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Found 29 results

  1. FIRST La-La Land and Creature Features released a joint press release: Source: http://www.creaturef...ck-celebration/ or https://www.facebook...31953754&type=1 THEN Ain't It Cool News posted a high quality version of the cover art: Source: http://www.aintitcool.com/node/55816"]http://www.aintitcool.com/node/55816 FINALLY trekmovie.come revealed the complete track listing: Source: http://trekmovie.com...core-bts-video/
  2. http://www.varesesarabande.com/servlet/the-1184/Star-Trek-Into-Darkness-cln-/Detail http://www1.screenarchives.com/title_detail.cfm/ID/27668/ http://www.moviemusic.com/soundtrack/M09485/startrekintodarkness/ http://store.intrada.com/s.nl/it.A/id.9058/.f I know this is already being discussed in the Varese Club thread, but this deserves its own thread. I am of course super excited that this release is coming out, because it's a great score, and because the OST was so short, and I'm glad there's a market for expanded scores that are only a year old. However, I am a big befuddled by two choices made for the final product here! One is that Giacchino's intended original end credits suite is missing, replaced by the film edit of the end credits. This means the new recording of Spock's Theme is replaced by music tracked in from London Calling and Ode To Harrison like in the film. A big bummer that nice recording won't get a legal release, especially since the full London Calling and Ode To Harrison are on the CD anyway (Ode To Harrison in the very next track!) And secondly is that an entire cue, "Spock to Spock" is missing on this release. That's the music for Spock's conversation with Spock Prime, and featured a great new version of the Vulcan theme. You can here both missing cues in this youtube video (I apologize for not having timestamps handy, but I will try to post them later) Why on earth did <whoever chose to omit these two pieces> omit these two cues? Why!? Why!?
  3. The scores for Star Trek: The Motion Picture (Jerry Goldsmith) and Star Trek II: The Wrath of Khan (James Horner) are universally acclaimed. So I bought them. If I want to buy one more, which one do you recommend?
  4. Admin note: Original thread title was Giacchino's Star Trek - Live to Projection (April 12, 13 and 14, 2013, Lucerne, Switzerland) Michael Giacchino's full score to J.J. Abrams' Star Trek (2009) will be performed live to projection next April in Lucerne (Switzerland). The performance will take place in Lucerne's KKL Concert Hall, with Ludwig Wicki conducting the 21st Century Orchestra & Chorus. More info: http://filmmusicreporter.com/2012/12/28/live-to-projection-concerts-of-michael-giacchinos-star-trek-score-announced/ Tickets: http://www.kkl-luzern.ch/navigation/top_nav_items/culture/Programmuebersicht/detail.htm?client_request_contentOID=3813&client_request_dateOID=20102&client_locale=en_GB
  5. TrekCore.com has pre-release information and cover art for the upcoming Star Trek Deep Space Nine set. http://www.trekcore.com/merchandise/stds9_soundtrackpre.html I got to say I love the cover art!
  6. We come to it at last; the great poll of our time. Both are massively influential giants in the sci-fi genre, and continue to excite and inspire millions of fans decades after their inceptions. Which sci-fi epic do you prefer; the rollicking action and adventure of Star Wars, or the cerebral intelligence and ingenuity of Star Trek?
  7. Manitoba’s public insurance company has revoked a Star Trek inspired custom licence plate after receiving complaints that it’s offensive. Nick Troller’s two-year-old plate reads “ASIMIL8.” And now he sues the insurance company. http://www.ctvnews.ca/canada/star-trek-inspired-licence-plate-deemed-offensive-in-manitoba-1.3388592
  8. Just revealed by MV over on the FSM forums http://filmscoremonthly.com/board/posts.cfm?threadID=94597&forumID=1&archive=0 So he's referring to the fact that 2011 had Star Trek: TNG set; 2012 had Star Trek: TMP and the TOS boxset; 2013 had the DS9 set and will have one other, so far unrevealed title. People in the FSM thread are guessing it's a set for Star Trek: Enterprise.
