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The Quick Question Thread

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15 hours ago, Richard said:

 

Interesting question. Since VS recently released the 40th THE OMEN, this would suggest that it might have some sort of deal with 20th Century Fox.

Does this also affect LIONHEART and LEVIATHAN?

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15 hours ago, Richard said:

 

Interesting question. Since VS recently released the 40th THE OMEN, this would suggest that it might have some sort of deal with 20th Century Fox.

But at least that would mean that they are interested in working the franchise.

 

10 minutes ago, Brundlefly said:

Does this also affect LIONHEART and LEVIATHAN?

Interesting question. They are both OOP and I would really like to buy complete releases of them, without spending an arm and a leg.

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Has Leonard Bernstein ever discussed film music? He seemed to have a posture in which music would only need to function by itself, that regardless of what title you gave the piece it had no change in the actual music itself; something of the effect that you could associate (for example) Beethoven's Pastoral with anything else and it would still work the same.

 

So I'm wondering what his posture was on film music, considering it's something so deeply rooted on what's going on in the screen, and that most composers don't approach it as music in its purest form. He probably wasn't interested in it considering how little repertoire he did for films, but it would still be an interesting read.

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23 minutes ago, Muad'Dib said:

Has Leonard Bernstein ever discussed film music? He seemed to have a posture in which music would only need to function by itself, that regardless of what title you gave the piece it had no change in the actual music itself; something of the effect that you could associate (for example) Beethoven's Pastoral with anything else and it would still work the same.

 

So I'm wondering what his posture was on film music, considering it's something so deeply rooted on what's going on in the screen, and that most composers don't approach it as music in its purest form. He probably wasn't interested in it considering how little repertoire he did for films, but it would still be an interesting read.

 

Bernstein scored only one original score, On the Waterfront.  The other films he scored were adaptations of his theater works West Side Story and On the Town.  Concert composers have a great tradition of opera and theater music and considered film to be an extension of that.  But Bernstein wasn't the greatest collaborator.  He considered the film making experience very frustrating because he believed his vision superseded all others whereas in film music, you are in a collaborative medium.  Great directors will know when to allow the talent to express themselves but what if the talent has a different vision than the directors?  I think you might find this article about Frances Ford Coppola's advice to young filmmakers revealing though he doesn't talk about music, he talks quite a bit about differing visions for the directors film.  Where Coppola mentions Brando you can imagine the same is true with Elia Kazan's view of Bernstein.  This wonderful article also talks about how a director view great talent like De niro, Brando, Duvall, Pacino, etc., who all have a very different point of view.  The director must know psychology to get what they want with potential divas.  http://99u.com/articles/6973/francis-ford-coppola-on-risk-money-craft-collaboration

 

Jon Burlingame wrote a book on the history of film music with a chapter on Bernstein which I would advise you check out if you are interested in this topic. 

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3 hours ago, karelm said:

 

Bernstein scored only one original score, On the Waterfront.  The other films he scored were adaptations of his theater works West Side Story and On the Town.  Concert composers have a great tradition of opera and theater music and considered film to be an extension of that.  But Bernstein wasn't the greatest collaborator.  He considered the film making experience very frustrating because he believed his vision superseded all others whereas in film music, you are in a collaborative medium.  Great directors will know when to allow the talent to express themselves but what if the talent has a different vision than the directors?  I think you might find this article about Frances Ford Coppola's advice to young filmmakers revealing though he doesn't talk about music, he talks quite a bit about differing visions for the directors film.  Where Coppola mentions Brando you can imagine the same is true with Elia Kazan's view of Bernstein.  This wonderful article also talks about how a director view great talent like De niro, Brando, Duvall, Pacino, etc., who all have a very different point of view.  The director must know psychology to get what they want with potential divas.  http://99u.com/articles/6973/francis-ford-coppola-on-risk-money-craft-collaboration

 

Jon Burlingame wrote a book on the history of film music with a chapter on Bernstein which I would advise you check out if you are interested in this topic. 

 

Thanks! What's the book's name?

