Nick Parker

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About Nick Parker

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    Quickest Thread-Killer in the West
  • Birthday 07/05/1993

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  1. It's been talked about so much, is it really that interesting? Have you found any points raised that breathe new life into it?
  2. Solo: A Star Wars Story (Ron Howard 2018)

    Opera suites exist for a reason!
  3. I noticed that motif, too...I wanna say it plays in other places, but all I can think of is in the opening. Sorry, but that music there completely throws the realism of the scene out the window. How do you know he wrote something else for that scene? A few thoughts on the score and the film: I'm really surprised by how much the extra music fills in the score for me. I'm probably closer to Thor on this kind of thing than not, but a lot of the cues fill in that Star Wars feel that I was missing from the original album. However, it also illuminated more times where I feel Williams has a "Star Wars" button by his desk to generate cute-ass triad fanfares to score heroic or dangerous things. Watching it a week ago, I was impressed with how elegantly John Williams dances around the on-screen action, not just in the dramatic choices of course (like the bombastic WWII elegy when Paige's bombs hit the Star Destroyer), but also in the orchestration: I'm thinking of the opening with that one fanfare that everyone loves (can't post times or anything right now, sorry). It repeats but keeps getting other instruments stacked on top of it, layering in octaves. While this is a fun build up on album, I noticed watching the film that it gets pretty dense with the sound effects at that moment, climaxing in a dude getting blown up in his ship. At that precise moment, Williams slaps on some piercing piccolos that come through on the mix, and I think, "Holy crap, that seems like it would be so hard to do!" And he probably whipped that out instantly, thinking, "Alright, got 2 1/2 more hours to go, let's boogie."
  4. Which party source music are you talking? The caretakers?
  5. What Is The Last Score You Listened To?

    Hi, hello? Can people hear me? I wish to make a brief announcement: this following track is one of the coolest openings to a score ever. That is all.
  6. The Crystal Skull theme is my favorite McGuffin theme from all of the scores!
  7. Are you meaning to say that Skull doesn't have as much of its own identity? Ultimately, to be clear, I like the score more than I dislike it, for sure (for reasons I'll expound upon in this post or maybe later). But with the newer Star Wars scores, I'm beginning to sense a certain...uniformity in how Williams has been scoring films for a while. Now don't get me wrong, I'm not saying there has never been bleed through in his music across films before (even in his so-called Golden Age), or that the actual quality of the music he writes has decreased in decades gone by. (My favorite period of Williams is probably the 2000's). But I feel with the past Star Wars or Indy scores, there was a special, pervasive energy that felt reserved for those films. Like where others he would take at 80, 90%, he would take these ones at 100%. Not in terms of quality, again, but a certain energy. I believe the 90's was Williams' last decade of being a film composer...starting from the 2000's, I feel like John Williams became like any other "outside" musician that is called upon to do a movie score, like Daft Punk for Tron Legacy as an example...they deliver "their" sound for the film, rather than attempting to contort their sensibilities to match the project in question, as is the norm in movie just so happens that Williams' particular idiom has been greatly shaped by his experience in Hollywood. So while yes, you'll hear Williams do things in Tintin that you won't hear in The Post, The Force Awakens in Lincoln, ultimately I hear "John Williams" more than I do "War Horse" or "The Last Jedi", "Book Thief", etc. This might be more "black and white" than I intend, and by no means am I wanting this to cap off the conversation...just feelings I wanted to articulate.
  8. Well, if anyone would like to attempt to turn a poor sinner's heart, I'm open.
  9. What's Happening At JWFan?

    Crap, are you suggesting that our collective tastes and proclivities might have broadened over the years, embracing things that we might not feel is encompassed in the scope of this forum? How awful....
  10. I just didn't really feel compelled to seek out the music on its lonesome. There was never a moment in the movie where I thought, "Ah man, I need to check that out!" Perhaps this attitude is a contributing factor to the cracks in JWFan's seams... You've listened to it, I presume?
  11. Can you guys believe it? A decade since the last Indiana Jones has passed. I had just become a stone-hard fan of John Williams at the time, and this was my first new score from the Maestro. I had little comparisons to make at the time, not even to the past three scores, as the trilogy would not be widely available until November of that year. Even with that, and the fact that I was only in high school at the time, I knew that a new Indiana Jones was a huge deal! But as it would transpire, it would also be my introduction to the world of Internet opinions... Over the past decade, it's become pretty established in popular opinion that Skull is the weakest of all them, with its status as a motion picture on its own terms often questioned...many if not most aspects of the movie have been derided to varying degrees, and I think many would agree that John Williams was the one to come out of the ordeal with the least amount of scrapes. But what does that mean to you guys? Did he do the least bad job out of everyone, or did he actually create something worthwhile out of the mess? It was Skull that introduced me to JWFan, and I seem to recall the merits of the score being pretty hotly contested. On one hand, you'd have those saying that the score is a weak and limp effort to match the movie, either a sign of John Williams' boredom, or a sad reminder of our beloved Maestro's aging. On the other, a fitting score that showed that John Williams still knew how to crack the whip. Just a few questions to potentially kick off the conversation: What makes a successful Indiana Jones score to you? Did Williams recapture those elements, the "spirit", etc., and if so, were they fleeting moments, or something more substantial? How much do you think the film impacted the quality and style of the score; is the score a case of Williams delivering what he thought the film needed, or more a reflections of his sensibilities in the 21st century? And lastly as a jumping-off question: has the score been the case of a watch that has become a (not quite) priceless relic? Has time warmed you to it, or has it crusted the doors of your heart? How did you feel about it then, compared to now?
  12. I don't think I've listened to The BFG outside of the time I watched the film in theaters (which I liked!). It seemed pleasant and warm, but I didn't feel like I was missing anything by ignoring the album.
  13. What's Happening At JWFan?

    If you want to be so blunt about it!