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lostinspace

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About lostinspace

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  1. great concert, having heard a bunch of other orchestras play the LSO are a cut above they don't seem to do many film music concerts so I guess this was a one off. Fawkes the Phoneix was a nice inclusion as was Dracula theme and Han Solo & the princess. The rest pretty standard. Close Encounters is always a highlight , BFG was amazing.. they didnt play Home alone but this had lots of weird sort of percussion effects and muted brass in it.. didn't disappoint! Only complaint some of the tempo changes were a bit too fast or slow but overall didn't disappoint and I did pay 500 quid for the ticket Hope JW gets well soon! Apparently he arrived in London on Monday but was listening in to which the audience applause went nuts!! All I can say is the LSO have a way of interpreting his music that makes it art.. they don't just play the notes they embody the spirit.. hope it makes sense.
  2. Completely agree with you.. I remember being infatuated with JW output 2002-2005. aged about 15-18 at the time. The listening party for the POA soundtrack was incredible.. I remember not fully understanding it the first time but still recognizing he had huge amount of power in his pencil as my mind was taken to another world with each track. Every track on those soundtracks is a masterpiece. Even Munich is amazing, it is music written and performed with such conviction never sounded autopilot. Thesedays I still hear magic in JW eg. Tintin warhorse, TFA, book thief and recently TLJ but I think it represents the time we live and music just doesn't seem to project melodically the way it could back in 2002. I also suspect there is a lot of temp tracking going on However, JW is still a master dramatist and can extend huge range and effect from the orchestra, no other film composers really come close. What I mean is violent crescendos, very low & high instruments, delicate and heavy texture. There is the odd exception. Reys theme sounds like a piece JW really laboured over and it does have much depth. The only think I think it lacks is some originality as parts of it seem to sound like extracts from Jane Eyre. Kylo Rens music is also a masterpiece. But much of the rest is pretty advanced autopilot with a lot of notes but not as much meaning. Maybe more listens will cause me to change my opinion.
  3. i like Reys theme but he is just going through the motions, you can tell when he's out of ideas when he just uses the old trick of the trade changes key usually up a half step.. I like the Artificial Intelligence sounding horn statement in the middle. It fits the film ok but harmonically it's bland compared to Across the Stars, or say Anakins Theme. Does anyone notice how much it sounds like Jane Eyre?!
  4. Absolutely agree, but in this case I think the orchestration could be more interesting. If you double horns tpt strings it gets a bit tiring on the ear. I find it weird that he didn't hire an orchestrator maybe there was ample time... Nuances like that really do differentiate JW from all the Remote Control composers.
  5. It's not bad for a fugue... but god it sounds just like the NBC Sunday night football theme in parts. Sounds like something from Indiana Jones than Star Wars. Orchestration - I think there is too much doubling,, probably too much trumpet horn and strings... In the 70's he wouldn't double so much.....that way you get that Bach sound.
  6. lostinspace

    Do you enjoy the Force Awakens score?

    Ok - I'm in agreement with most of you guys. The first 1:38 of The Jedi Steps and Finale is excellent - it sounds like Tintin/Birth of twins ROTS but it is magical.. but thats all there is folks 1:38 there is no development.. March of the Resistance trys to be some Fugue but unlike POA quidditch or Jaws shark cage fugue it fails. Technically masterful but doesn't compel repeat listens. Scherzo for X-wings is ok but I think again there are too many notes.. the original triology was never that "busy" with the counterpoint. I get the feeling he was asked to tone down the themes for this film.. the action scoring is nothing compared to Tintin or even War Horse (No mans land, charge and capture), I was hopeing there would be something new in there a new harmony or sound but theres nothing new.
  7. lostinspace

    Do you enjoy the Force Awakens score?

    What about the overlays in the main title it's just a bunch of cues strung together? Where as with past films it was one piece. I also hear more similarities with Indiana Jones particularly the high trumpets (think Jungle chase from KOTCS).. I guess he was trying to cut through sound effects. One thing is clear though, all the new scores have far more notes in them than the original trilogy, maybe that's where the problem lies.
  8. lostinspace

    The Force Awakens ALBUM Discussion (No Film Spoilers)

    My 2c on first listen.. It doesn't sound auto-pilot but "overall" I don't hear any magic.. a bit like Tintin. Functional but not really compelling me to listen again and again like original triology or prequels. The main problem I have when comparing to ROTS and AOTC is that in those I felt each track was entirely listenable interesting piece. With FA each track seems to be in 2 or 3 parts sometimes with direct quotes from original trilogy. Overall there seems a lack of identity moving from idea to idea to idea. This maybe intentional on JJ Abrahms part. When you go from idea to idea the whole track seems to lack focus. Again, Tintin and War horse to me sounded focused but FA doesn't.. the long "new" melodic lines are not there it's more motivic. Also there is something wrong with the recording, the sound is flat. Brass and strings are too closely miked and acoustic is too dry IMHO, you can't fix it by adding artificial reverb it just muddys sound. Tintin had this problem aswell. I hate to make these critisims, but I'm being honest!
  9. lostinspace

    Do you enjoy the Force Awakens score?

