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    • Jay

      Donate to JWFan, win a CD!   05/30/17

      Hello!

      We are significantly behind on our funds for keeping JWFan alive, and need to collect donations again.
      As an incentive, I am offering a series of free CDS to anyone who donates over a certain amount!   Donate at least $10 and you will be entered into a pool to potentially win one of the following once we hit our $250 goal:   Tyler Bates - God of War; Ascension (OST, La La Land Records) Danny Elfman - Planet of the Apes (OST, Sony) Danny Elfman - Taking Woodstock (OST, La La Land Records) Christopher Lennertz - Identity Thief (OST, La La Land Records) Christopher Lennertz - Medal of Honor: Rising Sun (OST) Michael Giacchino - Mission: Impossible - Ghost Protocol (OST, Varese Sarabande) Dave Holmes & Various - Ocean's 11 (OST, WB Records) Joel McNeely & Various - Hollywood '94 (Varese Sarabande) Joe Kraemer - Jack Reacher (OST, La La Land Records) John Williams - Born on the Fourth of July (OST, MCA Records)   Donate at least $20 and you will be entered into a pool to potentially win one of the following once we hit our $500 goal:   John Barry - First Love (La La Land) Jerry Goldsmith - The Challenge (La La Land) Jerry Goldsmith - In Harm's Way (2009 Intrada edition) Jerry Goldsmith - The Red Pony (Varese) Alan Silvestri - Dutch (La La Land) Shirley Walker - Willard (La La Land) John Williams - Family Plot (Varese Sarabande) or, any of the above CDs if you prefer   Donate at least $30 and you will be entered into a pool to potentially win one of the following once we hit our $750 goal:   James Horner - Gorky Park (OOP Kritzerland Edition) James Newton Howard - Outbreak (2CD, Varese Deluxe Edition) Laurence Rosenthal - Clash of the Titans (2CD, Intrada) John Williams - The Fury (2CD, La La Land) John Williams - Jane Eyre (OOP, La La Land) or, any of the above CDs if you prefer   Donate at least $50 and you will be entered into a pool to potentially win one of the following once we hit our $1,000 goal:   Jerry Fielding - The Wild Bunch (3CD, FSM) Ira Newborn - The Naked Gun trilogy (3CD, La La Land) Shirley Walker and Various - Batman: The Animated Series Volume 3 (4CD, La La Land) or, any of the above CDs if you prefer     All shipping will be paid by me to anywhere in the world!   I will pull names from a hat for each pool, and you get to pick whatever CD set you want if I pull your name!   To be eligible, leave your JWFan username in the comments area of your donation.  If you want to donate but not be in the running for a free CD, mention that in the comment.   Use this link or the link on the mainpage.       Thank you!   Jason, Ricard, and Andreas.

Will

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Will last won the day on February 19

