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Lewya

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Everything posted by Lewya

  1. I have never seen or heard the Mishima score in its entirety, so I can't comment on it. The Hours I am not a fan of; I pretty much agree with the music critic in NYT on it who wrote that it was mindless and a miscalculation: https://www.nytimes.com/2003/03/02/arts/film-the-great-film-score-catch-it-if-you-can.html. I don't think it is BAD though, just not a very good score. Of the film scores of Glass's film scores I have heard, I regard Koyaanisqatsi as his best film work, but even that I find somewhat overrated. Don't get me wrong, it is admittedly an original score, but I don't find myself returning to it. I kind of like it, but never really listen to it.
  2. 3 stars Glass, 4 stars Williams. Almost none of Glass's film scores has worked for me even if it is still decent music, this while Tibet is among Williams's most underrated scores (if there is a such thing).
  3. Ma talks more about Williams (and Morricone) here in this pretty recent interview: He says that Morricone is probably one of the most inspired melodists.
  4. After some serious thinking, I have narrowed it down to these 10 tracks as John Williams's top 10 tracks of all time - in no particular order aside from the top pick from CE3K: 1. Outstretched Hands from Close Encounters of the Third Kind - This is my favourite Williams track of all time - it also seems to be Ryuichi Sakamoto's favourite JW track of all time. Williams wrote in a more modernistic manner and it is the track that flows together the best on the score as a individual track. I have never heard Williams write a finer track, and some of his other stuff, however imaginative it may be, just doesn't merit me singling it out as the best track he has written because he is still re-threading late romanticism and/or just because it doesn't flow together as well as an individual track. I don't really gravitate toward most of his "big" scores too much, but this one is different. His finest score to date together with A.I. Then the 9 other tracks in no particular order for a top 10: Abandoned in the Woods from A.I. Artificial Intelligence Seven Years in Tibet from Seven Years in Tibet The Farewell Scene from Nixon An Architect's Dream from The Towering Inferno Funeral Pyre for a Jedi from Star Wars: Return of the Jedi The People's House from Lincoln Hatching Baby Raptor from Jurassic Park Confluence from Memoirs of a Geisha Love Theme from Jane Eyre Here is what I am not so much into: action music, his big, popular main themes and end title music in general, although they are some exceptions - these things tend to fall short of all time greatness. For me, Williams isn't that good at writing outstanding individual tracks, either Morricone or Newman are the best at that among living film composers and that is probably why I spend less time listening to JW's music these days, I am not really a bigger picture kind of guy, it is all about the best individual tracks most of the time for me.
  5. Not really a fan of either, but at least Zimmer has written 2 good scores - Inception and The Thin Red Line. Giacchino has Lost which is my favourite work of his, but I can't say I love that, but it is his best work to date. I consider Zimmer superior - his highs are more frequent and higher than Giacchino's. Giacchino is probably the most overrated film composer working at the moment (Zimmer is also one of the most overrated composers right now, but at least he sometimes, but rarely delivers - the last time he delivered the goods for me was Inception, which at the time was a fresh score - a rare achievement for film scores).
  6. Top 5 film scores of 2018 - these 5 would have been my Oscar nominees: The Sisters Brothers - Alexandre Desplat Out of the Shadows - Christopher Gordon Most Beautiful Island - Jeffery Alan Jones Thoroughbreds - Erik Friedlander You Were Never Really Here - Jonny Greenwood
  7. I am wondering, has J.K. Rowling ever commented on the Harry Potter music and/or on Williams? I don't think I have ever heard her comment on it.
  8. We are limiting ourselves to one track per score. I am curious what you guys would select as his five finest tracks from the 21st century. My top 5 John Williams's film music tracks from the 21st century (so far) are: 1. Abandoned in the Woods from A.I. Artificial Intelligence 2. Confluence from Memoirs of a Geisha 3. The People's House from Lincoln 4. A New Beginning from Minority Report 5. The Abduction from Star Wars: The Force Awakens The three first ones were easy to decide on, the two last ones was much harder and keep changing. What would your top 5 look like?