    My 2c on first listen.. It doesn't sound auto-pilot but "overall" I don't hear any magic.. a bit like Tintin. Functional but not really compelling me to listen again and again like original triology or prequels. The main problem I have when comparing to ROTS and AOTC is that in those I felt each track was entirely listenable interesting piece. With FA each track seems to be in 2 or 3 parts sometimes with direct quotes from original trilogy. Overall there seems a lack of identity moving from idea to idea to idea. This maybe intentional on JJ Abrahms part. When you go from idea to idea the whole track seems to lack focus. Again, Tintin and War horse to me sounded focused but FA doesn't.. the long "new" melodic lines are not there it's more motivic. Also there is something wrong with the recording, the sound is flat. Brass and strings are too closely miked and acoustic is too dry IMHO, you can't fix it by adding artificial reverb it just muddys sound. Tintin had this problem aswell. I hate to make these critisims, but I'm being honest!
  10. Couple of points: Be interesting to see if they add atrocious amounts of artificial reverb like in Tintin... why didn't he score it at Fox or some other stage with a more live sound? Even Fox is too dry I think ( avatar) but are I guess there are no other stages.. I think it's unrealistic to expect a radical change of style but if it sounds anything like the ESB or ROTS it's going to be good.. dark and moody... And what was the eerie pulsing chord pattern just when the video cut to JJ Abrahms.. it sounds like they might be using a continuum fingerboard which was used in KOTS. https://www.ece.illinois.edu/newsroom/article/275
  11. lostinspace

    Sometimes I wish John were more...innovative....

    What about the first part of escape from city war of the worlds..? or. Everybody Runs from minority report. or Zam the assassin and escape coruscant. I always liked these pieces as they demonstrate mastery of conterpoint, almost closer to something Goldsmith would write. but I think the general public can't appreciate it. You have to dumb it down for the masses but I'm glad when you compare SW to transformers. Transformers pales, I doubt in 30 years that music (as good as it is) will have stood the test of time.
  12. This is mere speculation but my 2c. It will be reasonable for him to continue scoring films I think until 2017 asuming JW health holds up, but I doubt you can conduct after that age. To be still grinding out notes at that age is insane we should not expect too much. Health gets pretty fragile for most people in early 80s' and while there are exceptions, the potential for back strains... and other medical aiments is pretty high, the body also takes much longer to heal... As a composer myself I think you still get a lot of satisfaction out of hearing others conduct your music, but that has never really been JW process except for scheduling conflicts. Who knows?!
  13. lostinspace

    Prisoner of Azkaban

    I think people raise good points about the LA recordings... Munich, Jurassic Park, Air Force One (goldsmith), Far and Away, Tintin were all recorded at Sony stage but the mixing varies a lot Munich in particular but it works great in the film. Indiana Jones and Crystal Skull is a bit dull but to be honest the score is not really very good compared with JW level.. I never understood how on one hand the LA composers praise the LA musicians but on the other hand if they have the budget they prefer to record in London .. something about them looking down on you.. I know JW had a run in with the Boston Symphony but that was maybe early 80's? This wasn't encountered in London or outside LA for some reason
  14. lostinspace

    Prisoner of Azkaban

    I tend to agree. The LSO are so far above any orchestra (except some in Europe Germany / Vienna). The brass are so well balanced mellow and accurate probably in part due to the late Maurice Murphy...THe strings sonorous when required (think Anakins Betrayl). The hollywood brass tend to sound brash and the intonation is not there.... (eg. tintin). To think what the LSO could have done with that score.. I'm not trying to discredit LA players, they are really technically superb. But from a listeners perspective technicality is only one aspect. The mixing is so different in POA and doesn't sound anything like chamber or sorceres stone. I also think click track may have been used in action cues as everything seems so precise.. there are also quite a few pre layers (forward to time past) etc.. Ultimately I think it comes down to not just good playing. It is down to intonation that is where the LSO is so great...
  15. Great interview, Powell is so direct and honest it is refreshing.. thanks for posting!!!
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