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  1. First 20 minutes are really good so far. No stand-out new themes yet, but what strikes me is how intensely successful the Force Awakens' themes are. He did an incredible job there, and it's paying off here. EDIT: Holy shoot, Rose's theme is an instant classic. Simple, but it's something that would fit right at home in a score like The Fellowship of the Ring.
  2. Australia. Friend who works at a local electronics store teed me up. (It's the morning of the 14th here now.)
  3. Let's have a look at the logical fallacies you've used: 1. Traitorous critic fallacy & Association fallacy ("PC police") 2. Abusive fallacy ("Grow a spine") 3. Appeal to tradition ("Pretty common phrase") 4. False dichotomy ("not a safe space") 5. False compromise ("not everyone is going to...") 6. Appeal to ridicule (sarcastic: "I'm sure misgendering would be an offense") Plus Kettle logic and Gish-galloping, uniting all of your fallacies together.
  4. The suite will probably just be "Sophie and the BFG" from the OST, right? It's 8:03.
  5. THE BFG OST ALBUM Discussion

    Not that Oscars matter but does anyone else get the feeling Williams may not make the cut this year? A mid-year Spielberg flop is not great for his chances, given of course that the score itself won't blow any minds, regardless of its inherent decent quality.
  6. THE BFG OST ALBUM Discussion

    Nearly finished. I think the score can be summed up as 'lots of extremely enjoyable but relatively brief passages separated by lots of quite enjoyable but slightly longer passages, punctuated by a lovely main theme that verges on instant classic status, and a handful of less memorable but relatively distinct ones'. Well, in my opinion, anyway. Bottom line is someone could create a brilliant 10-to-15-minute suite from the material presented here, where less is more, and that rivals some of Williams' best.
  7. The Lost World Theme (the album version especially) is absolutely a top tier Williams composition. It is not only exhilarating from start to finish, thanks to the tribal percussion beats and dark string and brass timbres, but is filled to the brim with ingenious other-worldly rhythmic melodies. It is I think one of the first and prime examples of Williams pairing a more broadly sweeping longer-note melody (in this case, the minor-key theme that is uniquely harmonised solely with major chords), with a more rhythmic counter-theme (the rapid, modal motif, which in a way is actually a sped up version of the longer melody), over the timpani/bass ostinato. Rey's Theme interestingly has a similar structure (although the rhythmic counter-theme doubles as an ostinato, and he instead throws in a second counter-theme for added variety... both of which build on top of each other before the real melody kicks in). Williams is quite deft at weaving ostinati in and out (e.g. Superman, Jaws) but after The Lost World theme, he really went all out with competing melodic contours.
  8. Absolutely fabulous. You could tell these young people care about that music, because it was obviously very well practiced and rehearsed, and in some parts better than any world famous orchestra. The first violinist's Schindler's List performance was an exception among exceptional. My biggest complaint, if I can come up with one, was that The Lost World was probably too fast, which lent the piece great energy, but some intricate rhythms and motifs were swept a little under the rug by rushed players.
  9. THE BFG OST ALBUM Discussion

    I'm assuming the "score snippets" are indeed fragments taken from several different pieces? The separate ideas are all brilliant IMHO although none of the ideas last quite long enough so I'm definitely hoping they're different tracks. The main-sounding theme and the dangerous-sounding waltz (the first two snippets) sound better than I was hoping (i.e. not too close to the "too many notes" workmanlike end of the scale, like Tintin is IMHO). There's definitely an effortlessness and majesty to what I've heard so far. The fact some of the reviewers have said the music is heavy-handed doesn't especially concern me. I expect soaring "old-fashioned" orchestral film music to be criticised these days, and I more or less couldn't care less how the music sounds in the film as long as it sounds amazing by itself.
  10. Excellent observations!! I also think the falling semitone and minor third structure has roots in Anakin's Theme itself (especially the B-part of the theme where it has the sequence of three falling lines followed by Vader's motif).
  11. Favorite Williams End Titles Cue?

    Has to be TESB. The gorgeous HSAP and Force theme quotes, the energetic rendition of Yoda's Theme with the Rebel Fanfare counter motif, launching into the Imperial March and ending with HSAP theme, and topped off with an emphatic augmentation (the drawing out into longer note length) of Vader's theme as four orchestral stabs... He was on fire that day.