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artguy360

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artguy360 last won the day on May 27

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  1. artguy360

    Godzilla: King of The Monsters - Bear McCreary

    Will he top Shiro Sagisu's contribution to the long history of Godzilla scores? To me that is the best modern Godzilla score.
  2. Nice article. I don't recall hearing from his brothers much before.
  3. artguy360

    Michael Giacchino: Unpopular Opinions

    He is one of the best composers working in Hollywood today and, at minimum, always writes a serviceable score. I think he is far better at writing for smaller moments then for balls to the wall grandeur. For example, I find the emotional intimacy of the score for UP much more impactful than the attempt at awe in the main theme to Jurassic World. Often his attempts at epic or lush sound heavy-handed and stilted.
  4. artguy360

    Balfe's Picasso

    I like Balfe's score overall but am very distracted by the similarity of "A True Passion" from Picasso and "Gabriel's Oboe" from The Mission. It is much more than a passing similarity and I find it distracting.
  5. Well I guess we're going to find out what a Gia Indy score sounds like. In all seriousness, I think he would do better with Indy than SW.
  6. artguy360

    The STAR WARS Main Title

    I've been listening to the podcast for a while now and I love it. One of my favorite score podcasts out there.
  7. Nice thread. I often create custom playlists for albums or soundtracks but only when I think I can create a nice flow with the available tracks as I have no editing software whatsoever. I find it kind of fun to distill a listening experience down to the best parts while still trying to capture the range of the original material.
  8. I remember one of the first times I became aware of this JW technique. I must have listened to The Phantom Menace complete score 5 or 6 times before I noticed the subtle use of Yoda's theme at around 56 seconds into this track: Just sublime. I'm sure this is no mystery to any member of this forum, but I absolutely love, love, LOVE the theme used as background counterpoint to the brassy fanfare in Start Your Engines from TPM:
  9. This is exactly the kind of musical moment I'm talking about. The Force theme is almost quoted in the background, like it's trying not to draw attention to itself. Perfect example.
  10. I saw the movie recently and the score as heard in the film continues a few issues I have with many of Gia's scores (excepting his work for animated films) where the music seems too over the top for the visuals on screen. A few times in the film there are HUGE string flourishes played to accompany a car arriving at a mansion or as the camera pulls up to look over a forest. Perfectly nice views that do not need a full blast of grandiose orchestral accompaniment. It sounds like the music is trying to hard to be big at those moments. The new bad guy march is pretty good but also completely lacking in any restraint or subtly which makes it almost difficult to listen to on the OST.
  11. I'm not sure how else to describe these musical moments but I've recently become fascinated by moments when JW employs thematic material almost as transitional music or, to my ears, like a melody passing by in a breeze. They're usually short, very fluid, and almost like incidental background music but clearly a theme chosen on purpose. I have a few examples, to illustrate the kind of musical moment I'm talking about. One that just struck me is the use of the Force theme in Farewell and The Trip from TFA, from 2:12 to 2:36 or so: And again with the Force theme, how it kind of peaks into Escape from TLJ as a bridge between transitional music from 6:50 onward: I wonder if anyone else has any other examples or shares my love for these brief snippets of music.
  12. Curiously, this is one emotion (or range of emotions) that I don't really gel with JW's modern take on, or at least when he goes big. Stuff like Anakin's Victory from TPM or The Float from CMIYC have a kind of orchestral stilted-ness to them that don't quite capture the feeling of exuberant joy or happiness that they seem to be going for.
  13. Confluence from Memoirs of a Geisha. Amazing track with great range, rich orchestrations, a full expression of the main theme, and a very satisfying conclusion.
  14. Sorry this is not quite the right topic but I figured people posting here would know the answer to my question: Is the ailing triceratops music from the original JP quoted/featured somewhere in the first Jurassic World? I feel like it was but I can't remember where or when. Anyone know?
  15. artguy360

    John Williams' Magnum Opus

    In terms of individual scores, I would say ET and CE3K. Of the two, I think ET nudges out CE3K just because of how wonderful the thematic development is and how the whole score builds and builds to the amazing emotional pay-off the the ending. CE3K is a hell of a ride from beginning to end and kind of fits more of the grand, challenging, rewarding listening experience one might expect from a magnum opus. In terms of a series of scores, Star Wars is the clear winner.
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