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    • Jay

      Donation time at JWFan   01/16/18

      Hello!

      For those who may not know, JWFan relies entirely on donations to keep running.  Donations pay for our server bills, as well as keeping our domain and Invision Powerboard fees.
      As an incentive to donate, I am offering a series of free CDS to anyone who donates over a certain amount!   Last time this was a modest success, where I raised $500 of our desired $1,000 and mailed out 3 free CDs to lucky JWFanners.  This time I'll be doing the raffling a littler different!   Our goal is $1000 once again, and I will have four tiers of free CDs you can win once again.  But this time, the more you donate, the more entries into each raffle you'll get!   Each $10 you donate gets your name put into the raffle mug once for the $10 pool, twice for the $20 pool, thrice for the $30 pool, and five times into the $50 pool.  Here is the list of CDs you can win - and I have more to add at a later time when I get a little more organized (I'll post what they are by Friday at the latest)   The $10 pool (Every $10 you donate gets you one ticket into this pool) - will be drawn as soon as we hit $250 donated Tyler Bates - God of War; Ascension (OST, La La Land Records) Danny Elfman - Planet of the Apes (OST, Sony) Danny Elfman - Taking Woodstock (OST, La La Land Records) Christopher Lennertz - Identity Thief (OST, La La Land Records) Christopher Lennertz - Medal of Honor: Rising Sun (OST) Michael Giacchino - Mission: Impossible - Ghost Protocol (OST, Varese Sarabande) Dave Holmes & Various - Ocean's 11 (OST, WB Records) Joel McNeely & Various - Hollywood '94 (Varese Sarabande) Joe Kraemer - Jack Reacher (OST, La La Land Records) John Williams - Born on the Fourth of July (OST, MCA Records)   The $20 pool (Every $10 you donate gets you two ticket into this pool, must donate at least $20 to be eligible) - will be drawn as soon as we hit $500 donated John Barry - First Love (La La Land) Jerry Goldsmith - The Challenge (La La Land) Jerry Goldsmith - In Harm's Way (2009 Intrada edition) Jerry Goldsmith - The Red Pony (Varese) Alan Silvestri - Dutch (La La Land) Shirley Walker - Willard (La La Land) John Williams - Family Plot (Varese Sarabande) or, any of the above CDs if you prefer   The $30 pool (Every $10 you donate gets you three ticket into this pool, must donate at least $30 to be eligible) - will be drawn as soon as we hit $750 donated James Horner - Gorky Park (OOP Kritzerland Edition) James Newton Howard - Outbreak (2CD, Varese Deluxe Edition) Laurence Rosenthal - Clash of the Titans (2CD, Intrada) John Williams - The Fury (2CD, La La Land) John Williams - Jane Eyre (OOP, La La Land) or, any of the above CDs if you prefer   The $50 pool (Every $10 you donate gets you five ticket into this pool, must donate at least $50 to be eligible) - will be drawn as soon as we hit $1,000 donated Jerry Fielding - The Wild Bunch (3CD, FSM) Ira Newborn - The Naked Gun trilogy (3CD, La La Land) Shirley Walker and Various - Batman: The Animated Series Volume 3 (4CD, La La Land) or, any of the above CDs if you prefer     All shipping will be paid by me to anywhere in the world!   I will pull names from a hat for each pool, and you get to pick whatever CD set you want if I pull your name!   To be eligible, leave your JWFan username in the comments area of your donation.  If you want to donate but not be in the running for a free CD, mention that in the comment.   Use this link or the link on the mainpage.       Thank you!   Jason, Ricard, and Andreas.

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I'd say Williams' modern action music is his most original stylistic tendencies. I haven't heard any other style like it, in film music or in the concert hall. At least, not anything written before Williams' created the style in Jurassic Park.

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From the las 20 years, I'd recommend:

T-rex Rescue and Finale from Jurassic Park

The Football Match from Sleepers

The Hunt from The Lost World

Rescuing Sarah from The Lost World

The Raptors Appear from the Lost World

Escape from Naboo from the Phantom Menace

Everybody Runs! from Minority Report

The Whomping Willow from Prisoner of Azkaban

General Grievous from Revenge of the Sith

Whirl Through the Academe from Kingdom of the Crystal Skull

Flight to Bagghar from Adventures of Tintin

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Oh man, Rescuing Sarah is a beast of a song.

I'm afraid that I don't give The Lost World as much attention as it probably deserves.

I'm no fan of Williams' action stuff past, and including, The Phantom Menace.

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Oh man, Rescuing Sarah is a beast of a song.

I'm afraid that I don't give The Lost World as much attention as it probably deserves.

I'm no fan of Williams' action stuff past, and including, The Phantom Menace.

Why aren't you a fan of it? Just wondering.

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Most Williams action tracks are almost as fast tempo concert suites. They are almost always extremely coherent in its structure. I don't think about synch points or quick cuts at all while listening to them

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John Williams makes some memorable music. Action music is not one of them.

From a technical point of view, it can only be called sheer brilliance.

From an emotional point of view, not so much.

