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Miz

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About Miz

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  1. 1:27 in the woodwind, then 1:35 in the strings...both motifs from Chicken in the Pot. I haven't read on this page of the thread the spoilered theories as to why this is here - I haven't seen the movie yet!
  2. 1:35... but I'm doubting myself now!
  3. Anyone else spotted the riff from Chicken in the Pot in Spaceport?
  4. I could only listen to this one-and-a-half times before I put it down. Now I have enjoyed this score within the film much more. I appreciate it would've been foolish to musically represent the crowded pop culture references (and if you give a nod to a few, why those and not others?). But the pace and tone of the score fitted the movie well, even the self-conscious Back to the Future music. The themes did not excite me at all, but I can see how they are drawn from the tone of video game scores and work well in that sense.
  5. CC can only buy into symphonic leitmotif scores, or anything that has that as its core. Anything else has little chance of impressing him.
  6. He means 'tenets', not tenants. I feel like writing a relevant corrective email to Mr. Bloatpiece, but I cannot be bothered.
  7. What an over-long review! And, now, again, I cannot read from a white page!
  8. Half of all newly-commissioned works at the BBC Proms (the world's biggest classical music festival) will be by female composers, by 2022. Eat that! https://www.telegraph.co.uk/news/2018/02/26/bbc-proms-give-half-new-commissions-women-2022/
  9. I'm not impressed by my first listen (and I'm a certified Giacchino fanboy, my wife made my a doll of him!). I know lots of good scores are 'growers', but I felt a stark contrast to Powell's Solo, which leaps forth in its energy, musicality and off-screen storytelling, and had immediate impact on me, as well as being 'a grower'. I am hearing lots of Roar-style monsterisms, lots of Lost-isms, noisy and forceful action music, and not much musical prowess. So far I rate Rogue One higher than this, and he had more to time to score Fallen Kingdom (I assume). However, I can see there's some enjoyment of this score in this thread so I won't give up on this score yet (as I did Ready Player One) and am giving it more listens through. Does anyone have a highlights tracklist to recommend?
  10. Miz

    Anyone else think Spider-Man 2 is the best Marvel movie?

    It's the best of that trilogy, but that's not saying much. If you like that 'primary colours' approach to superhero films, then go for it. I for one prefer the direction that Marvel films have gone in (and they've actually nailed quite a few different tones since then), and can't watch any of Raimi's Spider-Man films now. The Amazing Spider-Man was a better film, in my view, and I particularly agree about the romance - Gwen and Peter had chemistry thanks to Garfield and Stone. Mary-Jane and Peter were as cardboard as the rest of the film, in part due to casting Maguire and Dunst. Elfman's and Horner's scores are both great in their own ways and serve both approaches. Zimmer's score can suck it, though.
  11. B-phrase for the ANH Imperial theme?
  12. It's a fanfare alright, but I don't hear those trumpet blasts in any opening fanfare. As for leitmotif pedantry in this thread, keep it up. Where would JWfan be without a bit of thematic interrogation? Powell's done a great job of working with old and new themes. I have probably over-listened to this score the past 10 days, but it's been worth it for discovering the layers within. And I haven't seen the film - I like it when I get to know a score well before being given its images and scenes. My thematic delight is the old stormtrooper/Empire theme in Train Heist, at 3:35. I like his callbacks to 'ANH' and wish there were more. Maybe there are in the film...
  13. Obviously loving this, but I don't know how it will hold up over time as the album presentation is front-heavy and, the action music very dense. Powell has treated Williams' themes fantastically - not just clear callouts like Reminiscence Therapy, but subtle inclusion of familiar chord-progressions like the Rebel fanfare that run through the score. Giacchino did the same in Rogue One too, which I think not everyone cottoned on to (that score goes deeper into Star Wars mythos, structure and tone, and I would argue is dripping with the Star Wars sound as much as it is Giacchino's). Best non-Williams Star Wars score? I certainly think it's the most dynamic - Powell's ability to write captivating dynamic melodic lines is strong, not to mention how he plays with themes and give them attitude. What Solo lacks is romanticism, I think. Rogue One had plenty to offer in that regard (though some would criticise its broad-and-simple Giacchino strokes), but both are surely trumped in terms of romanticism by Shadows of the Empire.
  14. Ha! I look again and you seem to have hit the nail on the head!
  15. Who's between George Lucas and Ron Howard? Some of the expressions in that photo are awful!
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