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Larry O

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About Larry O

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  1. My bet: Matessino's work on Star Wars will be heard in the form of isolated (and alternate) score tracks on the 9 disc "skywalker saga" blu-ray set.
  2. The genius of Rey's theme showed itself in the initial reaction to the score in 2015, and then the reaction to the marketing for The Last Jedi in 2017 Many people (maybe not as learned as the posters here, for what its worth) were sort of nonplused by the score to Force Awakens - I remember more than a few people regarding Williams' score as being sort of "there" and not much more than that at first. Also, despite the fact there was obviously a "Rey's Theme," it seemed like many people couldn't locate Rey's Theme if they didn't go out of their way to seek out the soundtrack to the movie and give it repeat listens. And then when it came time to market The Last Jedi, Rey's Theme was very often front and center in the commercials and trailers, and people reacted as if an old friend was visiting them. It wasn't just recognizable, it was carrying a huge amount of the marketing's emotional weight. Somehow, between 2015 and 2017, that theme opened up in people's brains like a rose blooming.
  3. That specific font first showed up on the cover of his comics in 1972, and was used on the comic for 15 years.
  4. It's also funny how secretive and weird all these fan-editors/restorers are about their stuff. They act like if they make the stuff available on forums they'll get arrested or whatever. Lucasfilm knows they're doing this. It's not a secret. They know exactly who all these people are and where they're making all this stuff available. The only people being inconvenienced by all these hoops the "community" is making everyone jump through are the people who would like to watch them. Almost all the edits and restorations you'd ever want to see are padlocked behind a private torrent tracker whose owners havent let anyone new access it in almost five years, I think. You have people spending thousands of dollars (and in Adywan's case, a full decade of his life) to make these things, and of course they're slapping their own names in the credits because why wouldn't they, of course someone who wants the uncut unaltered theatrical versions would love a tacky intro screen and altered credits - the whole point of these things is for fans to see them, and they refuse to actually make them available to anyone outside the same 50 folks on their 1 torrent tracker because they think Lucasfilm doesn't know who they all are already and couldn't bust them all this second if they actually cared that much. But they don't care! They really don't. So long as nobody tries to sell them, nobody cares. So far as almost anyone else is concerned, the entire scene is like a couple thousand weird old men with a very specific hangup they can't get past.
  5. Williams: 1: Close Encounters of the Third Kind 2: E.T. the Extra Terrestrial 3: The Empire Strikes Back 4: Superman: The Movie 5: Star Wars Everyone Else: 1: Blade Runner - Vangelis 2: Psycho - Bernard Herrmann 3: Conan the Barbarian - Basil Poledouris 4: The Fellowship of the Ring - Howard Shore 5: Koyaanisqatsi - Philip Glass Combined: 1: Close Encounters 2: Blade Runner 3: Psycho 4: E.T 5: The Empire Strikes Back 6: Superman 7: Conan 8: Fellowship 9: Star Wars 10: Koyaanisqatsi
  6. Presumptious forum poster offers up lukewarm "hot take" pulled solely from his anus, connected directly to his bowels, located smack in the middle of his ears. Happens literally thousands of times an hour.
  7. look at the video quoted. Why would you think I was referencing a completely different set of videos whose whole point is to restore a theatrical edit? I'm confused as to why you would think I was talking about the despecialized editions when I mention "ugly special edition." they're called DE-SPECIALIZED. But yes, I prefer the film scan approach to fan preservation. Anyway, the point was haughty know-it-all fans became a real pain in the neck as a response to the Special Editions, and now we're at the point where they're basically making their own Special Editions, and they're inevitably worse. You either die the hero or live long enough to become the villain, basically.
  8. It's funny, the whole "Fans know best" thing really came to prominence as a response to Lucas continually revising the original trilogy in 1997, 2004, and 2011. And now Disney is in charge, and doesn't change anything, so the fans who have convinced themselves they know best have finally circled around.... to making their own ugly special editions of things. The circle is now complete....
  9. Here you go I've never heard this version before and it is certainly bold. I like it! edit: Wow it gets really stately, too. And quiet! The dynamics in this recording are really impressive. Not just in terms of recording, but in the way the orchestra is performing the material. few mistakes here and there though. And a pretty iffy transition to the end title suite
  10. The logical next step is to synthesize the Wilhelm and play the Ludlow with it on the keyboard
  11. Am I really the first person to list Alternate Binary Sunset + 5 raw takes of the Main Title from Star Wars?
  12. I understand, and I think they made the right choice ultimately, but that's almost beside the point being made: When something is that culturally impactful, you have to have a very, very good reason to work against that, and you have to have the confidence and the foreknowledge that your attempt at achieving the same feeling is going to succeed. For the prequels, Williams & Lucas decided to stick to the Star Wars "programming." I like Zimmer's Man of Steel theme a lot. I also think Williams' theme would have seemed incongruous with the vision Snyder had for the universe. Honestly, I think a huge part of why the underwear got jettisoned, and the theme was one of the first casualties, was because there was no way Snyder/Goyer could go forward with their vision if those reminders of what the character COULD be were front and center. People would have instantly disconnected. They mostly did anyway, but it would have been so much faster and more abrupt. That theme being gone was essentially permission to kick dirt on the character. I get all that - kicking dirt is what they wanted, ultimately. But I also think that experiment now serves as a good example: If you have cultural understanding on a non-verbal level to THAT degree, you should probably just lean into it. Those sorts of musical miracles don't happen too often, and unless you have a damn good reason and a damn good composer on your side that you think can legitimately rewrite that programming on that scale? It's best to figure out how to pay homage and incorporate new ideas alongside rather than throw out the the old.
  13. True, but when the work in question is so tightly tied to the very concept of the character/film in question, it's almost like dereliction of duty to not incorporate that somehow. There are people who see a Superman S and don't even think "S" or "Superman," they think of that melody. There are a LOT of people for whom that's the initial response. See Superman - Hear Theme. Whether it's playing at the time or not. When something is at that point, the only reason not to use that music is either you don't have the rights to it, or you honestly think you can overcome the cultural programming. Williams and Lucas faced this exact question when they were making the Prequels. They considered changing the opening fanfare, before deciding there was probably no way they could overcome the programming they'd installed in audiences that "STAR WARS" = that theme. So even though it was Luke's theme, and Luke was never going to be in the movie, Phantom Menace started the way it did.
  14. Zimmer admitted to building his theme around the bones of Williams' didn't he? It's in the same key and YouTube has multiple versions of would-be editors mixing the two together. Zimmer's theme would have probably justified a tweet like that (whoever that random wrong tweeter is that got all of 450 likes for it, what a stable currency they've got going there) if it had ever been used in the film properly. But the film didn't really provide any opportunities for its potential to be fulfilled, either. But I don't think it's really an either/or when it comes to "What Are You Going to Do" - it's a really good piece that stakes out emotional territory different from Williams' take, but is still stirring and emotional in its own way. I think of it as a companion, not a replacement. It's a very interesting "what if," probably the most interesting "what if" from that entire failed experiment. I do pretty strongly disagree with the idea that the Superman theme is "dated" somehow, or that being "Dated" is an automatic negative. I don't know that it's dated. Classic is a much better word choice.
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