Williams' action cues doesn't have that oomph that gets your adrenaline pumping wildly.

Are you guys talking about modern Williams or in general?

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Agreed. The only modern Williams action cues that I would label as being "all over the place" are a few from Tintin, and maybe "Grave Robbers" from KotCS.

Even in Tintin, something like Flight to Bagghar could be played in a concert hall

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While I love Williams old action style more, I certainly enjoy and admire his modern action writing. Williams is a fantastic action writer. One of the things I've always admired about modern Williams is how regardless of how busy and "over the place" the action music sounds like, its still very structured and enjoyable. What I found myself marveling at when listening to Tintin, is how Williams manages to make his music sound so "busy" yet still very enjoyable. Only Williams can pull that level of complexity off without his music being dubbed as atonal work.

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Williams' action cues doesn't have that oomph that gets your adrenaline pumping wildly.

It certainly does for me! To me, he is one of the only film composers that creates really unique, complex and interesting underscore and action music. I can sit and listen to some of my favorite action setpieces (Kingdom of the Crystal Skull - Jungle Chase, Phantom Menace - rescuing the queen/ hanger battle etc for example) and it's just really engaging. Some of the stuff makes you wonder what the heck will come next...

I get tired of hearing action music by some other composers that just consists of an ostinato for a really long time with some big brass punches.....or maybe just a cool rhtyhmic layer of percussion.

I like the fact that William's action music is so complex. It dances at times, gets up in your face, moment of silence, mickey-mouses with what's on the screen, always changing and always fun (or at least almost always).

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Williams' action cues doesn't have that oomph that gets your adrenaline pumping wildly.

It certainly does for me! To me, he is one of the only film composers that creates really unique, complex and interesting underscore and action music. I can sit and listen to some of my favorite action setpieces (Kingdom of the Crystal Skull - Jungle Chase, Phantom Menace - rescuing the queen/ hanger battle etc for example) and it's just really engaging. Some of the stuff makes you wonder what the heck will come next...

I get tired of hearing action music by some other composers that just consists of an ostinato for a really long time with some big brass punches.....or maybe just a cool rhtyhmic layer of percussion.

I like the fact that William's action music is so complex. It dances at times, gets up in your face, moment of silence, mickey-mouses with what's on the screen, always changing and always fun (or at least almost always).

YES! :D

I love mickey-mousing in action sequences. It shows the composer is really in sync with the film.

With those "ostinato, brass, percussion" pieces, it just seems boring to me (but still sounds "cool").

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...exactly.

The "all over the place" is great things about it. It's action. Unexpected movement. Excitement. JW tends to nail it, quite frankly, because instead of sounding like a retelling of past action, much of his action music sounds with the surprise of something that is happening right now. It's like... why aren't you running? I have to admit a lot of his music makes me jump around in my room. it's that good.

Ok enough dick sucking for today.

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Listen to the final 10 minutes of Star Wars, or the final reel of The Empire Strikes Back.....or any of the action cues from Indiana Jones and the Temple of Doom....or The Desert Chase, or innumerable other pieces.....if it doesn't have "Oomph" for you, doesn't get your blood pumping, doesn't get your feet shifting....well, there's medication for it but I'd say you're too far gone....

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Listen to the final 10 minutes of Star Wars, or the final reel of The Empire Strikes Back.....or any of the action cues from Indiana Jones and the Temple of Doom....or The Desert Chase, or innumerable other pieces.....if it doesn't have "Oomph" for you, doesn't get your blood pumping, doesn't get your feet shifting....well, there's medication for it but I'd say you're too far gone....

Agreed. "The Asteroid Field" is probably JW's ultimate "action" cue.

Others of note would be: "Adventures On Earth" (a beautifully choreographed piece!), "The Heilcopter Sequence", "Chasing Rockets", "Hyperspace", "To Scarborough", "Slalom On Mount Humol", and "The Mine Car Chase".

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Some other good action music: - these take quite a bit of listening to get into the groove of what JW was trying to accomplish I think - believe me, on the first listen they can sound a bit dull. Listen to theme repeatedly and they begin to make more sense.

War of the Worlds:Escape from the City

The Ferry Scene

Intersection Scene

Heaps of action in Star Wars Attack of the Clones & Revenge of the Sith, some cues in Harry Potter POA, Munich (Letter Bombs). Then there is the more "recent" stuff Indiana Jones "Ants" Whirlwind through acadame. Tintin Escape from Karaboudjian, Pursuit of Falcon, and War Horse, no mans land.

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I get tired of hearing action music by some other composers that just consists of an ostinato for a really long time with some big brass punches.....or maybe just a cool rhtyhmic layer of percussion.

I like the fact that William's action music is so complex. It dances at times, gets up in your face, moment of silence, mickey-mouses with what's on the screen, always changing and always fun (or at least almost always).

The "all over the place" is great things about it. It's action. Unexpected movement. Excitement. JW tends to nail it, quite frankly, because instead of sounding like a retelling of past action, much of his action music sounds with the surprise of something that is happening right now. It's like... why aren't you running? I have to admit a lot of his music makes me jump around in my room. it's that good.