  9. Interview with Bryan Burke TrekMovie article on it The first real official word on the next film of the franchise.
  10. http://www.lalalandrecords.com/Site/STEC.html http://www1.screenarchives.com/title_detail.cfm/ID/28439/ http://www.moviemusic.com/soundtrack/M09667/startrek-enterprise-collection/
  11. 27-year-old actor was on his way to a rehearsal when the accident occurred on his driveway, police say Anton Yelchin, who starred in the Star Trek reboot franchise, died Sunday in Los Angeles after being struck by his own car on the steep driveway of his home. http://www.cbc.ca/news/arts/anton-yelchin-dead-accident-1.3642660
  12. Later this year BSX RECORDS will be releasing a new album from Artist Dan Redfeld which will feature a new solo piano arrangement of James Horner's theme for STAR TREK II: THE WRATH OF KHAN. This is video is from the recording session for this piece that was just done and we'd just like to share it with you Enjoy Ford A. Thaxton
  13. It can be any character from any series or movie. By this I mean in terms of personality / temperament rather than appearance. Maybe this won't be easy and I doubt that members will be able to settle clearly on one, but will describe themselves as a 'fusion' of different characters, such as a bit of daring Kirk and cautious McCoy, etc depending on the situation (at work, at play etc). You know, factoring in alter ego and how we can act one way among certain groups of people and quite different among others. Is anyone 'Expendable Red T-Shirt Man', perhaps? Ever loyal, eager to please but a gullilble volunteer who gets exploited. If you really can't pin this down or are unhappy with whom you match the most, tell us which one you wish you were more like.
  14. I figured it was time to start a new thread now that we're really moving on to a new movie. And we have a preliminary date: June 29, 2012! Speculation to commence below.
  15. This will be of interest to John Williams fans in Los Angeles, especially composers, where the Academy of Scoring Arts meets oncee a month for an in depth study of orchestration. We are currently studying Star Wars Suite. The ASA was founded by Ron Jones (Family Guy, Star Trek: The Next Generation) to create a community where working composers could come together to study orchestration—Ravel, Stravinsky, John Williams—and to share information and ideas among their peers. This orchestration group, also called by its nickname the “Ravel Study Group,” continues to meet once a month in LA, led by Ron. In a few short years, it has expanded to chapters all over the US and Canada. The orchestration study concludes in its third hour with a guest speaking on orchestration or composition. These have included Bruce Broughton, Tyler Bates, Eddie Karam, and first-call percussionist Don Williams, who often co-leads the Star Wars Suite orchestration study, and who is brother of composer John Williams. In addition to the study group, the ASA alternates semi-monthly with “INFOrums,” seminars designed to appeal across disciplines to people working in the industry, but not necessarily as composers. Recent INFOrums have featured panels of picture editors, entertainment attorneys, music supervisors, hit songwriters, audio engineers, and a conducting workshop with David Newman. Read press about the orchestration study group here: http://symphonyinternational.net/score-reading-in-studio-city-getting-under-the-hood/ Follow us on Facebook, https://www.facebook.com/pages/Academy-of-Scoring-Arts/294966900566223 or visit our web site: http://www.academyofscoringarts.com/ The ASA was recently granted 501c3 status as a California non-profit.
  16. Ladies and gentlemen, young and old, this may already seem an unusual procedure for me to speak to you all before we begin this memorial/appreciation topic about even the music of a certain dead film and television music composer, but... I know this film and TV composer guy has been dead for a decade already but I am a great fan of this guy's scoring style. In fact, according to TV Tropes, this guy "was a very prolific composer so awesome he even scared the hell out of his peers....He was known for his thunderous, percussive orchestrations, his love for strange musical instruments, and his inventive integration of synthesizers as the 'fifth element' of the orchestra." And so, to commemorate the ten-year anniversary of the death and passing of this legendary film and TV maestro back in 2004, let us talk about and even appreciate the music of Jerry Goldsmith (1929-2004), especially his music for film, TV, etc. Let the Jerry Goldsmith Memorial Appreciation begin!
  17. I've seen some topics that are related to this, but I'm curious more specific to concert performance. What themes, end credit suites, cues, etc. are on your wish list to be performed live?? I've never heard any of the Wrath of Khan Main TItle, Epilogue and End Credits suite as recorded by several orchestras, notably the Cincinatti Pops. Would love to have seen Jerry conduct The Enterprise from The Motion Picture. Some of the television series themes would be amazing in concert.
