Jump to content

THE BFG OST ALBUM Discussion


Jay

Recommended Posts

14 minutes ago, Nick Tatopoulos's Beret said:

 

Don't tell me. Tuesday?

 

:lol: I didn't mean that I'm super mad about the arrival time. I just decided to listen digitally while waiting for the CD to arrive. I'd been waiting for this score for months, and especially the other JWFans' comments were making me really want to listen.

Link to comment
Share on other sites

On 1-7-2016 at 6:45 AM, Jay said:

Definitely not.

Wow, when is the last time that happened?!? A Wiliams OST with only music heard in the film and/or written for the film? :blink:

Link to comment
Share on other sites

5 hours ago, king mark said:

yes me too.

 

What's the instruments that play Sophie's theme at the beginning of Sophie's Future

 

Woodwinds but what?

 

Flute and clarinet in unison.

Link to comment
Share on other sites

6 hours ago, publicist said:

It's more of a polka march (skipper for me).

 

Really? Skip everything please, skip skip skip

5 hours ago, publicist said:

I find this stuff horribly old-fashioned. Might work for the film scene, though.

you are

 

3 hours ago, alextrombone94 said:

"Frolic" reminded me of "Aunt Marge's Waltz" from POA. An old fashioned comedy piece with a really classical ending

 

 

yeah, with Forest Battle ending ;)

Link to comment
Share on other sites

1 hour ago, Jediwashington said:

The film itself just lagged in places. It threw us into the world really quickly, only to take over an hour fascinating us by said world, and then hurrying as quickly as possible to wrap up the story.

 

 

You just nailed my biggest problem with the film.

Link to comment
Share on other sites

1 hour ago, Jediwashington said:

ophie's theme, In my opinion, is a lullaby, which would follow his typical logic. It is so evident because of its simplicity, repetitive nature and relatively small tessitura. It tries to be pentatonic as most lullaby's, but he gets bored of that harmonically. He also develops it in the film a lot more than the CD if you listen to the order. You don't really get a full theme reveal in major until the end of the first act.

 

Wait, first evidence there IS good unreleased music?

Link to comment
Share on other sites

8 minutes ago, king mark said:

 

Wait, first evidence there IS good unreleased music?

 

 

No, I don't think so. Just the baroque "source" music from the brunch with the Queen. I'm almost certain it's his. 

 

as for the development, no, there isn't much unreleased (it's actually pretty silent for a good bit of the beginning), but without the overture track, the theme isn't presented immediately, but it does get revealed in full earlier than usual.

 

He also plays against the tolling bells of Big Ben, which aren't in the CD, but are really musical and what he plays off of. More of an editorial omission than unreleased stuff.

Link to comment
Share on other sites

I keep forgetting to mention this and I'm surprised nobody else has (unless I missed it), but I think there actually is one notable Sophie's Theme statement missing from the OST. There's a microedit in "Giants Netted" where it should be, I think when the helicopters fly in and at some point there's a push-in to Sophie and the BFG watching, with the theme. It's not that long, I think just the first phrase at most, but it is probably the closest the underscore gets to the overture/end credits version of the theme. I do remember that sticking out and trying to remember if it had been on the OST, which it's not.

 

Also cut from the OST is the little face-off with Fleshlumpeater and BFG and then when the helicopters actually come in and net the giants. Basically I think the "Giants Netted" track is Sophie releasing the nightmare and the giants being affected, and then at about 0:53 it cuts to them already netted and being flown off to the island. All of this goes by really quickly so it's not like this is 10 minutes of unreleased stuff and I don't really remember it that well besides the Sophie's Theme statement, but it's missing anyway.

 

So...yeah. There is that, at the risk of sending KM into a panic.

Link to comment
Share on other sites

3 hours ago, Jediwashington said:

Just got back from seeing the film and I've listened 3 times.

 

The orchestrations are so colorful. He packs more colors per bar than most impressionist composers and I'm just amazed.

 

Sophie's theme, In my opinion, is a lullaby, which would follow his typical logic. It is so evident because of its simplicity, repetitive nature and relatively small tessitura. It tries to be pentatonic as most lullaby's, but he gets bored of that harmonically. He also develops it in the film a lot more than the CD if you listen to the order. You don't really get a full theme reveal in major until the end of the first act.

 

This will go down as one of his best orchestrated films yet. The flute writing is incredible (and even better played... Brava!!!) the oboe work is great too. Woodwind writing is just magnificent. I'm so impressed that he was able to get those little unison flute lines to line up for the dreams and move straight on to the next material without dropping the idea. Just wow... Also, they should have kept Big Ben in the CD! 