Listen to the final 10 minutes of Star Wars, or the final reel of The Empire Strikes Back.....or any of the action cues from Indiana Jones and the Temple of Doom....or The Desert Chase, or innumerable other pieces.....if it doesn't have "Oomph" for you, doesn't get your blood pumping, doesn't get your feet shifting....well, there's medication for it but I'd say you're too far gone....

Agreed. "The Asteroid Field" is probably JW's ultimate "action" cue.

Others of note would be: "Adventures On Earth" (a beautifully choreographed piece!), "The Heilcopter Sequence", "Chasing Rockets", "Hyperspace", "To Scarborough", "Slalom On Mount Humol", and "The Mine Car Chase".

:up:

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While I prefer his old action style more, I love both styles. His modern stuff is still great action music. Take Anderton's Great Escape for instance, very modern but an excellent piece of action music.

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That was written by William Ross.

:lol:

In my opinion, much of Williams' strongest action music comes from his work in the late 70s and early 80s. Scores like Star Wars, Raiders, ESB, and E.T. feature some of the very finest action music ever written. They truly deliver on emotional AND intellectual levels. It's true that his approach to action scoring changed in later years, though I contend that much of his later action cues are still fantastic (especially after you've gotten more familiar with them). The problem with his later action music is that it tends to be a lot denser and more harmonically complex/ambiguous, and less melodic. To put it in less quasi-technical terms, it tends to emphasize the chaos that's happening onscreen, rather than the emotions that the chaos causes. Earlier Williams action cues are still profoundly complex at times, but in a leaner way that accentuates the subjective progression of the characters' and audience's feelings, rather than the objective progression of chaotic events unfolding in the film. (And of course, on a more superficial level, there are some rather stereotyped tools and techniques that Williams has tended to overuse in more recent action music.)

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That was written by William Ross.

:lol:

In my opinion, much of Williams' strongest action music comes from his work in the late 70s and early 80s. Scores like Star Wars, Raiders, ESB, and E.T. feature some of the very finest action music ever written. They truly deliver on emotional AND intellectual levels. It's true that his approach to action scoring changed in later years, though I contend that much of his later action cues are still fantastic (especially after you've gotten more familiar with them). The problem with his later action music is that it tends to be a lot denser and more harmonically complex/ambiguous, and less melodic. To put it in less quasi-technical terms, it tends to emphasize the chaos that's happening onscreen, rather than the emotions that the chaos causes. Earlier Williams action cues are still profoundly complex at times, but in a leaner way that accentuates the subjective progression of the characters' and audience's feelings, rather than the objective progression of chaotic events unfolding in the film. (And of course, on a more superficial level, there are some rather stereotyped tools and techniques that Williams has tended to overuse in more recent action music.)

What stereotyped tools and techniques are you referring to?

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Here are some of my personal favorites.

The Phantom Menace

-Droid Fight

-Escape From Naboo

-Darth and Qui-Gon

-The Armies Face Off

-The Battle Begins

-Battleship Destroyed

Attack Of The Clones

-The Jango Fett Fight

-The Spare Canister Caper

-Dooku Vs. Obi-Wan

-Yoda Strikes Back

Revenge Of The Sith

-Boys Into Battle

-Get 'Em, R2!

-The Death Of Dooku

-I Am The Senate

-The Boys Continue

Star Wars (ANH)

-The War

-Here They Come

-The Last Battle

-Use The Force

The Empire Strikes Back

-The Snow Battle

-Luke's First Crash

-The Rebels Escape Again

-The Asteroid Field

-Attack Position

Return Of The Jedi

-Fight In The Dungeon

-Into The Trap

-Fight With The Fighters

-More Duel

Hook

-The Ultimate War

Jurassic Park

-Into The Kitchen

-March Past The Kitchen Utensils

-T-Rex To The Rescue

E.T. The Extra Terrestrial

-The Rescue and Bike Chase

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I just felt like posting two of the action tracks that ignited my passion for JW's music back when I was younger.

http://www.youtube.com/watch?v=E3LcACHGgRc

I like that they sound so much like they are from the same score, similar ideas on both. The insane timpani in Whomping Willow also goes back to the timpani in Buckbeack's Flight. It all sounds tied together, I mean. Like a story.

Many of JW's works develop this identy for their own in subtle ways. Jurassic Park is one my favourite examples.

Also, something I've been thinking about JW's action music, specially later JW, is that I can't think on music that sounds like it that isn't other JW music. Back then when Star Wars, you could hear the influences, you could hear where the sound came from, in the sense that you could think of similar music. I hear the music above and I feel like Sherlock Holmes trying to analyze Irene Adler: I just see John Williams. I hope I'm not beheaded for saying this, as I still have a lot of music to listen to :lol:

I think my favourite action music of his would be the JP scores and Indiana Jones.

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The Lost World:

Visitor in San Diego, best Williams action track in the 1990's on, IMO

Probably!

TOD, Jedi and Hook make up a trilogy of 30-45 minute wall-to-wall climactic action and dramatic scoring. Just so much phenomenal music going on there.

Yes yes yes!

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