  9. It is the shortlist, these 15 scores will be narrowed down to 5 nominations.
  10. Mine would be almost the same as yours, but I think Desplat will make the cut. Not sure who I would bump out in favor of Desplat though. I think If Beale Street Could Talk will win the Oscar.
  11. The Academy of Motion Picture Arts and Sciences today announced the shortlists for several categories for the 91st Academy Awards, including Best Original Score and Best Original Song. The nominations will be announced on January 22, 2019 and the awards show will be held on February 24. Fifteen scores will advance in the Original Score category for the 91st Academy Awards. One hundred fifty-six scores were eligible in the category. Members of the Music Branch vote to determine the shortlist and the nominees. The scores listed in alphabetical order by film title are: “Annihilation” – Geoff Barrow & Ben Salisbury “Avengers: Infinity War” – Alan Silvestri “The Ballad of Buster Scruggs” – Carter Burwell “Black Panther” – Ludwig Goransson “BlacKkKlansman” – Terence Blanchard “Crazy Rich Asians” – Brian Tyler “The Death of Stalin” – Christopher Willis “Fantastic Beasts: The Crimes of Grindelwald” – James Newton Howard “First Man” – Justin Hurwitz “If Beale Street Could Talk” – Nicholas Britell “Isle of Dogs” – Alexandre Desplat “Mary Poppins Returns” – Marc Shaiman “A Quiet Place” – Marco Beltrami “Ready Player One” – Alan Silvestri “Vice” – Nicholas Britell Adés didn't make the cut apparently. No Red Sparrow or the other better Desplat score either - are there any other "snubs"? No Greenwood or Yorke either. No Giacchino.
  12. Best Original Score – Motion Picture: Marco Beltrami (“A Quiet Place”) Alexandre Desplat (“Isle of Dogs”) Ludwig Göransson (“Black Panther”) Justin Hurwitz (“First Man”) Marc Shaiman (“Mary Poppins Returns”) A bit sad to see Newton Howard miss out, I still consider his Red Sparrow one of the best of the year even if I wouldn't give the score more than 3 stars. I also prefer Desplat's The Sisters Brothers from this year. No Adés either apparently. I thought Britell would be cited to be honest even if I didn't like his score much.
  13. Maps to the Stars - Howard Shore Imaginative and good, Shore's finest score since The Lord of the Rings, much preferable than the tired Hobbit stuff. Top 5 of 2014 material. War Horse - John Williams Still not a big fan of this. For all its characteristic craftmanship, it lacks distinction. Still, it is top 10 of 2011 material, maybe even top 5. American Beauty - Thomas Newman The best score of 1999 for me (followed by Titus, The Matrix, Star Wars: The Phantom Menace and The Mummy - now that was a good year for film music, full of highlights). Gorgeous, inventive - top 5 Newman. Angels in America - Thomas Newman Bliss, also top 5 Newman. I don't want to pick between this and The Lord of the Rings: The Return of the King for the best score of 2003 - both are two of my favourite scores of all time. Michael Collins - Elliot Goldenthal My favourite score of 1996. Top 5 Goldenthal. This is just tremendous and moving. This has to be one of the most underrated film scores out there despite the Oscar nomination.
