russds

The man is so humble!

Yeah, great little interview. So interesting to hear JW speak sometimes. While reading the article, my first thought, was what is JW going to say about hearing the score in the new film, what are his thoughts on the Zimmer score, etc. ....then JW pulls the Christopher Reeves card, and I was reminded JW is not just a gifted music, but a profound human with his priorities and humility in check. Like a wise old grandpa we all wish we had, that somehow knows everything about everything,....who happens to also be a world class composer.

For 81, the man is quite fit. Must be all those walks in Tanglewood....

And he's also dead serious when answering the question. Bring on the champagne!

I'd like a good movie while we're at it.

Just a note, I contacted the radio station and they'll send me the full audio CD by mail. I'll upload it somewhere when I get it so we should all have this soon. Special thanks to Jim Svejda for having a kind heart to a JW fan.

Really? So same opening sequence, with JW score but someone else (MG perhaps) scores the rest? I don't think i would like that, it should be either one way or the other, either traditional movie, authentic JW score, or do something new, fresh, with modern polish. It will be interesting to see, what actually happens.

I want Zelda Pixar.

Ocarina of Time is a timeless classic.
A masterpiece. I don't use that word lightly. And certainly not with video games.

As Hans Zimmer once said, "Close Encounters is as good as anything Stravinsky wrote"
Hear, hear!

I was telling Stefan that in some parts of the movie the 3D is so good I was trying to look around objects in the foreground to see the background.

Dave and I waited for one of Cinema's great lines.
http://www.hark.com/clips/grbdpthytv-dinosaur-tour
Ian: "Now, eventually you do plan to have dinosaurs on your dinosaur tour, right? Hello? Yes?" Hammond: "I really hate that man!"
so perfect

Warning... I just got home after seeing it. Call it a biased review, because I am a HUGE fan of Jurassic Park. as you can tell. It is indeed my personal favorite movie.
My verdict... awesome and amazing! So worth it to see in 3D Imax! You really feel so close and so part of it all! Many scenes were so perfect for the format in their composition naturally that it was such a treat! The sound was loud and surrounding. Music blared. The audience totally ate it up. There were some kids near me that made some sounds in a few quiet moments but quickly were shooshed by their parents. By the time that T-rex showed up... they were silent.

This movie lives on the screen. That's where it belongs. Its such a perfect cinematic adventure.Everything holds up so well. And some parts actually made me jump due to sound and how big it was! And I knew everything that was coming! One part inparticluar was so effective in 3D that made MANY people jump, including me a bit! I didn't expect it!

It's funny, because at times watching certain scenes reminded me of looking through my Jurassic Park ViewMaster 3D reels as a kid! Obviously the 3D here was a much better effect, but this kind of feeling gave me EVEN MORE nostalgia watching it. I felt like the whole movie was through the ViewMaster of my youth now!

It's a world I always want to be a part of. I really didn't want to leave. This was truly where I.belonged. So happy to have experienced this film, my favorite, in such an astounding and community-esque way.

I'm sure few people will ever understand. This is my Star Wars.
If anyone has anything to ask about it, let me know. That changes I mentioned earlier in this thread were actually the only real changes I could spot in the entire film. Otherwise, it looked and felt just like the Jurassic Park I always knew and loved... but as if I was there reliving it as if it was new again.
End of fanboy gushing.

I think this is my TOP 10:
1.
(CE3K)2.
(Last Crusade)3.
(Last Crusade)4.
(Last Crusade)5.
(Last Crusade)6. The Child Returns (The Temple Of Doom)
7. More Sacrifice (The Temple Of Doom)
8. The Rescue Of Sirius (The Prisoner Of Azkaban)
9. The Trouble With Dennis (Jurassic Park)
10. Revisiting Padme (Revenge Of The Sith)

Great videos! Thanks for posting! Definitely warranted a new thread in my opinion.
What struck me most, was the first video: here's Spielberg who I assume can move a mile a minute when making a movie, and who's mind is racing with ideas, and bursting with creativity to get his vision out....But simply explains his ideas, and then patiently....patiently waits while JW ponders the request and looks over the score. I could probably count on one hand the times I've seen a big wig celebrity type sit and wait for something like that. You can really see the decades of friendship and comradery.
Please, anyone who finds these gems on youtube or wherever, please don't hesitate to post them, make a new thread, whatever. This stuff is gold as far as I can tell.

Great videos! Thanks for posting! Definitely warranted a new thread in my opinion.
What struck me most, was the first video: here's Spielberg who I assume can move a mile a minute when making a movie, and who's mind is racing with ideas, and bursting with creativity to get his vision out....But simply explains his ideas, and then patiently....patiently waits while JW ponders the request and looks over the score. I could probably count on one hand the times I've seen a big wig celebrity type sit and wait for something like that. You can really see the decades of friendship and comradery.
Please, anyone who finds these gems on youtube or wherever, please don't hesitate to post them, make a new thread, whatever. This stuff is gold as far as I can tell.