 

As as for source music, I love the choice. Hail Britrania has hints of his melodic/rhythmic style, so it's not out of place. Bagpipes are snoozers. The real question is this: is that baroque/Renaissance music his? I think it is and wish it were on the CD...

 

The film itself just lagged in places. It threw us into the world really quickly, only to take over an hour fascinating us by said world, and then hurrying as quickly as possible to wrap up the story. It is a great story and a great book, but the script and editorial choices weren't distributed correctly to keep interest.

 

within those long scenes, they jump quickly from topic to topic, and transitions from scene to scene are quick, so John really didn't have time to play much, thus the sad reality that we don't get a big theme moment like ET or Harry Potter. It was quite dialogue heavy as well and didn't rely on as much visual story telling that Williams can throw in a motif.

 

Overall, love the music, not a big fan of the film. I think Williams had read the book, loves it, but knew it had a pacing issue and I can hear him struggling to save it, but not having the silence or opportunity to do it. He was boxed in and did what he could and certainly had a fun time with it regardless. A for effort!

 

Hope it's not the last children's score we get... He is too good at this style!

 

Definitely. Clarinets in A I think for a darker sound. It sounds like Alto flute as well, but maybe unison? Definitely more than one flute, but I can't tell if it's just 2 players with one that has a darker breathy sound or it is a different instrument completely. 

 

There is also a few articulations that make me think there could be a little glock with rubber mallets or maybe even vibes. Something metallic anyway extremely soft.

 

I don't know the moment y'all are trying to decipher, but based on the guesses I'd say it might be the classic Williams color that is best known from Hedwig's Theme: alto flute, clarinet, cor anglais, bassoon, harp, vibraphone.  

Link to comment
Share on other sites

26 minutes ago, Jediwashington said:

@TheWhiteRider the beginning of Sophie's Future. It's not bassoon or English horn for sure. 

 

You'd be surprised how subtly they can blend into a combination like this.  Sounds like maybe three alto flutes, cor anglais or oboe, clarinet or clarinets, vibraphone?  There are so many shadings you can do like this that it's impossible to guess.

Link to comment
Share on other sites

2 hours ago, Jediwashington said:

 

 

Just the baroque "source" music from the brunch with the Queen. I'm almost certain it's his. 

 

Really? We had all assumed it wasn't Williams. And I recall at the end of the end credits there were a few (four, I think) songs/pieces listed with their composers/singers. These presumably would be pieces/songs in the film not written by Williams or I suppose co-written by Williams. I can think of one instance of source music at the beginning of the film coming from the bar near the orphanage (it was clearly not Williams). That means, if I remember correctly and we also take into account "Rule, Britannia!" there are still two other pieces in the film that are either not composed by Williams or I suppose co-composed by him. I've assumed those two are two non-Williams classical pieces heard in the palace. Here's the only two palace clips I could find:

 

 

This first one is clearly scored with "Rule Britannia!"

 

 

This second one, which I assume contains some of the classical-sounding music you think is Williams -- do any classical music lovers here know whether we are hearing old classical pieces? 

 

It certainly would be cool if Williams wrote them himself. 

@Jediwashington

 

Quote

It is a great story and a great book, but the script and editorial choices weren't distributed correctly to keep interest.

 

Exactly. This is basically what I said over in the film thread (using many more words).

2 hours ago, mrbellamy said:

I keep forgetting to mention this and I'm surprised nobody else has (unless I missed it), but I think there actually is one notable Sophie's Theme statement missing from the OST. There's a microedit in "Giants Netted" where it should be, I think when the helicopters fly in and at some point there's a push-in to Sophie and the BFG watching with the theme. It's not that long, I think just the first phrase at most, but it is probably the closest the underscore gets to the overture/end credits version of the theme. I do remember that sticking out and trying to remember if it had been on the OST, which it's not.

 

Also cut from the OST is the little face-off with Fleshlumpeater and BFG and then when the helicopters actually come in and net the giants. Basically I think the "Giants Netted" track is Sophie releasing the nightmare and the giants being affected, and then at about 0:53 it cuts to them already netted and being flown off to the island. All of this goes by really quickly so it's not like this is 10 minutes of unreleased stuff and I don't really remember it that well besides the Sophie's Theme statement, but it's there anyway.

 

So...yeah. There is that, at the risk of sending KM into a panic.

 

I think you are indeed the first to mention this. 

 

Tantalizing ... I don't remember that theme moment from the film. What is the time stamp of the OST micro edit? 

 

And also interesting that the face-off and netting isn't on the OST. I was a little confused about that scene music-wise when I compared to the OST. 

 

Of course. We knew someone would discover something. John Williams would never let us listen to the glory of an OST with all stand-out musical moments.

