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Dole

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  1. Haha
  2. Thanks
    Dole got a reaction from Ricard in HAPPY 20th ANNIVERSARY, JWFAN!   
    Stumbled upon this site when I was looking up The Patriot (probably on Dogpile...was Google a thing then?) ahead of its release because I didn't realize that John Williams was writing the music for the film and was looking for some more info. The site has brought me a lot of joy ever since. And another member here was nice enough to sell me an extra ticket she had to two of Williams's first Chicago concerts which is the only time I've ever been able to see JW in person. Thank you to Ricard and everyone else who has had a hand in creating and maintaining this place.  
  3. Like
    Dole got a reaction from Dieter Stark in HAPPY 20th ANNIVERSARY, JWFAN!   
    Stumbled upon this site when I was looking up The Patriot (probably on Dogpile...was Google a thing then?) ahead of its release because I didn't realize that John Williams was writing the music for the film and was looking for some more info. The site has brought me a lot of joy ever since. And another member here was nice enough to sell me an extra ticket she had to two of Williams's first Chicago concerts which is the only time I've ever been able to see JW in person. Thank you to Ricard and everyone else who has had a hand in creating and maintaining this place.  
  4. Like
    Dole reacted to Ricard in HAPPY 20th ANNIVERSARY, JWFAN!   
    JWFAN was born 20 years ago tonight!
     
    I will be adding some related surprises to this main post in the coming days.
     
    Let the celebration begin! 🎂🥂🎉🎊🎈
     
     
  5. Like
    Dole got a reaction from Brundlefly in Favorite score per year   
    1933: King Kong (Steiner)
    1934: The Lost Patrol (Steiner)
    1935: Bride of Frankenstein (Waxman)
    1936: The Plow That Broke the Plains (Thomson)
    1937: Snow White (Harline, et al)
    1938: Alexander Nevsky (Prokofiev)
    1939: Gone with the Wind (Steiner)
    1940: Our Town (Copland)
    1941: Citizen Kane (Herrmann)
    1942: Bambi (Churchill, Plumb)
    1943: The Song of Bernadette (Newman)
    1944: Laura (Raksin)
    1945: Spellbound (Rozsa) 
    1946: The Best Years of Our Lives (Friedhofer) 
    1947: Captain from Castile (Newman)
    1948: Louisiana Story (Thomson)
    1949: The Adventures of Don Juan (Steiner)
    1950: Sunset Blvd. (Waxman)
    1951: The Day the Earth Stood Still (Herrmann)
    1952: The Bad and the Beautiful (Raksin)
    1953: The Robe (Newman)
    1954: On the Waterfront (Bernstein)
    1955: ?
    1956: The Ten Commandments (Bernstein)
    1957: ?
    1958: Vertigo (Herrmann)
    1959: The Nun's Story (Waxman)
    1960: Spartacus (North)
    1961: King of Kings (Rozsa)
    1962: To Kill a Mockingbird (Bernstein)
    1963: The Leopard (Rota)
    1964: Mary Poppins (Sherman Bros, Kostal) 
    1965: Doctor Zhivago (Jarre)
    1966: The Good, the Bad, and the Ugly (Morricone)
    1967: You Only Live Twice (Barry)
    1968: The Lion in Winter (Barry)
    1969: The Wild Bunch (Fielding)
    1970: Patton (Goldsmith)
    1971: The Horsemen (Delerue) 
    1972: images (Williams)
    1973: Enter the Dragon (Schifrin)
    1974: Chinatown (Goldsmith)
    1975: Jaws (Williams)
    1976: Taxi Driver (Herrmann)
    1977: Star Wars (Williams)
    1978: The Boys from Brazil (Goldsmith)
    1979: Star Trek (Goldsmith)
    1980: ESB (Williams)
    1981: Raiders (Williams)
    1982: Conan the Barbarian (Poledouris) 
    1983: Under Fire (Goldsmith)
    1984: Temple of Doom (Williams)
    1985: Ran (Takemitsu)
    1986: The Mission (Morricone)
    1987: Lionheart (Goldsmith)
    1988: ?
    1989: The Last Crusade (Williams)
    1990: Dances with Wolves (Barry)
    1991: Hook (Williams)
    1992: Dracula (Kilar)
    1993: The Nightmare before Christmas (Elfman)
    1994: The Lion King (Zimmer)
    1995: Braveheart (Horner)
    1996: The Hunchback of Notre Dame (Menken)
    1997: Titanic (Horner)
    1998: Shakespeare in Love (Warbeck) 
    1999: The Red Violin (Corigliano)
    2000: Crouching Tiger, Hidden Dragon (Tan Dun)
    2001: LOTR: FOTR (Shore)
    2002: Road to Perdition (Newman)
    2003: LOTR: ROTK (Shore)
    2004: The Village (JNH)
    2005: Revenge of the Sith (Williams)
    2006: The Queen (Desplat)
    2007: Ratatouille (Giacchino) 
    2008: The Curious Case of Benjamin Button (Desplat) 
    2009: Ponyo (Hisaishi) 
    2010: TRON Legacy (Daft Punk)
    2011: War Horse (Williams)
    2012: Life of Pi (Danna)
    2013: Escape from Tomorrow (Korzeniowski) 
    2014: How to Train Your Dragon 2 (Powell) 
    2015: It Follows (Disasterpeace) 
    2016: The Red Turtle (L Perez del Mar) 
    2017: Phantom Thread (Greenwood) 
  6. Haha
    Dole reacted to Damien F in THE LAST JEDI - Score mentions in online reviews & social media, etc   
    "Rian baby, this is the theme I wrote for the porgs. I call it Parade of the Ewoks"
  7. Like
    Dole reacted to DigitalfreakNYC in Star Wars The Last Jedi red carpet premiere live stream   
    Anyone who says that Rogue One is better than TFA needs their head examined.
  8. Haha
    Dole reacted to MikeH in THE LAST JEDI - First score description from preview footage shown in Japan   
    We've all been fooled.  The Post will be fanfares and fugues and TLJ will be subtle Americana.  
  9. Like
    Dole reacted to Cerebral Cortex in The Last Jedi Soundtrack.   
    I think you could be onto something here...