  18. Not surprisingly, Giacchino is confirmed to score Star Trek (X)II http://www.comicbookmovie.com/fansites/BatFreak/news/?a=50240
  19. Source: http://secure.campaigner.com/Campaigner/Public/t.show?TuAn--Et6a-gkivq2'>http://secure.campai...An--Et6a-gkivq2 http://lalalandrecords.com/StarTrekMailingList.html'>http://lalalandrecor...ailingList.html https://www.facebook.com/photo.php?fbid=10151179476523755&set=a.181243738754.155532.56031953754&type=1'>https://www.facebook...31953754&type=1
  20. This isn't being officially announced until tonight at midnight PST (3am ET), but the cover art has already leaked So the circle is complete!
  21. It looks like we're getting Best of Both Worlds from GNP Crescendo next week. Karol
  22. Star Trek Into Darkness has now opened in Australia. If you've seen it and want to discuss it, post here! If you want to discuss spoilers online from reviews or other postings of people who have seen it, do it here! The existing thread is to remain spoiler free, and can continue to be used to discuss the trailers, posters, pictures, magazine articles, showtimes, etc, leading up to when you actually see it. Enjoy!
  23. Let's get to it, shall we? Does this top John Carter (my favorite Giacchino score)? Not by a long shot. That score remains in another league of sci-fi scores, rubbing elbows with some of the greats. Does this top Star Trek (2009)? Yes, because it takes the best of that ultimately good but not knock your socks off score and evolves them into something more mature and musically a little more interesting. On top of that the quality increase over 2009 is aided by a much more full bodied mix courtesy of Joel Iwataki. For the first time in a long time, Michael's army of percussion instruments actually sound alive. Two evil villains work in tandem against the Into Darkness soundtrack, keeping it from reaching the realm of greater sci-fi scores. One is its ridiculously short presentation, the other the break-neck pace of the film, together forming a nightmare dynamic duo that destroys any hope of musical cohesion. And by that I mean hold on to your hats and nuts, this is the Michael Giacchino Star Trek Variety 3/4 Hour. There is no beginning, middle, or end. And that's my biggest disappointment with the music. There is no clear musical narrative. That may be a problem with the short presentation, but the fast action pace of the film also means even with a longer presentation we are unlikely to see a proper beginning-middle-end musical narrative. So if you're looking for a slow-build up and setting the musical scene (which even the original film had), you will be sorely disappointed. Instead what you do get is a mature, darker, and more challenging score with lovely ideas splattered across tracks that [in their disjointedness] span a rather curious array of sounds and styles. Furthermore, you can tell Michael Giacchino heard a great deal of complaining about the lack of "Star Trek" sound in the previous score. Consequently, Into Darkness sounds distinctly more Star Trek than 2009, but in the heat of the action it still largely retains the "excited action squirrel" sound (it's the best visual way of describing it to me) Michael has developed for himself by assigning his choppingly tremolo strings to the higher instruments as usual. The excited action squirrel sound is getting slightly tiresome as it robs some of the action of much needed gravitas. Additionally, a couple of major new themes are included. Harrison's Theme is strong, memorable, although a little flat. Giacchino is still a weak composer when it comes to tension and release. Even in the concert version of the theme (not included on album), he struggles to build and release musical tension. So it works to the detriment of the theme. But the theme's overall presentation with interesting synthetic textures and instruments combats some of the flatness, if not all. The London Calling Theme is lovely and conveys a nice combination of sadness, pain, and anger. Wish we'd hear more of it weaved through the album. The old (and some new) themes get taken into some fresh, exciting, and better territories. "Sub Prime Directive" is a perfect example of how noble and powerful Giacchino's Star Trek theme can sound. "Kronos Wartet" has an interesting start, but it ultimately descends into lifeless atmosphere before turning into a asthmatic version of Harrison's action motif. "San Fran Hustle" is a fantastic track taking a plethora of themes and motifs into some really exciting and fun territory. From the Star Trek theme to Spock's Theme (wow!) to the most propulsive take on Harrison's Theme to the "Matter I Barely Know Her" string motif to the Amok Time fight music. "The San Fran Hustle" is arguably the best action track Giacchino has written so far. It doesn't have too much "excited action squirrel" and it has some proper tension and release. Another neat