 

It got me thinking when I read this from Lenny:

 

 

(...) That's called music and it has a musical meaning, which has nothing to do with any stories or pictures or anything like that. Of course if there is a story connected to the music, okay; sometimes it's good in a way, it gives an extra meaning to the music; but it's extra—remember that. And so, whatever the music really means, it's not the story. So what does it mean? That's what we're going to find out.

 

(...) 

So you see, this music is exciting because it was written to be exciting, for musical reasons, and for no other reasons.

Well, if all that's true, then why does a composer put names on his music at all? Why doesn't he just write something called Symphony or Trio or Composition Number 900 and 50 and 12 or anything? Why does he give his music a name, like "The Sorcerer's Apprentice", or whatever it happens to be, if it's not important to the music? Well every once in a while an artist is stimulated to express himself by something outside himself—something he reads, or something he sees, or that happens to him. Haven't you ever felt that you wanted to dance or sing because something happened to you that made you want to dance or sing or express your feelings in some way? I'm sure you all had that feeling. Well, it's the same with a composer; for instance Johann Strauss wrote lots of waltzes, and one of them goes like this:

 

[PLAY: J. Strauss - The Blue Danube]

 

Do you know the name of that one?

 

[KIDS RESPOND: THE BLUE DANUBE]

 

Right! Now, maybe the Danube River inspired Strauss to write that waltz. I don't know, I have my doubts. But those notes don't have anything to do with the Danube River, do they?

 

(...)

 

 

Right, Tales from the Vienna Woods. Well, why couldn't that be called by "The Blue Danube", of "The Emperor Waltz", "The Tennessee Waltz", or "The Missouri Waltz" for that matter. What's the difference? A Strauss waltz by any other name is still just a lovely waltz. The name doesn't matter, except to help you tell one waltz apart from the other, and maybe give the music a little more color, like a fancy dress costume.

 

 

Now I'm going to try a trick with you. We're going to play a piece that has a story, but a good story, but I'm going to tell you the wrong story. I'm just going to make one up out of my head that doesn't belong to this music at all. And I'm not going to tell you the real name of this piece; and you see if the story and the music don't go together just as well as if it were the real story. Okay, here goes.

 

(...)

Now was that music any different from what we played before? Was it? Is it more exciting, or more fun, or better music? No. Does it have any different meaning? No. It's exactly the same, only the story is different.

In fact, there are a hundred other stories I could have made up out of my head for the same piece of music, but the music would still have been just as good or just as bad as it is without any story at all. Now, do you see what I mean? Well if you don't, I'm going to have to try again. I'll take another little bit of this Don Quixote piece by Strauss.

 

(...)

 

 

So you see, the meaning of music is in the music, in its melodies, and in the rhythms, and the harmonies, and the way it's orchestrated, and most important of all in the way it develops itself. But that's a whole other program. We'll talk about that some other time. Right now, all you have to know is that music has its own meanings, right there for you to find inside the music itself; and you don't need any stories or any pictures to tell you what it means. If you like music at all, you'll find out the meanings for yourselves, just by listening to it.

 

So now, I want you to listen to a short piece without any explanation from anybody. I'm not going to tell you anything about it, except the name of it, and who wrote it. And you just all sit back and relax, and enjoy it, and listen to the notes, and feel them move around, jumping, and hopping, and bumping, and flashing, and sliding, and whatever they do, and just enjoy THAT without a whole lot of talk about stories and pictures and all that business. The piece we're going to play is by Ravel and is called "La Valse". I think you'll like it because it's fun to listen to — and not for any other reason, not because it's about anything. It's just good, exciting music.


Link to the whole thing

 

It's longer but you probably get where I'm going with this. What happens with film music where it's written to be associated with a particular set of images? I can listen to TLW and imagine something else entirely, or just imagine the orchestra playing like a concert, but most people I've tried making them listen to some of my favorite passages (Raptors Appear, The Hunt, Monster on the Loose...) often get lost in what's playing and keep asking me about what's going on in the film, instead of trying to listen to it on its own and letting their imagination run wild... It just got me thinking, it merits some discussion I believe.

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5 hours ago, Stefancos said:

More music, better sound quality.

 

Far far more music actually.

I'm just refering to the John Williams part of the box set in comparison to the 2000 release. Is there more music that was left off the Rhino version?