Link to comment
Share on other sites

Most of the OST is a lot of fun to listen to but I do feel like it's missing a core. There's nothing that really pulls the whole score together for me. It's more a collection of fun musical moments which isn't necessarily a bad thing. I find this score even more scattered that Tintin which I think suffered from the same issue. 

Link to comment
Share on other sites

1 hour ago, Will said:

 

 

This second one, which I assume contains some of the classical-sounding music you think is Williams -- do any classical music lovers here know whether we are hearing old classical pieces? 

 

 

 

0:08 is Cavatina from Paisello's Il Barbiere di Siviglia, one of the Barry Lyndon tracks we heard about earlier.

 

 

 

Don't remember what else was playing in that sequence, but I do recall this playing in the pub at the beginning :P

 

 

Link to comment
Share on other sites

10 minutes ago, mrbellamy said:

 

 

 

0:08 is Cavatina from Paisello's Il Barbiere di Siviglia, one of the Barry Lyndon tracks we heard about earlier.

 

 

 

Don't remember what else was playing in that sequence, but I do recall this playing in the pub at the beginning :P

 

 

 

Okay, glad we got the slower stuff covered. Wondering about the transition material that ends at the beginning of that clip. It goes on for about 10 seconds prior to that? Didn't see credits.

Link to comment
Share on other sites

1 hour ago, Will said:

Tantalizing ... I don't remember that theme moment from the film. What is the time stamp of the OST micro edit? 

 

0:51-ish, I'm pretty sure.

 

I could be wrong about the specifics of this, but I think the first 33 seconds of "Giants Netted" is Sophie running down to the giants and trying to pick one to set the nightmare on. Then at 33 seconds you get the nightmare motif and all that frantic stuff would be the nightmare escaping and the giants flailing around.

 

Then at 53 seconds, I'm positive that sudden bit of pomposity is edited in from the end of the sequence, as the giants are being lifted away. I definitely remember that coming in with the cohorts squirming around in their nets with the helicopters flying away -- rather than being pinned down by the nets -- and it just plays out from there with the giants being taken to the island.

 

So in between would be Fleshlumpeater vs BFG and the actual netting of the giants, and somewhere in there was that shot of Sophie and the BFG watching it all as the theme played out. 

Link to comment
Share on other sites

Listening to the the score just now I suddenly realized that there are more than enough short motifs and diverse orchestral colors to make for a really fun suite. Now I'm really excited for how JW is gonna present this as a concert work. Should be great.

Link to comment
Share on other sites

So basically the only time Sophie's Theme is played in full without being interrupted by another theme is the last 2 minutes of the End Credits

Link to comment
Share on other sites

A couple of brief things:

 

The "scary motif" on muted trumpets heard first in "To Dream Country" and reprised several times over the course of the score reminds me both of the "Panama Hat" motif from The Last Crusade and Sakharine's theme from Tintin.

 

Anyone else loves the mysterious theme heard first in "The Witching Hour" and reprised in "There Was a Boy"? It's such a great little theme.

 

A question for those who have seen the film: does "Dream Jars" plays in the film as it is on the album?

Link to comment
Share on other sites

1 hour ago, leeallen01 said:

I'm dying to hear this score, but it still isn't released in the UK! And I can't find it anywhere online either. 

 

It should be on iTunes UK, it was for me. It should also be on Spotify. Hope you find it!

Link to comment
Share on other sites

10 hours ago, artguy360 said:

Listening to the the score just now I suddenly realized that there are more than enough short motifs and diverse orchestral colors to make for a really fun suite. Now I'm really excited for how JW is gonna present this as a concert work. Should be great.

 

Probably just "Sophie and the BFG"? It's 8 minutes, like the suite supposedly is.

Link to comment
Share on other sites

Having listened to this now several times I have to say it is a lovely score but not quite top drawer stuff from Williams. Very familiar through and through. I really like the innocent and sweet main theme though, especially the latter more melancholy section (is this actually music for the BFG or for Sophie?).

Link to comment
Share on other sites

While I was watching the film, I sort of interpreted the melancholy section as their friendship theme....it usually seemed to play in little heart-to-heart scenes between the two of them, whereas the "main theme" worked as a friendship theme but was just as often a standalone identity for Sophie. But they are two sides of the same coin.

Link to comment
Share on other sites

I've had the opportunity to go through it now a few times.  I have to say that it's a great musical narrative, and for those of you that complained about the elusiveness of Rey's theme, Sophie's theme is very memorable from the first time you hear it, and it's used nicely throughout, despite the conspicuous absence of a soaring version that the score gradually builds to.  Since I have not seen the movie I cannot comment on whether Spielberg's direction, or the structure of the movie, allows for this.