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  1. The Light Between Oceans (Desplat) Lots of great stuff here. Here's one of the best cues - sounds a little like A.I.!
  2. The film is out on October 20. The book it's based on is by Brian Selznick, the author of Hugo. It's been a very long time since I read Wonderstruck, but I remember finding it a beautiful, haunting, and inspiring tale (there are two interlocking story-lines, one told in pictures and one in words). But the reason I got excited about it and started this thread was because, in the film, one of the story-lines will be told as a silent, black and white film! (Source) The director described that part as being "dominated by music ... there is some sound design in it, but it is not naturalistic or literal." I obviously am really excited to see the results of this rather unique situation. It's not often that a composer gets this great of an opportunity! I'm not really familiar with Burwell, but I hope he knocks it out of the park!
  3. No, it's necessary.
  4. Woah. Of course it's nothing particularly special, but since I'm dying for more footage/images, anything is awesome!
  5. https://www.bc.edu/alumni/events/pops.html?utm_source=alias&utm_medium=alias&utm_content=20160302&utm_campaign=pops Williams apparently conducted at the 2007 Pops on the Heights fundraiser (article: http://newspapers.bc.edu/cgi-bin/bostonsh?a=d&d=bcheights20071001.2.103), but it is unclear if he will do anything this year (perhaps a piece or two?), given that Lockhart will be there.
  6. Interesting study. Makes sense - and I am definitely guilty of over-rationalizing when making purchases, etc. However, it's not that I'm uncomfortable with emotional films per se - it's simply that I've noticed that films that aren't particularly emotional (and here I'm mostly referring to "negative emotions" like sadness and fear) tend to be the ones I'm most likely to watch movie clips of, listen to the music of, etc. I suppose it's possible that I'm finding the wrong correlations here, and that there are other reasons. I certainly don't avoid watching very emotional films - I watch many! This trend is just something I had observed that I found fascinating.
  7. Was very cloudy here but still cool. Sounds like there was a major difference between an 87% eclipse (which we had) and a full one, though!
  8. And I do too. I suppose I'm pretty narrowly defining the term, but what I meant by emotion was strong, visceral reactions of sadness or fear (which, at least for me, tend to be the only emotions that can completely "take over" during a film). Happiness, wonder, etc. are all emotions too; I just don't think they pull me out of my world in the same way that sadness and fear do, so I consider them to be in a different group, at least for purposes of my discussion here. Somehow, I, presumably like many if not most other humans, am "gripped" more by negative emotions than by positive ones. It's much easier to hold my attention, in the moment, with a war film or Titanic than with The BFG or even Mission: Impossible - Rogue Nation (some may argue that BFG and M:I-5 aren't as gripping because they're simply inferior, but the reasoning there seems a little circular, since they would be assuming the inferiority of the film in order to prove why it wasn't gripping, even though the fact that it wasn't gripping probably was one of the reasons they thought it was inferior in the first place...) Anyway, my point is that, in terms of "gripping-ness," films that are generally optimistic and don't take themselves too seriously don't stand a chance, for me, and, I would guess, many others. My point in this paragraph was to show how certain emotions can have wildly different effects on the viewing experience. Now, getting back to your original point, about the connection between beauty and emotion: When I saw Rey's introduction scene in TFA, I was filled with what I can best describe as wonder. Sure, that's an emotion. But it's not one of the emotions I was referring to above in my usage of the term (not that I can blame you for not realizing that, since I don't think I was clear). I think there may be something about it that distinguishes it from other "movie emotions," at least in my mind. It's not as powerful and gripping as sadness or fear, but doesn't pull you out of the film as much as laughter... Great post. It's definitely a very complex and individual thing. Perhaps it's best not to analyze it too much. It's certainly far from the only human practice that can be difficult to "justify" in a satisfying way. Sometimes we just want to do certain things, I guess.
  9. I guess the ability of a filmmaker to make you feel strong emotions can be seen as a form of beauty, as well, just the same as the imagery, music, etc. I've seen a lot of you guys say that the point of film is emotion (or something to that effect). I wonder, though, whether it might be beauty instead. I never became particularly attached to Rey's character in TFA, yet I'll always remember how beautiful I found her introduction sequence on first viewing, in large part due to Williams' amazing score.
  10. Composer Threads

