the MOOD (the fantastic production design adds to this, of course).
  3. I have no comment on this particular release (that isn't already known to everyone). However, I would use this opportunity to chime in and say that WATERWORLD is not only my favourite JNH, it's in my list of alltime Top 10 scores! I also belong to the few who actually like the film, and have done so ever since I saw it in the cinema (as opposed to most of my fellow critics).
  4. This just proves certain forms of irony in certain forms of situations don't go down well with octagenerians. Believe me, I had similar situations with my own grand dad.
  5. Both films and scores are deeply flawed, IMO. But if I had to choose one, I'd go for THE BFG.
  6. Yeah, but it's in perfect synch with many of the other FX shots in the series (Dougie coming out of socket, Original Dougie's shenanigans in the Lodge etc.). I think it's deliberately schlocky, which provides a great contrast to the FX shots and production design that are truly spectacularly beautiful (like all the black/white places). It's the 'soap opera' element now seeping into the imagery as well.
  7. Yeah, that relates to my 'irony' comment earlier -- we both see a soundtrack as 'complete' in two very different ways. But that's OK. We all have our rationale behind our preferences, and it would be presumptous of me to say that one is more worthy than the other. It is for ME, obviously, but I can't speak for everyone.
  8. But if the above is true, she was possessed by the bug as a kid in the 50s?
  9. Agreed. Although I'm sure there are ways to re-contextualize (or ret-con) her reactions in the original run based on this information. I'm just not sure how that would look like. Perhaps something to look out for the next time I see the original episodes; just to satisfy the 'consistency' geek in me.
  10. You say "can't stop listeners from experiencing it outside his design". This is a curious argument to me, because it equates to, say, "can't stop viewers from experiencing the film outside the edit provided by the editor". If you see an album as self-contained thing, an artistic expression in and of itself -- like I do -- then his word is final. NOTICE: That doesn't mean you can't disagree with or dislike the arrangement, just as you can when viewing a film, reading a book, watching a painting etc. Again, it's a sort of interactive relationship to artistic creation/adaptation, which I personally find curious. You rarely, if ever, see it in any other forms of adaptation.
  11. If that is true, it means that Sarah Palmer was possessed by the bug during everything that happened in the original run. If she was aware of her predicament, then why was she so scared whenever she encountered BOB?
  12. Well, I do think that every time I encounter the "just arrange your own album!" argument (which is plenty of times in this thread alone), that is an underestimation of the artform of album production, because it equates 'playlists of favourite tracks' with 'proper albums'. I agree. It's a good compromise solution. But I assume it's a more costly affair than just doing it either way (and more costly for the consumer too), which is why it doesn't happen as often as it should.
  13. This week's act was the first of the Roadhouse segments I found underwhelming.
  14. I do not praise every OST assembly. But in order for me to get anything out of it, I do require that there HAS been an assembly in the first place, and one that isn't merely transferring the music verbatim from one medium to another. The other argument you make can me made of any artist, e.g. "somebody that knows Michael Kahn's editing very well and knows how to edit and who appreciates Kahn's work, should be the editor of Spielberg's film!". As you can see, it doesn't really work. Although I do agree that if the composer himself isn't available, I'd have an experienced album producer re-conceptualize the score instead. That sort of fits your category. I disagree. I'm often amazed by the degree to which people like yourself underestimate the artform that is album production. For some reason, this doesn't happen that often in other music genres. It's only with film music that people somehow feel they're part of the process in assembling the album structure. I find that rather bizarre. As if making playlists of favourite tracks is the same as a produced album (with microedits and whatnot). I've always considered TWO artforms in play here. One is the creation of the score itself, in the movie. The other is assembling/adapting that score to work in a completely different medium. They're both important and independent. The great irony in all of this is that C&C enthusiasts don't consider a release 'complete' unless it has every second of music, in the exact order of the movie, while for people like me (and Sally Spectra and a few others), it isn't really 'complete' unless there has been some conscious selection and re-structuring of tracks, for most fluid listening experience.
  15. How can you say that any film is finished with its editing? A painting is painted? A book is written? A screenwriter has finished his adaptation of the book to film? It's finished once the composer (or the record producer) presents it to us, and there's been some creative re-structuring involved. Then it's HIS vision of the score on album. Again, I consider an album a finished piece, just as I do any other album in any other genre. I'm not "butting in" midway to tell the artist how he should do this or that. I'll let him present it to me first, and then I'll decide if I like it or not. Again, this sort of "interactive" approach to soundtracks is not an idea I subscribe to.