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Dole

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  1. Like
    Dole reacted to Gruesome Son of a Bitch 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.
  2. Like
    Dole reacted to Jay in RIP Carrie Fisher and Debbie Reynolds   
    Carrie Fisher’s Urn Is A Prozac Pill
     

  3. Like
    Dole got a reaction from crumbs in RIP Carrie Fisher and Debbie Reynolds   
    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. 
  4. 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.
  5. 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.
  6. Like
    Dole reacted to Unlucky Bastard in The Force Awakens final trailer MUSIC discussion   
    Senator Ka... Bob Dole!
  7. Like
    Dole got a reaction from Gruesome Son of a Bitch 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.
  8. 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.
  9. Like
    Dole got a reaction from Sharkissimo in Can you remember/name your 10 first soundtracks?   
    I remember turning up the volume on the television and using my cassette recorder to make a tape of music from this film when I was a kid. I was overjoyed when they finally released the score a few years ago. Now if they'd release complete versions of Bedknobs and Broomsticks, Pete's Dragon, Mary Poppins, The Ten Commandments, and Snow White the kid inside of me would be happy forever.
  10. Like
  11. Like
    Dole reacted to Quintus in Indiana Jones Goes to Hell: 30 Years of Defending Temple of Doom   
    It needs defending from Steven Spielberg who has done nothing but slag it off and be dismissive of it ever since making it.
  12. Like
    Dole reacted to Gruesome Son of a Bitch in Indiana Jones Goes to Hell: 30 Years of Defending Temple of Doom   
    It's my favorite one.
    As for the criticism that it's too dark, violent, offensive, zany, and/or silly (funny how it can be all of those things)...at least they did something different. I consider it a sequel very much in the style of The Empire Strikes Back or The Wrath of Khan. By that, I mean, taken in a radically different direction and frequently nothing you would have ever seen coming after the first movie. Inevitably, I feel this pays off and we're left with extremely entertaining, unique and now-vintage Spielberg from a more youthful, scandalous Steven in the time before he had kids and his balls retracted.
  13. Like
    Dole reacted to Mr. Brown in Kooky John Williams Interview   
    At first, I thought the interviewer was Pastor Ted Haggard.
  14. Like
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