  10. Like
    Dole reacted to Disco Stu in Film Confessions   
    Ratatouille is the greatest Pixar film.  A masterpiece.
  11. Like
    Dole reacted to Marian Schedenig in The Last Jedi recording sessions updates   
    He counted it as part of the orchestra. It's a chamber orchestra with an 80 piece choir.
  12. Like
    Dole got a reaction from Sharky in Walt Disney Records The Legacy Collection   
    Bedknobs and Broomsticks and Pete's Dragon, please! 
  13. Like
    Dole reacted to Jay in Solo: A Star Wars Story (Ron Howard 2018)   
    Would that it were so simple...
  14. Like
    Dole got a reaction from TheUlyssesian in Solo: A Star Wars Story (Ron Howard 2018)   
    That Hollywood Reporter article says that there are DGA rules that forbid replacing a fired director with another member of the existing crew, so presumably they'd have to find a way to get around that if they want Kasdan. 
  15. Like
    Dole reacted to mrbellamy in Solo: A Star Wars Story (Ron Howard 2018)   
    The time has come!
     

  16. Like
    Dole reacted to Alex in Daniel Day-Lewis quits acting   
    What if he's just preparing to play a character who retires from acting? 
  17. Like
    Dole got a reaction from Alexcremers in What Is The Last Film You Watched? (Older Films)   
    A lot of fun. That first scene on the airplane is hilarious! 
  18. Like
    Dole reacted to Dieter Stark in Disney Records has reissued the original Star Wars OST albums - Sony's contract is over! [digital/streaming releases only]   
    Not everyone keeps their genitals in the same place. Maybe that's why Chewie has that pouch.
  19. Like
    Dole reacted to Jay in RIP Carrie Fisher (1956-2016) & Debbie Reynolds (1932-2016)   
    Carrie Fisher’s Urn Is A Prozac Pill
     

  20. Like
    Dole got a reaction from crumbs in RIP Carrie Fisher (1956-2016) & Debbie Reynolds (1932-2016)   
    I guess I owe George Lucas an apology for laughing at Ep III. 
     
    Rest in peace, Carrie and Debbie. Thanks to Carrie for talking about her mental health problems so openly, and thanks to Debbie for saving all of those props and costumes from silent and Golden Age films. 
     
