bollemanneke

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bollemanneke last won the day on November 20 2016

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  1. Okay, so this question probably doesn't really belong in this topic, but I think it sort of does and as we were unclear on the point of the discussion in the beginning, I'm just going on a limb here. Yesterday I accidentally discovered Erich Kunzel's re-recordings of a few JW pieces (concert arrangements and film cues) and really, really liked them, reminded me a bit of Herbert von Karajan's style. Other than that, my only experience with re-recordings comes from the City of Prague Orchestra, and, well, it's not really re-recording what they do, more like trying and failing to play JW. Their string section is great, but other than that, I don't like them at all. But now I'm wondering, can anyone tell me whether there are other conductors/ensembles worth checking out that have consistently produced JW re-recordings? So preferably not random Spotify tracks, but actual albums. I know John Debny nailed Superman, but would like more. I'm also much more interested in JW's output after Jaws (Harry Potter, Star Wars prequels, Hook, Home Alone, Schindler's List, Indy, etc.) And finally, for me a re-recording doesn't count if it's blatantly obvios that an untalented someone first arranged/messed with the music.
  2. Off-topic question: Why does Prague re-create JW music? Why not just go for the sheet music?
  3. You said earlier that finding your own voice is more difficult, but I can't even begin to describe how difficult it seems to me to, say, imitate Doyle or Williams. I can imagine how Doyle would handle a particular film moment, but re-creating what he would do is a different thing entirely.
  4. A few days ago, I was reading Filmtracks' Inferno review. In it, Clemensen talks about 'the failed methodology of group scoring', but he doesn't elaborate. So I want to know, why is this methodology a failure? I've always thought that ghostwriters must be extremely talented because they can basically pretend to imitate someone else's writing style without us realising they're replacing the main composer (Zimmer gives them credit, but that's another story). I would also think that group scoring allows composers to explore more in a limited amount of time and by doing so, they might gain experience faster. So what are the counter-arguments?
  5. Why on earth did Inferno get a low budget?
  6. Inferno. Pfffffffff... I feel out of breath and exhausted. What an insanely fast-paced film. The first half wasn't bad, especially the first half hour, though I quickly became tired of the fact that the whole thing is basically a nightmare from which we don't seem to wake up. Felicity Jones and Tom Hanks are good, but they don't seem to get a chance to think for, like, two seconds. As the story unfolded, I slowly lost interest. How did Sienna die, or did she die at all? Who is Buchard and who does he work for? I have no ide anymore because I didn't get ten seconds to just relax and understand anything. Flashback, cut to another scene, flashback, chase, vision, flashback, action... Everything was a blur. The provoste is good, but the love story between Langdon and Zimsky feels unnecessary. If they had cut that out and allowed the remainder of the plot ten minutes more airtime, or twenty, things would have been so much better. As a movie, it's tolerable at best, as a book adaptation, the ending sucks. And the score... I had already heard bad things about its over-reliance on electronics. I was surprised to find I actually liked some of them, though the low frequencies are way too over-emphasised, as always. Zimmer apparently also doesn't realise that you could score a religious sub plot using choir and orchestra: not everything needs to be synthethesized. Christ, I'm still feeling hyperactive.
  7. Indy and the last crusade. Wow, I never expected it to be THAT good! Where to start? The whole thing sounded so much better overall, you'd think they made the other two films thirty years ago. Though the story is at times absurd for non-religious people, it was much more compelling and interesting than the first two. Actually, I'd rather just pretend Temple of Doom never existed. What a drag that was compared to this one. This entry was also much more light-hearted and even funny at times. Sean Connery really hash an enormoush speech defect, good gracioush. But the best aspect was undoubtedly Williams' fantastic score. The holy grail theme is just magnificent. This was the first time that JW moved me so deeply, I just couldn't get enough of those solemn brass chords. Then the theme heard in 'Scherzo for Motorcycle and Orchestra'... I love it when Williams uses trumpets and oboes to play triplets at the same time. Then the Nazi theme... I've been watching a lot of Williams films this month: three Indy movies and Born on the Fourth of July, and then I also listened to a bunch of Boston Pops albums. I'm officially hooked on his scores and this one had better have a good album representation.
  8. This is fantastic! Please let us know when you update this list. EDIT: Could you tell us why you chose not to include concert arrangements present on OSTs?
  9. Aren't they also broadcast live on BBC Radio 3? Also, I just heard on the BBC News that there'll be a prom for people with physical and other impairments. Didn't realise that normal concerts aren't meant to amuse me. Can I still listen to the JW prom then? This is diversity gone crazy. Oh hang on, I'm forgetting the musicians who are all black or ethnic minorities. When I hear a musician, my first concern is obviously their skin colour... Do people really need to be told that ethnic minorities can play an instrument?
  10. This headline just made me laugh out loud: 'Williams drops big pregnancy hint on Snapchat' https://www.pressreader.com/uk/the-guardian/20170420/281801398839866
  11. What if you would just stick to OSTs and expanded albums? Or would you then not even have a fraction of the concert works?
  12. I was wondering if anyone has been keeping a list of John Williams' concert arrangements, suites and themes that have been released commercially so that one can listen to all his scores in a more structured way.
  13. What's also unfair is that, when the guy announced Gladiator, he first played the wrong track (I can easily forgive him that), but also said: Hans Zimmer writes terrific film music. I cannot forgive him that.
  14. They really should re-consider the entire voting procdure. It's unfair that Bach's Brandenburg concertos, Star Wars and Harry Potter are counted as one piece while every accident of a piano concerto gets its own little place.