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Datameister

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Datameister last won the day on December 30 2018

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About Datameister

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  1. Datameister

    GALAXY's EDGE - New John Williams composition (2018)

    I did say "if." With regards to whether that actually is the goal, I suppose it depends on whose goals we're talking about. People whose job is to maximize profits will of course have that as their goal, generally speaking. Not everyone a company employs will fit that description, though - even when you're talking about a public company as massive and risk-averse as Disney. Some people like creating immersive stuff. Besides, there's a broader trend in American theme park design right now toward ultra-immersive IP-based lands: Cars Land, Wizarding World, Pandora, Galaxy's Edge, that sort of thing. These are spaces whose designs are approved with maximal profit being a major goal, yes, but part of how they aim to do that is by appealing to the hardcore fans who want to spend lots of time soaking up all the details, catching all the Easter eggs, indulging the fantasy that they've actually stepped into a galaxy far, far away. Naturally, there are a lot of other markets they're going after, too - many of them much broader and much less discerning. But even for them, having a good time and feeling like you're there don't have to be mutually exclusive. At the very least, "complete immersion" is a significant part of how they're marketing Galaxy's Edge. I suppose this discussion is a bit pointless if they've already confirmed the use of diegetic area BGM, as @Tom says. (Where did you hear that, Tom, if you remember? Just curious.) But in the absence of that confirmation, I would concede that the BGM situation could just as easily be going the other way. I would just find it disappointing based on my own tastes - tastes which also lead me to find Disneyland delightful and Caesars Palace vaguely repulsive. EDIT: I'm an idiot. They confirmed it in the very page I linked to. "John Williams, who composed the saga’s unforgettable scores, has written new compositions for the land, which will play during cinematic moments in Smugglers Run and Rise of the Resistance. And the land promises to be filled with alien languages, sound effects, and the pop music of Batuu. 'We’re creating a soundscape,' said John Dennis, executive creative director of music production at Walt Disney Imagineering." That settles it. Total immersion wins here, at least!
  2. Datameister

    GALAXY's EDGE - New John Williams composition (2018)

    Oh, did they? I must have missed that. I only knew about the diegetic music inside Oga's Cantina. Yay! Even the entrances to the land seem like they'd be a technical challenge - based on the layout, I'd imagine they don't have much sonic isolation from the nearby areas of the land itself, nor from the nearby areas of Frontierland and Critter Country. (I'm talking about the Disneyland version, of course. I'm less familiar with how the Florida version is situated.) But who knows!
  3. Datameister

    GALAXY's EDGE - New John Williams composition (2018)

    If the goal is total immersion, I would argue that the use of orchestral score in the area BGM would be counterproductive. They have used this approach sporadically in Tomorrowland when it's been in full-blown Star Wars mode, and I'm not a fan. The SW scores follow the action so closely and hit so many leitmotifs that I end up feeling vaguely like there are specific moments going on nearby that we're all supposed to be reacting to. But instead, I'm marveling at the rockwork and architecture, or checking wait times, or looking for a restroom, or whatever. Nothing that would prompt a statement of Leia's theme or a dramatic action cue, in other words. On the other hand, stepping into a specific, directed story like a show or an attraction queue provides a great opportunity for orchestral underscore. And it's all the more effective if you haven't already been listening to a bunch of Star Wars music for the last half-hour already. Just my perspective, though. I'm also probably biased by comparisons to Wizarding World, where they did not take my approach...and Universal's proclivity for overly-short BGM loops gets on my nerves.
  4. Datameister

    GALAXY's EDGE - New John Williams composition (2018)

    I wouldn't read too much into his wording. That was the concert suite as recorded (plus the alternate beginning); I think he was just saying it hadn't been heard before in its entirety. I'm gonna go out on a limb here and say this will definitely get officially released in some form eventually, though. Probably either what we heard at SW Celebration or the same thing without the alternate intro. (Please let them include it!) When a music project from the parks is high-profile enough to get blog posts and official YouTube music videos and featured moments in conventions (even as exit music), it's something they'll include either on a standalone Galaxy's Edge album or at least on one of the whole-park/whole-resort soundtracks. It's a matter of when, not if, IMO. As for the "blasting through the park all day", I'm guessing - and god, I hope I'm right - that this will NOT be part of the area background music in Galaxy's Edge. I want relatively unobtrusive indigenous Batuu music, not something orchestral and flashy and "Star Warsy." All of that wonderfulness can be saved for the queues and attractions. But if it's not and they do go orchestral for the area BGM, I'd be very surprised if it's all based on this new theme. Area BGM loops are typically over an hour long, and I doubt Williams has written and recorded over an hour of non-monotonous variations on this theme. In fact, I'm really wondering where this theme will be used in the parks at all. It makes a lot of sense as trailer/promo music, but I can't think of anywhere it seems like it would fit in the land itself. Oh well...we'll know either way in a little over a month.
  5. Datameister