Great videos! Thanks for posting! Definitely warranted a new thread in my opinion.
What struck me most, was the first video: here's Spielberg who I assume can move a mile a minute when making a movie, and who's mind is racing with ideas, and bursting with creativity to get his vision out....But simply explains his ideas, and then patiently....patiently waits while JW ponders the request and looks over the score. I could probably count on one hand the times I've seen a big wig celebrity type sit and wait for something like that. You can really see the decades of friendship and comradery.
Please, anyone who finds these gems on youtube or wherever, please don't hesitate to post them, make a new thread, whatever. This stuff is gold as far as I can tell.

I promise you, he was just thinking. There's nothing "passive-aggressive" in his interaction with Spielberg. This is what directors and composers do during the scoring sessions—or what they should do. The composer's job is to make the director happy, and they're always ready to make adjustments on the fly in order to cater to the needs of the film. (Goldsmith was legendary for this.)
That's especially true when a) the relationship between the two goes back decades; b) said relationship is predicated on common understanding and and easy rapport; and c) the director considers music as important an element in the film as any other component (as Spielberg always has). Spielberg doesn't necessarily understand the intricate language and technicalities of music, but he knows the palette available to him, and how much he can reasonably draw from it. In this case, we see him making a request that's not a simple matter of adding a few measures in one section of the orchestra. It requires modulation at the very least, and a possible transposition for another section at the most. There are logistics involved in such a change—the time needed to reorchestrate, get the changes to the musicians, make sure everyone's on the same page with it, etc.—and you can see Williams taking those logistics into account here. Spielberg's aware of them too, which is why he suggests moving the recording for that cue back a day to compensate.
But Williams isn't seething with resentment at the idiotic director interfering with his masterpiece. He's just working through the puzzle, looking for the right fix. They've done this a hundred times together before. If only we could hope they'd both be around to do it a hundred more. . . .
- Uni

I can't bring myself to complain about what they haven't released, or might not release, or the quality of what they have released, on a day like today. If someone had told you people on Monday you'd be swimming in eleven minutes of unreleased JP music on Wednesday, you'd have pissed yourself with glee.
I'm thrilled with this—and somehow the fact that they didn't trumpet its imminence for a month ahead of time makes it even better. Think about it: we always hear about upcoming releases these days. We're constantly ticking off the days until we're able to pre-order a new release. How great is it to wake up and find one of our grails, something we've been waiting years to get our hands on, right there in arm's reach? That alone has enhanced this experience. It leaves me that much more grateful to the folks who put this together.
I think the remastering is instantly apparent, and the sound quality is fantastic. I love the new music . . . and somehow, today, it almost seems like the "old" music has a new feel to it. Maybe that's just because I'm so happy to be getting this. Whatever. I'll enjoy this as it was meant to be enjoyed, as the Maestro clearly intended his audience to enjoy it.
Thank you, John.
- Uni

I think we should support this financially. Maybe when TLW is rereleased we'll get another digital expansion, but only if this one sells.

I think the most amazing part of this expansion is that we get the full unedited Hungry Raptor. While the first half wasn't used in the film, we already had it completely clean via the end credits of the documentary on the making of the movie. But the ENDING of the cue was also unused in the film, so we've only ever been able to "hear" it via synth mockups.... until today!!
Everything else that was released today we could at least hear before in the film itself, but not that bit! And its an amazing bit!

It's a damn shame that they didn't include a 5th bonus track comprised of the other 3 remaining unreleased cues. I mean, they already went over what fits on one CD, so why not go over an additional 2:40 and release the COMPLETE score?

It seems like JW’s action music fits into three distinct categories.
Ostinato: categorized by rhymic repition. Swashbuckling: emphasis is on melody and harmony and ornaments. This is the Korngoldian/old fashion approach to action music. Modern: clusters and advanced techniques. Great for intense dinosaur music. Examples of the Ostinato action:
Empire Strikes Back: Hyperspace -
Phantom Menace: Duel of the Fates
(after chorus)Minority Report: Everybody Runs!
Minority Report: Spiders!
Examples of Swashbuckling/Melodic Action:
ESB: Asteriod Field:
Jaws: Shark Cage Fugue:
Star Wars: Battle of Yavin:
Hook: Ultimate War:
Jurrasic Park: TRex:
Far & Away, Indiana Jones, Superman, etc.
Modern:
Jurassic Park - Raptor:
I think if broken down by these three styles, you see more continuity in his action approach. For example, ostinato approach that seemed fresh in Minority Report was heard in Hyperspace too so its really just a matter of which action approach was used rather than an evolution. It seems like his bigger action sequences such as Battle of Hoth, Desert Chase in Indiana Jones, T-Rex finale in Jurassic switch between these various approaches depending on the dramatic needs.

One of my favorites.




The music for the TIE Fighter Attack is based on the Rebel Fanfare, with descending five-note phrases occurring throughout. This is film scoring at its most triumphant - a cue unlike any other ever written fora movie, and so kinestheticaliy connected to the imagery that it is impossible to believe either existed before the other. A crescendo is reached with the Death Star motif, which brilliantly carries the drama into its final act by musically reminding the audience that the real battle is still to come.