 

While this is no way tops TFA, War Horse or Tintin of his recent scores, I do like it better than The Book Thief and Lincoln.  There's some really good stuff here.

 

 

 

 

Link to comment
Share on other sites

It's a good score if we're comparing it to contemporary films scores but it's distinctly average by Williams standards which is a really shame. The motif for Sophie is nicest that is about it, the rest is underscore and a grating, hyperactive flute. In fact i feel his standards have been slipping after 2005, i mean he is 84 for crying out loud so maybe i'm being a bit harsh. After so much excitement and anticipation for each new score, i've been left underwhelmed by The BFG, Lincoln and The Book Thief. I find TFA to be his weakest Star Wars score also, it's less operatic and has far less weight than the previous scores in the series. His themes aren't really iconic or memorable anymore although this may be because the films haven't been up to scratch. I just feel that at this stage is in his career he is winding down and is better suited to scoring more intimate films rather than the big movies he used to do.

Link to comment
Share on other sites

"Sophie's Future" straight through "Meeting the Queen" is utterly terrific, plus the first section "Overture" through "Dream Country" is wonderful.  The final two tracks as well, plus other scattered moments such as Frolic make this worthy addition to Williams' oeuvre.  I'll be listening to this one a bit more before I move onto another score.

Link to comment
Share on other sites

I can't get over how great the horns sound in the nightmare portion of "Sophie and the BFG"—half playing open, half playing stopped at 5:41, then all of them playing stopped at 5:43. So sinister.

Link to comment
Share on other sites

I went away for a few days, I’ve listened to it yesterday, and I can say that I loved it. It was fun, whimsical, overall a great first impression. Yes it was familiar, I can imagine the film is familiar too, it’s a children’s tale by Spielberg, it screams familiarity by a mile away, and I’m personally happy with that. It’s still magical for me, and I’m beyond happy that I experienced a new John Williams score in 2016 :)

I will have to listen to it a few more times that’s for sure, and I’m looking forward to it.

Link to comment
Share on other sites

16 minutes ago, Disco Stu said:

I've seen a lot of "sidebar shade" thrown at Lincoln in this thread. Lincoln is honestly one of my personal favorite Williams soundtracks! I love him in his Coplandesque mode and I find his music for Lincoln deeply emotional and compelling. Sorry to get off topic, I just had to respond to all the "I guess it's at least better than Lincoln" type comments I've seen.

 

Yeah, Lincoln is amazing.

 

I have same problem with The Book Thief. "This is as bad as TBT"

For me it is very important score, maybe the most important.

Link to comment
Share on other sites

3 hours ago, natedog said:

It's a good score if we're comparing it to contemporary films scores but it's distinctly average by Williams standards which is a really shame. The motif for Sophie is nicest that is about it, the rest is underscore and a grating, hyperactive flute. In fact i feel his standards have been slipping after 2005, i mean he is 84 for crying out loud so maybe i'm being a bit harsh. After so much excitement and anticipation for each new score, i've been left underwhelmed by The BFG, Lincoln and The Book Thief. I find TFA to be his weakest Star Wars score also, it's less operatic and has far less weight than the previous scores in the series. His themes aren't really iconic or memorable anymore although this may be because the films haven't been up to scratch. I just feel that at this stage is in his career he is winding down and is better suited to scoring more intimate films rather than the big movies he used to do.

 

The motif for Sophie is nice but not the best part of this lovely score. And I'm sorry if you have something against the flute.

TFA is amazing. His standard hasn't been slipped after 2005, actually all the scores after that year are better than the ones between

1992-1998...

Link to comment
Share on other sites

6 hours ago, curlytoot said:

 

Probably just "Sophie and the BFG"? It's 8 minutes, like the suite supposedly is.

I kind of feel like a more inventive suite is possible with other material in the score. Maybe I should revisit the last track again though.

Link to comment
Share on other sites

I'm really sad to say that but there is nothing to do... some passages... and those flutes.... arghhh....

 

I Officially put this score on the shelf for a one month penalty.

 

For now, it irks me at each listening.


3682376-237035-hulk.jpg

Link to comment
Share on other sites

3 hours ago, TheWhiteRider said:

No idea what in the shit "sidebar shade" means but Lincoln is a masterpiece.  

 

In my head it meant throwing shade at the Lincoln score as an aside. Like, "The BFG is just OK, not as good as [fill in the blank] but definitely better than Lincoln." And I just couldn't abide it!

 

(In case you don't know what throwing shade means, basically it means to publicly, but indirectly, denounce someone or something)

Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.