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Damien F

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  1. Leaving 10 minutes of free space on the Tintin OST when there are a lot of great unreleased cues.
  2. Here is a recording of the live version of the suite conducted by Giacchino in Dublin. The sound quality could be better but you get the idea. I do really love the drum kit in the second half. https://www.rte.ie/culture/2019/0624/1057207-rte-nso-premiere-spider-man-far-from-home-score/
  3. He conducted the new suite as an encore. It sounded pretty good live. It was my first time hearing it. EDIT: Just listened to the suite. The live version had a prominent drum kit instead of the synths that sounded really bad-ass.
  4. Giacchino is currently in Dublin and I'm attending his concert. Should be a great evening.
  5. "I'm going to a write a very cool, unique and heroic version of Rey's theme when she leaps over the TIE fighter. There is no point in including that in the soundtrack album so I'll micro-edit that cue to remove it" - John Williams, 2019
  6. I saw this on Erik Wood's twitter. Really great bombastic theme based action writing. I hear some Williamsisms. I've no idea who this guy is but lets hope he gets a big break soon. I see he is currently working as an orchestrator on The Orville.
  7. It is very heartwarming to see so much appreciation for JW on social media around this time.
  8. I'm not at all disappointed by this news. It isn't a project that interests me, either as a movie or as a score. Being realistic, there is probably only a small number of future movies for which JW will compose and arranging someone else's music seems like a waste of that time. I'd rather he spends his energy focusing on Ep9. That is the biggest priority for me. Had Spielberg decided to do Robopocalypse, I definitely would have wanted JW to score that. After Ep9, who knows. It wouldn't surprise me if he retires from scoring, and I wouldn't be too disappointed with that, but then it would be really nice if his last movie is for Spielberg, perhaps Indy 5. But I don't think I'll be able to fully relax until JW has finished his final recording session for Ep9. Nothing can get in the way of that.
  9. "'Ow, my ears!!'. Williams reenacts hearing Dudamel's Star Wars main title for the first time"
  10. Williams will never retire from writing. He simply loves it. But he may retire from writing for film given the extra stress that entails of keeping to schedule, dealing with studios, long days at scoring sessions, etc. I think retiring from scoring after episode IX would be a great achievement having completed a trilogy of trilogies that has started all the way back in 1977. However, he may be sentimental about Spielberg and want his last score to be for him, although neither WSS or Indy 5 excites me as film prospects but Indy 5 would also be a great final send off for him, whenever that actually happens. My main concern though is episode IX. Ever since I heard TFA, I've wanted JW to finish the trilogy. I wouldn't be too disheartened if Indy 5 gets scored by someone else like John Powell (maybe with JW writing a new theme). Given their collaboration on Solo, I'd imagine he'd be high on JW's list of recommendations to Spielberg for Indy 5 if he's not doing it himself.
  11. I watched it last night for the first time in about 6 years. It is such a great film, not just a great Potter film, but a great film in general. It looks absolutely beautiful, has some fantastic camera work, the three leads have totally matured into their roles, and the story in gripping. David Thewlis and Gary Oldman are excellent additions to the cast. And of course JW's score ... đź‘Ť
  12. The cue Hovercraft Chase is a good example of how I think the electronics ruin that score. The themes and structure of that cue is great. It heavily uses the various components of the Bond theme while including some new material written for the movie. But all the electronic manipulation in that cue is rather obnoxious especially when compared to the good balance of orchestra and electronics in his previous Bond scores. When the Bond theme is played on guitar, it sounds like 96 kbps recorded over a 70s rotary phone. Compare that to its fantastic appearance in Backseat Driver from TNG. I'd love to hear a good fully orchestral re-recording of that cue.
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