    GALAXY's EDGE - New John Williams composition (2018)

    That opening fanfare seems to match a bit of sheet music distantly seen in the initial music video with the title "Galaxy's Edge Alt. Beginning." It certainly wasn't recorded as part of "Galaxy's Edge" proper, which starts with a big slow swell directly into the shimmering strings. (The swell at the beginning of the alternate beginning, as heard under Josh Gad's closing words in the video you linked, is different.) And yeah, the original music video skips from the opening of the piece to near the end, starting with what you're referring to as the B theme. The more recent video contains statements of the same material from closer to the beginning.
  6. Datameister

    GALAXY's EDGE - New John Williams composition (2018)

    That'd be an instant purchase. (I finally just listened to the SW Celebration video with the full suite, and I'm so in love!) I'm really hoping that somehow we get a "Music of Galaxy's Edge" album like we did with Cars Land when that opened. In the meantime, pardon me while I go edit together the different bits that have been released... EDIT: Correct me if I'm wrong, but it seems like we have the following: 1. The full concert suite ("Galaxy's Edge") as heard at SW Celebration, including the absolutely incredible "Galaxy's Edge Alt. Beginning" 2. A clean abridged version of the same suite, omitting the alternate beginning and editing out most of the middle 3. A clean bit at the start of the middle section that was edited out of #2, heard in this video 4. In that same video, what seems to be a similar alternate ending to the concert suite 5. The Coke ad
  7. Datameister

    Williams' manliest most testosterone-fuelled music?

    I don't think it's been mentioned as a contender - the revised music for the werewolf chase in POA. Lots of low brass and pounding percussion. There's also a brief moment as the Falcon is about to escape from the space worm in Empire. A simple and exposed but extremely effective mini-melody for low brass.
  8. In the film, I like the lack of music between those cues. (Obviously, it still would've been even cooler if Williams had recorded some unused cue for this part of the sequence!) Unscored action scenes can be extremely effective, IMO. The T-Rex attack in the first JP and the bar fight in Raiders play beautifully with no music whatsoever. (Again, if only there were unused cues we could listen to outside the context of the film!) As far as why goes...your guess is as good as mine, but my money's on the contrast thing and (especially) avoiding audience fatigue.
  9. Datameister

    The End of Hook

    You got that right.
  10. I remember hearing the music for the basket sequence in Raiders for the first time and thinking, Well, even the guy who wrote Star Wars has got to screw up sometimes. Now it's one of many cues that cement this as one of my top favorite scores. I also remember TLW being an enormous disappointment for me at first. I couldn't recognize its brilliance till I stopped comparing it to the first score and accepted that it was written with very different goals in mind.
  11. Totally depends on the person, yeah. Also, it depends on their goal. Do they want to get a sense of my musical tastes? Raiders would probably be one of them. Not sure on the other. Do they want to get a sense for what film music is like in general? There's no way just two scores can possibly sum that up, although POA would indeed be an interesting start. Are they hoping to be wooed into loving film music? One of my recommendations would probably be something Horner, and/or even Zimmer, unless I happen to know that they're already a fan of less immediately accessible orchestral music.
  12. If you want balls-to-the-wall excitement, go for the original Raiders recording. If you want technical accuracy, go anywhere but. 😋
  13. Datameister

    The small talk Thread

    Waitlist for Attractions...sounds very familiar! Good times...
  14. Datameister

    Taking a John Williams break now and then...

    I don't typically take intentional breaks, but I'll sometimes end up going through a period where I don't listen to as much music, or as much of a specific composer, including Williams. It's always such a blast to rediscover this stuff when your brain has had a chance to de-acclimate to listening to it all the time.
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