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17 hours ago, Brundlefly said:

I'm just refering to the John Williams part of the box set in comparison to the 2000 release. Is there more music that was left off the Rhino version?

Several alternates and a slew of source music.

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4 hours ago, Incanus said:

Several alternates and a slew of source music.

Okay, thanks. In this case I can relinquish it. As far as the main program is already complete. No Superman by FSM, no Poltergeist II by Intrada.

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Hello.

I'd like to ask something because I worry so much now.

Something changed with out postal service, and now whatever we get from out of European Union, goes to customs and we pay 24% x product value + 15 euros!

 

So, what is the cheapest European Union store, where I will be able to buy the special USA labels cds? (intrada, Lalaland etc.)

or there isn't any??

I just checked Quartet Records store and I thought you can buy other labels' cds too, but apparently you can't.

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38 minutes ago, Incanus said:

E.g. the Music Box Records is a European (French) retailer that sells the US specialty label releases.

Ah, thank you.

I see the price for e.g Jurassic Park is at least 10euros up.

But at least I will not have customs.

 

If there is any cheaper store, please let me know anyone..

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On 07/08/2017 at 7:11 PM, Brundlefly said:

Which cue/s is/are the equivalent of the OST's "The Road to Masada" on the Intrada set?

 

I'm not too sure about that.

I do know, however, that the equivalent track, on the Varèse release, is called THE ROAD TO MASADA.

Happy to help :D

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On 7.8.2017 at 9:11 PM, Brundlefly said:

Which cue/s is/are the equivalent of the OST's "The Road to Masada" on the Intrada set?

This is what the Intrada's Masada set page info says:

 

Quote

Wow! At last! Mammoth complete presentation of Emmy Award-winning score to epic mini-series from Universal, starring Peter O'Toole, Peter Strauss. Legendary tale of Jewish rebels defending fortress against legions of Rome inspires Jerry Goldsmith to create magnificent score full of scope, spectacle. In 1981, Goldsmith re-recorded 38-minutes in London for superb MCA album but curiously omitted his fierce action cues as well as many other sequences. For actual soundtrack, Goldsmith recorded Parts 1 & 2 with 65 players at Universal Studios, then passed baton to Morton Stevens for completion of Parts 3 & 4. Intrada proudly presents every cue recorded for all four parts, mixed in dynamic stereo from 2" 24-track & 1/2" 4-track session masters stored in mint condition at Universal. Everything is included, from largest powerhouse set-piece to smallest Roman fanfare. Each part plays as individual program, introducing unique credit music and new material while working with ideas from previous parts, then concluding with familiar Masada end credits. Highlighting Goldsmith parts are riveting "Burning City", ferocious "The Granary" & "Nothing To Worry About", lengthy "Move On" (heard on LP as "Road To Masada"). Another highlight: Goldsmith offers striking Roman march for trumpets, horns, woodwinds, percussion. Highlighting Stevens portion are powerful "Ram's Head" theme for battering ram plus massive final siege cues. Informative notes by Jon Burlingame compliment exciting package. Jerry Goldsmith conducts Parts 1 & 2, Morton Stevens conducts Parts 3 & 4.

So Move On.

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5 minutes ago, Richard said:

Oh, man! Don't you get it?! It's a mystery, wrapped in a puzzle, inside an enigma!

Even the filmmakers don't know!

A paraphrase from JFK is always commendable. :up:

And yes the Ritchie mystery is one for the ages.

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Does anyone know any further details about Leonard Rosenman's Dinosaur Symphony?  Was it performed or recorded?

 

It is referenced here:

"His latest project is The Symphony of Dinosaurs, a complex work for full orchestra, taped sounds of birds and narrator."

http://www.filmscoremonthly.com/articles/2003/05_Nov---Leonard_Rosenman_Recording_Jurij.asp

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To anybody with an Amazon Firestick... 

 

My wife pays for Amazon Prime in her name. I am a shared user, so I get Prime shipping. This arrangement dates from when we were dating. 

 

I'm pretty sure that I'm logged in on my blu-ray player using my Amazon account instead of hers. I did the same last night when setting up the new Firestick, which amazed me when it arrived already configured in my name. I accepted Prime and we watched some TV with a much much much improved interface. 