    This is a new interview, right? According to a Filmtracks poster (I haven't had time to listen to it): Sounds interesting! EDIT: Around 40:30, Powell says his album of choral music will come out around the end of the year. (However, at least from the bits I've heard, he doesn't say whether the requiem will be on it.) Then around 41:30, he said he plans to put out an album of concert music every year! At 43:30, he begins a discussion of the composer/orchestrator/arranger dynamic. (He is very upfront about having a "team," but also notes that much of what they're doing is mock-ups.) Near the end he makes a comment about most film music now sounding the same.
  11. @Brundlefly, I'll admit I haven't seen any of the films on your list.
  12. I suppose I treated "emotion" and "philosophical message" a bit fluidly in my original post. I would say that Star Wars definitely has a philosophical message, but I've never found it particularly emotionally involving -- or involving, period. There are many films that do a better job at that. On many occasions (although this could be, unsurprisingly, partly because I've watched some multiple times) I find Star Wars boring, frankly. Titanic would be an example of a film that gripped me to a much greater level. Similarly, The Tree of Life is another film I found boring, but still can't forget. While watching, I was almost completely emotionally uninvolved, and, I believe at least partially therefore, generally uninvolved. In both films/film series, there is plenty of emotion to be found, but, at least in my experience, it's often found in a more cerebral, less visceral way. (Take Rogue One: I didn't find it particularly moving on the surface, but if you thought a little bit about it, you were like, "Gee, that's heartbreaking." I originally saw that as a defect, but now I'm not completely sure...) Basically, I treated both SW and Tree as conforming to my groupings because every individual element in them can fit into pure entertainment or pure philosophy. There is little raw emotion to be found in either, imho (not that there aren't some exceptions, but in general when you compare them to really moving, gripping films, I don't think there's a comparison). You may also have noticed another somewhat confusing thing about this argument: There's a very fine line between being emotionally involved in a film and being gripped simply by the action. I think I've stumbled a bit in trying to differentiate them here. The most I can say is that even action drama that is gripping to me tends to have a strong emotional edge to it (e.g. Titanic). I don't think there's a major distinction, at least for me. I guess the exception would be "horror," like in Jaws, but not that many major films have that for more than a couple minutes at a time. Here's another "version" of my argument: Emotion clouds your judgement. (We've heard this, of course, in Star Wars!) Whatever we "learn" from a film where we feel very emotionally involved isn't pure. For example, watching a very sad, emotionally involving film where one group oppresses another will likely make you angry at the oppressing group. You may become filled with a sense of moral righteousness, but your opinion may not be very well-informed and rational, if it is created in the midst of anger. So what have you "gained"? You've become sad and angry (not very fun!) and you now have a half-baked but strongly held opinion about some social issue. I think political opinions and such may be better formed separate from strong emotions like anger and righteousness. This is in addition to my suggestion that watching films is simply more fun when you're not that emotionally involved and can stay in the "real world," particularly if you're watching with friends or other family members. (The exception, of course, is if the "real world" for you isn't that great, but I am lucky enough to generally be in a good mood due to living in fairly good Western circumstances.) Of course, that is not to say that there is not some value in emotionally involving films in increasing empathy. But for whatever reason, I have trouble thinking of time where I left a film thinking, "I'm so happy I watched this film - it increased my empathy!" I have done that with books, however. My point wasn't that no film with surface-level emotion could be interesting to me. Rather, my point was that, upon reflection, it seems to me that few of the films that I want anything to do with after watching them draw me in emotionally. In fact, many of them I find to be rather boring to watch, certainly compared to heart-pounding emotional stuff. Now, perhaps this indicates that I have low emotional sensitivity, but I've actually found in the past several months that I seem to have very high levels of empathy, so I doubt this is the case (hope this is not the case ). Anyway, I just find this line of thought interesting because it can re-contextualize boringness as time for thought. Some cultures (e.g. Taosim) involve meditating for hours at a time, and they see this "boringness" as very important. Again, I'm not entirely sure if this line of argument is accurately representing my psychology (I came up with it in about half an hour, after all!) but it certainly seems fascinating. @TheGreyPilgrim, sorry to throw you into this discussion (and you don't have to respond if you don't want to, of course!), but I'd be interested in knowing your thoughts on some of this stuff. I know you tend to be a big fan, as best I can tell, of films that I would say lack major surface-level emotion (such as The Tree of Life and Dunkirk), although obviously that's far from exclusively what you like.
  13. Best part from the MassLive article Miguel linked to (http://www.masslive.com/entertainment/index.ssf/2017/08/john_williams_teases_indiana_j.html): I think that's our first confirmation from Williams himself that he wants to do it! So I think we can assume he will if he stays healthy (and the film gets made, of course).
  14. I should try Miyazaki sometime. A lot of people here seem to really like him.