  14. How would you rank your top 10 living film composers? 1. Thomas Newman 2. Elliot Goldenthal 3. Ennio Morricone 4. John Williams 5. Howard Shore 6. Vangelis 7. Cliff Martinez 8. Lim Giong 9. Ryuichi Sakamoto 10. Hans Zimmer Newman is my favourite living film composer - he is the rare original, unmistakable voice, and for sheer inventiveness, he is hard to beat. Goldenthal is the most exciting living film composer. Morricone is more idiosyncratic and progressive than Williams. To me Williams is close to Morricone, but I prefer Goldenthal's and Newman's music over Williams/Morricone. Shore has written more good scores than Vangelis, so he wins. I like Vangelis's Blade Runner more than anything Hisaishi and Sakamoto have done, and I also like a few of his other scores a lot. Sakamoto's music is generally more to my taste than Hisaishi's, but Hisaishi's overall body of film work is maybe stronger. Martinez and Zimmer are close to each other for me. In general, I prefer Martinez's music, and I only really like two Zimmer scores and they are The Thin Red Line and Inception. Martinez has Solaris and Drive that I like a lot. I will give the edge to Zimmer for now, mainly because of The Thin Red Line though. What do you say?
  15. Lovely evocative cue that one. Little Buddha might be Sakamoto's finest film score. I think he said that he considers it his best film score. The Last Emperor is the one that comes close to me. I also like stuff like Merry Christmas Mr. Lawrence, but mostly just for the theme. Do you have a favourite of the film scores you've written? Sakamoto: The most memorable that I've written is from Little Buddha – the very last cue from Little Buddha. I was so satisfied with the quality of the music, with the role of the music in the film, and Bertolucci also liked it. That was actually the fifth trial I did for that cue. Four trials were rejected by Bertolucci, and that was the fifth one, it was a hard task – maybe that's why it was the most memorable! Recently, the theme of The Revenant is something I'm satisfied with, too.
  16. More Kevin Puts: Puts has written in virtually every musical genre; is there something new he’d like to try? Puts: “I’d like to write film music. I think I’m just as influenced in my own music by film music, and film itself as I am by art music. Some of the first music I really loved was John Williams’s film scores when I was a kid—Star Wars, E.T. I still love them deeply, and I have the scores now. I hope I can find a way to do that.” - https://www.sfsymphony.org/Watch-Listen-Learn/Read-Program-Notes/Articles-Interviews/Original-Voices-Composers-Kevin-Puts-and-Anna-Clyn.aspx
  17. Odd that this hasn't been reported at an English-language site yet, maybe just a matter of time. I can see it taking off.
  18. What does he say about Williams and Zimmer? Also, what does he say about Tarantino? Why is he a cretin? Can someone please post a translation of what he said about them?
  19. The esteemed Thomas Adés recently in an interview said that he loves Williams (and Waxman, Bernstein, Legrand) in film music: Obviously, there is a fine tradition of classical composers scoring film. Were there particular composers that inspired you? Adés: "In film music, I love Franz Waxman, Michel Legrand, Elmer Bernstein, and John Williams. Of classical composers who have written for film: Sergei Prokofiev, Per Nørgård." - https://bleeckerstreetmedia.com/guilds/editorial/interview-with-composter-thomas-ades?return=colette Mason Bates wrote this back in 2016 about E.T.:
  20. I didn't see this until now. Williams apparently wrote an advance review of Morricone's upcoming book/biography that is out next year: "Throughout his long and distinguished career, Ennio Morricone has consistently proven to be one of the most imaginative and idiosyncratic composers in the history of cinema. This book reveals the powerful personality behind his brilliant work and will be rewarding reading for anyone interested in the magic of music in film." -- John Williams https://www.amazon.com/Ennio-Morricone-His-Own-Words/dp/0190681012/
  21. This obscurity emerges as one of this year's best film scores (what a weak year for scores it has been). For fans of dark, unsettling soundscapes, this might be worth a listen. It expresses a dissatisfaction with the status quo.
  22. Ops, I accidentally voted on Waxman, it should be "other" - North, but I can not change my vote. Followed by Takemitsu. They had chops and imagination beyond everyone else.
  23. Red Sparrow - James Newton Howard The opening is quite nice and I guess it is one of the brightest film music moments of the year (which doesn't say much as all given the weak year), but most of the rest passes by without any of it having any effect on me, I just find the underscore nondescript and dull.
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