 

Today I awake to find that I've bought my own Prime subscription, effective yesterday. I quickly canceled it because it's redundant for the household. 

 

Do I need to log in to the Firestick using my wife's account? 

 

Is there a way to tell it that I'm an authorized shared adult? 

 

(I see that sharing accounts doesn't share Prime Music. I don't need that.) 

 

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Good question.  I linked my Amazon account to Marcy's, so she can take advantage of prime shipping when she buys things, and I think she gets some free kindle books / audio books too?

We haven't run into this issue with the firestick though, because I bought it with my amazon account and it came with my account in it, and it just worked.  It hasn't really been a problem that she watches whatever shows she watches that I don't through it, I don't get different advertising when on Amazon.com or anything.  So I don't think you'd have any problems if you had her account tied into the stick instead of yours.

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6 hours ago, Disco Stu said:

You have to copy the HTML source.

 

Bullshit.

 

Just quote whichever post you want to put in your signature, hover over it: you'll then see a little box appearing above it, on the top left corner. Right click on it, select "Copy". Then go to your signature settings, and paste the quote there. Done deal.

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11 hours ago, BloodBoal said:

Just quote whichever post you want to put in your signature, hover over it: you'll then see a little box appearing above it, on the top left corner. Right click on it, select "Copy". Then go to your signature settings, and paste the quote there. Done deal.

 

Huh. The box showed up, and I right-clicked and copied, but when I pasted the quote into the signature, nothing appeared.

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9 hours ago, Disco Stu said:

Why so hostile lately my friend?

 

Hostile, me? Go to hell.

 

2 hours ago, JohnSolo said:

Huh. The box showed up, and I right-clicked and copied, but when I pasted the quote into the signature, nothing appeared.

 

Well, that's weird. I guess you should try Disc Stu's method, then.

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11 minutes ago, Brundlefly said:

What exactly does the green star attached to the title if some threads mean?

 

Well you click it to go to the first unread post.  I'm actually not sure why it's sometimes a dot and sometimes a star.

 

Does the star mean it's a thread I've posted in before?

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1 hour ago, Disco Stu said:

 

Well you click it to go to the first unread post.  I'm actually not sure why it's sometimes a dot and sometimes a star.

 

Does the star mean it's a thread I've posted in before?

The difference between the blue dot and the blue star is another question. But sometimes there is also an additional green star.

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1 hour ago, Disco Stu said:

 

Well you click it to go to the first unread post.  I'm actually not sure why it's sometimes a dot and sometimes a star.

 

Does the star mean it's a thread I've posted in before?

 

Yep.  Star means you've posted in the thread, dot means you haven't.

 

 

 

11 minutes ago, Brundlefly said:

The difference between the blue dot and the blue star is another question. But sometimes there is also an additional green star.

 

It just means it's a highlighted post. It's just used any threads with news about JW or releases of his work

 

On 9/29/2017 at 6:04 PM, JohnSolo said:

How do you add a quoted post into your signature?

 

Click the Quote link on a post as if you're  you're gonna reply to it. In the text editor that now shows the quote, click the quote (like the header part) and a crosshair icon should appear.  Click the scissor icon and the entire quote should disappear.  Go into your signature and paste it in there (ie if on mobile, long-press in the empty space then click Paste). That's it.

 

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5 hours ago, Jay said:

Click the Quote link on a post as if you're  you're gonna reply to it. In the text editor that now shows the quote, click the quote (like the header part) and a crosshair icon should appear.  Click the scissor icon and the entire quote should disappear.  Go into your signature and paste it in there (ie if on mobile, long-press in the empty space then click Paste). That's it.

 

On 30/09/2017 at 7:13 PM, JohnSolo said:

Huh. The box showed up, and I right-clicked and copied, but when I pasted the quote into the signature, nothing appeared.

 

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Does MusicBox Records have Black Friday sales? I'd order a few stuff in that timeframe anyway, but it would be nice to add an additional item, for example, for the same overall price.

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2 minutes ago, Holko said:

Does MusicBox Records have Black Friday sales? I'd order a few stuff in that timeframe anyway, but it would be nice to add an additional item, for example, for the same overall price.

 

I don't think they've ever done any sales ever

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