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Nick Parker

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Nick Parker last won the day on August 29

Nick Parker had the most liked content!

About Nick Parker

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    Space Bass
  • Birthday 07/05/1993

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  1. Those are some cool quotes you pulled, I haven't seen them before!
  2. Yooooo, I forgot all about that forum! It's still around? I haven't logged in for like ten years.
  3. Honestly the original's not a favorite of mine either. I remember liking the opening, feeling like a leftover Peter Gunn episode with big goons scored by muted brass, that sort of thing, but I have such little recollection of the rest of the movie.
  4. The scene where the assassin tries to take out Clouseau during his date watching the flamenco dancers is both really masterfully done in suspense, and later when botched sets up amazing comedic moments, with that "creepy music" transforming from a sign for fear into a comedic signal. It's masterful. Shot in the Dark is my favorite, a nice halfway point between the witty repartee of the original Pink Panther and the hella whack goofiness of the later ones like Pink Panther Strikes Again.
  5. A host of sleepless nights and a blatant disregard for wellbeing.
  6. Of which the science on that is mixed. https://anaheimlighthouse.com/blog/do-people-actually-tell-the-truth-when-drunk/ https://www.google.com/amp/s/bigthink.com/does-alcohol-reveal-the-real-you.amp.html
  7. I'd argue that learning more about a score and cue-by-cues aren't necessarily one and the same (again, one of my primary issues with them), but I can see where you would want to read a paragraph instead of finding a five-minute YouTube clip or something in that case (though I also wonder how often the urge would arise). I don't have a lot of film scores, so maybe if I had more I'd feel more similarly to you. I could agree with that. Cue-by-cues strike a weird middle ground to me, so leaning very far one direction and just giving a nitty-gritty lowdown would help for me. I totally get whachu mean, and I'm a total nerd for that stuff, too. I just find that most cue-by-cues don't go sufficiently far enough in that direction for my tastes, know what I mean?
  8. That makes sense. But--I promise I'm not trying to be obtuse here--unless it's just to give an impression of a scene so you can say "Oh yeahhh" when reading it and recall the scene in your head, given that text can't adequately capture the film for obvious reasons, wouldn't it be more effective when you have the itch to associate the given music with its scene, to watch the film, or try to find a clip somewhere? I'm not asking in a suggestive way or anything like that, but because I'm curious to hear your answer.
  9. "You have the scores on CD, but you vent all ze way back to eBay to get the 'Music of the Lord of the Rings Films' book. Vy?" *slaps you with glove* I'm not familiar with the Lord of the Rings scores, but I know they're very thematically dense and woven into the material, and that there's a lot of score for each film, so I could see more why this approach would appeal to people. Again, I don't mean this in a rude way, but the mock one I wrote up above; beyond certain jargon like C major chords and tritones, aren't those things you can sus out pretty easily? You fool, don't you understand!? I seek to _liberate_ people, to have them find and unlock their own potential for analysis! No longer will they have to depend on film score clergy the likes of Bondicus and Mikus Mattusvno XIII for salvation!
  10. How many of us do? Thank you, Thor, but a little too on the nose.
  11. I used to love Hellboy II, I'm not sure how I'd feel about it now. Then I apologize for the impression I gave, Jay. Frankly you answered your own question, in my mind. While some have pointed out to me some liner notes that go a little deeper or use a given track as a launching point to discuss the score as whole or the composer's process behind it, they tend to come off as superficial and factoid-y to me. I just don't see the value in reading stuff like "...Unsettling high-pitched string glissandi begin to insistently play as Ethan Hunt realizes he's been framed, and Kittridge makes it clear that he believes Hunt is a corrupted agent. The strings begin to gradually build in volume and intensity, adding percussive thumps and eventually low brass, until Kittridge insists that Hunt come with him "outside". Ethan responds by throwing the exploding gum given to him by Jack earlier onto the restaurant's large aquarium; here, after reaching a discordant climax, the music abruptly stops for several seconds to make way for the ensuing explosion. As the massive amount of water contained within floods the restaurant, a declamatory, descending figure begins for low strings and woodwinds, soon followed by signature Elfman brass tritones and trumpet shakes. Ethan Hunt uses this opportunity to escape, and the music pivots from ominous, building and resolving to a triumphant C major chord, to segueing into a heroic and triumphant brass statement of Ethan's Theme. As he runs from the restaurant and out into the Prague night, the music again transitions mood, introducing higher strings and dissonant brass punctuations, eventually settling into a mysterious harp figure and high, Herrmann-esque augmented-chord strings, suggesting that even though Ethan Hunt escaped trouble for the moment, his true mission is just beginning."
  12. "I've had it! I just don't understand your collective sense of humor and lack of serious discussion on Williams' works, especially his early--" wait who is this thread dedicated to?
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