Romão

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Romão last won the day on July 9 2016

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About Romão

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  • Birthday 07/12/83

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    projectoconstruir@gmail.com
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  1. That motif really is effective. I've always been very fond of this theme too, that I recall Williams playing on the piano in some newscast promotional video for the movie:
  2. I thought X-Men: Apocalypse was one of the worst movies I saw in 2016, tied with Suicide Squad as the worst super hero movie, and that's saying something
  3. Any composer? Really?
  4. My favorite part from Dances with Wolves has always been the wonderfull Two Socks theme I've always found it very moving
  5. It probably is my all time favorite JW score. I can't praise it enough. I'm reposting here something from 6 months ago that elaborates a little bit on my feelings about this score Sleepers, by John Williams Now, this might come across as an hipster declaration, but this might actually be my favorite JW score. It contains a sonic environment totally of its own (I would reckon it's one of JW's score with less relatives) and allows us to trully comunicate with the music, in a similar fashion of what TheWhiteRider described concering the Brian Eno album. It's not that the music is nondescript (far from it), but conveys such an array of complex, undefinable and even paradoxal emotions, that the music needs the input of the listener to actually make some sort of sense. It's a score that sounds Autumnal. It sounds urban. It sounds innocent. It sounds desperate. It sounds violent. It sounds spiritual. It sounds triumphant. It's one of the most encompassing scores ever written. As fantastic this score is when the full OST is heard (and that's the only way the score actually comes to fruition and makes sense), I adore so many individual moments in this thing: The dreary, frightful ostinato (is it really an ostinato?) heard in the first track and at Last Night at Wilkinson (the first part of that track is alto terrific): The wonderful dissonance on the brass on Hell's Kitchen: The fury and propulsion of The Football Match (best appreciated in this video with the remaining audio removed): And so many others, like the full Saying the Rosary, or the theme that opens both Father Bobby's Decision and Last Night at Wilkinson. This score is an absolute gem. Regardless of me highlighting several passages, the OST must absolutely be heard in full. I hope somebody picks up this post and elaborates on this score in a much more thoughtful and eloquent way than I could ever be able to
  6. Although he was never quite crucial to the main storyline, he was absolutely essential in establishing that very peculiar Twin Peaks atmosphere. His character was gold
  7. Without Josie and Pete, maybe there wasn't much left to do with Catherine's character
  8. "You have a thing in your mouth"
  9. It's not my favorite Lynch, but it left a deep impact on my childhood. And it's the best kind of period piece: it is shot without overstating we're in the 19th century, like it was indeed shot in the 19th without having to use the usual establishing shots of how London looked back in the day. It is shot like the 19th century was the present time. In that regard, it is similar to the Prestige
  10. And their collaboration on The Egyptian produced what I consider to be one of the all time great scores
  11. Indeed. it's one of the jewels of this release
  12. Some Merchant/Ivory scores are terrific. Remains of the Day is one of my favorites
  13. If they indeed make a new Star Wars trilogy, they should set in thousands of years before the prequels, in the early days of the Sith/Jedi conflict. In that way, that can be pretty much tell whatever the story they'd want without having to do any sort of lead in or wrapping up with other movie chapters
  14. So they're delaying Edgardo Mortara? Too bad, I was really looking forward to that one