little track is "Kirk Enterprises". This is the most quintessentially Star Trek track on this album. Listen closely around 2:09 to be transported in time to Jerry Goldsmith's Motion Picture. All in all, it's a very good score. It's more mature, more challenging, and more Star Trek. While it isn't as good as Giacchino's best, to be fair he is back from a long hiatus, the album is abysmally short, and he is writing to a very fast film. Hearing Into Darkness and his maturation I'm excited to hear what he has coming up in this "post-hiatus" chapter of his career. Blume's Temporary Score (until seeing the movie/Deluxe Album): 83% Other Soundtracks Mentioned: ST09 Score: 70% John Carter Score: 93% And finally, my Blume-Experience-Scientific track by track ratings:
  24. Since 3 episodes have now been released on Blu-ray, and season one will be released this year, I think it's good to have a thread about this fine series. I received my Star Trek: The Next Generation - The Next Level only this morning and have watched the series pilot, Encounter at Farpoint. First of all, I have to say that this blu-ray looks rather spectacular. The early seasons of TNG always had that rather soft, fuzzy look to them, and since I only ever saw this pilot on VHS it's like seeing this for the first time. The image is crisp, sharp and detailed, the colors are vibrant. The Enterprise D looks breathtaking in 1080p. Save the revamped Enterprise from Star Trek TMP this is the most majestic Enterprise there has ever been. The other special effects are actually pretty good, considering the era and the fact that it's for TV. Some of the set design of Far point looks a bit cheesy, but all the Enterprise sets still work, and the bridge looks great. (I never noticed the Battle bridge resembled the bridge from TOS so much in it's lay out.) Also great that they did not attempt to convert this to 16:9. Ir looks great in the original format in which is was shot. The only dynamic criticism my nerd brain had was that they should have used CGI to replace Colm Meany, or atleast get him into the right color uniform. Now, the episode. It's actually not as bad as I remembered. It helps if you know that all that is wrong with this pilot will eventually fade away and TNG becomes brilliant. The story, by Rodenberry and TOS veteran D.C. Fontana is very old school Trek, it's concepts reek of the 60's. If this script would have been filmed in the 60's it might have been ok. But even in 1987 this must have seemed cheesy, melodramatic and frankly unoriginal. A lot of things do work though. Q may be a re-do of characters like Trelane, but John DeLancie is deliciously diabolical. And his trail against humanity is actually the most interesting part of the story. The acting is not very good. It's typical pilot-acting when the actors haven't really grasped yet what either the show or their characters are about. Frakes is decent, so is Spiner, but Sirtis and McFadden are awful. Westley isn't actually as annoying as he is in the rest of season one. Dorn makes little impact despite the fact that he's playing a "f*ckin' Klingon on the bridge of the Enterprise". The most important element is Patrick Stewart. In 1987 there was only one true captain of the Enterprise, even though at the time he was an Admiral, and wore a toupet. Creating a character and casting an actor who is in many way the exact opposite of William Shatner's swashbuckling, devil may care heartthrob Kirk is most likely what helped get TNG through the difficult first season and on to glory. Patrick Stewart in this pilot does not yet display the subtlety that his Picard would gain later. But many aspects of the character are already there. The stern, authoritative exterior, the brilliant voice, the sense of humour. Picard does come of a bit of an ass hole at first. Certainly in his first dealings with Riker. And having him surrender to Q somehow feels wrong. Stewart and DeLancie make this pilot! Oh and Deforest Kelly, who plays the ageing McCoy under a layer of crappy latex (Kelly is always great when he gets to exaggerate his southern accent). The music by Dennis McCarthy is very different in tone to what would become the norm for the series. Especially in the first half it's very cheesy and rather chintzy. A small 1980's TV orchestra trying to sound like a full symphony orchestra, with crappy 1980's synths to make it a little more dated. Thankfully also that would improve. There's a lot of things wrong with this pilot, but there's also a lot that is right. And it feels like Star Trek. More so then the 2009 film did. Captain Jean-Luc Picard: Some problem, Riker? Commander William T. Riker: Just hoping this isn't the usual way our missions will go, sir. Captain Jean-Luc Picard: Oh, no, Number One. I'm sure most will be much more interesting. - Let's see what's out there. Engage!
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