    What an awful week for that family. 
  21. Like
    Dole got a reaction from Loert in The Force Awakens final trailer MUSIC discussion   
    We know Williams didn't write the trailer music because it uses Han Solo and the Princess and Williams doesn't remember writing that theme.
  22. Like
    Dole got a reaction from Once in The Force Awakens final trailer MUSIC discussion   
    We know Williams didn't write the trailer music because it uses Han Solo and the Princess and Williams doesn't remember writing that theme.
  23. Like
    Dole reacted to Thekthithm in The Force Awakens final trailer MUSIC discussion   
    Senator Ka... Bob Dole!
  24. Like
    Dole got a reaction from Dieter Stark in The Force Awakens final trailer MUSIC discussion   
    We know Williams didn't write the trailer music because it uses Han Solo and the Princess and Williams doesn't remember writing that theme.
  25. Like
    Dole reacted to MikeH in How do we feel about James Horner's Titanic?   
    Terrific score. I don't know how many have seen the following interview with Don Davis from years ago, but I thought it provided some interesting insight into the scoring process.
    http://www.ign.com/articles/2000/07/17/interview-with-composer-don-davis-part-3-of-4
    PLUME: On a side note to Horner, you worked with him on Titanic. There was a very famous rift between Horner and James Cameron after Aliens. Was any residual of that evident in what you observed between Horner and Cameron on Titanic? It was originally a falling out based on their differing views on the music for Aliens, wasn't it?

    DAVIS: No, I think it was a little more than that. It was music too, but Jim Cameron is a very tough guy to work for. Actually, I gained a lot of respect for Horner during Titanic, because Horner was accommodating Cameron in ways that I thought a composer the stature of Horner had no reason to accommodate anyone. He completely handled the situation with absolute humility and professionalism. I don't think there are very many composers who would have acquiesced to Jim Cameron the way Horner did. Horner gave Jim exactly what he wanted. I think there are some people who think that the Titanic score may be overly simplistic, or some people object to the Celtic nature of it, or whatever, but I can tell you that if any other composer had scored that picture, Jim would have fired him and at least four other composers before he got what he wanted. Horner was determined that that would not happen, and it didn't happen, and I think it was the best score that Jim would ever allow into that picture. For that reason, I think he deserves all the Academy Awards and accolades that he got.

    PLUME: I think that's a perspective that not very many people saw in that.

    DAVIS: Well, you kind-of had to be there to see it. I mean, it was magnificent.

    PLUME: It was surprising to a lot of people that Horner would even work with Cameron again after Aliens.

    DAVIS: I can't really say, because I wasn't there all that much. I would go to Horner's place, pick up the sketches, he'd talk me through them, I'd do them, and I was done. I do know that I made a lot of extra money on that show, because the picture kept changing and Cameron kept making changes, and as the sketches changed, they kept coming back to me to change the orchestration and I'd get more money. That was just fine as far as I was concerned. Through that process, I could see that he was accommodating this director. He was really bending over backwards to do everything that Jim wanted him to do. I couldn't picture a composer of the stature of John Williams doing that, well, maybe he would but there gets to be a point when it's too much.

    PLUME: Isn't it the job of the composer to conform to the director's view of the film? What line is there that demarcates when it's not worth the hassle?

    DAVIS: There are situations where directors give composers directives just to give them directives. Just to show "who's boss in this room."

    PLUME: Is it the film version of busy work?
    DAVIS: Sure. Go outside and dig a 20-foot hole and then fill it up again. Composers, whether they are or not, certainly like to view themselves as being creative and having a contribution to make to the process. There are some personalities, fortunately they are few, that seem to want to negate that. There's a point where it becomes too much of an insult to bear. If a composer is very highly successful, and James Horner certainly is, that means that he has to take less of that kind of abuse than a composer who is not of that stature. From my limited vantage point, it seemed like changes were coming in just for the sake of changes to come in, and I was wondering, as I was picking up these changed sketches, why Horner was going to such lengths to make this guy happy. Once the film came out, I understood perfectly. That's another tribute to James Horner, because he has not only an amazing visceral insight into what a film needs musically, but he knows how these situations work and he knows when to do something and when not to do something. You've got to hand it to the guy.
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