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      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.
antovolk

Hans Zimmer's DUNKIRK

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18 hours ago, Blumenkohl said:

 

Can you run 26 miles today, without any warning? On top of that, let me beat your whole body up with 4-6 Gs (if you weigh 140 pounds, try feel like 560-840 pounds) of force during WWII dogfights, then we'll see how far you can run on nice comfortable land, let alone water. 

 

The people who make those swims train and train, they have a good night's rest, they eat a good meal, mentally prepare, and then dive in. 

 

 

He's certainly come far since the blips and blops of Crimson Tide! 

I can't do 100 push ups today without warning but anyone who has gone through basic training can.  Same with marching miles with 100 pound gear.  Now if someone held a gun to my head then I might be able to do these things without prep or training and that was effectively the situation we are talking about.

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On 7/10/2017 at 7:19 PM, Muad'Dib said:

 

Yeah, Williams uses a lot of pedal so I don't see the problem with this.

Yes but the genius of Williams is what he does around that pedal point, right? Like classical composers before him. It's great to have the bass instruments plugging away on one note while the rest of the orchestra goes in and out of harmony with that, but in an orchestral interesting way that challenges the listener and players alike. Pedal Notes are an awesome tool, but not when there's nothing else to juxtapose against it. That's the difference that I see here.

 

Anyway for info on some of the score, a friend of mine, Roberto Sorentino, was one of the Cellists on the recording (he's 4th chair in the RPO). He used some insane amount of cell and Basses to record the samples of the repeated notes. I want to say 26/27 or so of each, but I will check. They had scoring sessions with them to record the samples and then they used the samples in the studio to do the score. I do love what that other composer on the CD did with Elgar's "Nimrod" from his Enigma Variations. Very effective there.

 

As for me being a dick, I didn't mean to be, just giving my opinion. Maybe it's hard to judge how someone is saying something when it's typed out. But I'll accept the dick comment.  I mean, I love dicks anyway, lol

On 7/11/2017 at 8:02 AM, SafeUnderHill said:

Where is the evidence that they used library loops in this piece?

The drums are sampled library loops, there are extensive libraries out there with a shit ton of loops you can use and add on to. The strings were samples that were specifically recorded for the film and which they can then use for other projects of course.

On 7/11/2017 at 2:53 PM, Quintus said:

 

You should drink more often. 

Shouldn't we all....

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Fake isn’t the word I’d use.  It’s a joke.

 

Ehrlich’s one of my favorite critics to read.  He also cohosts a movie podcast I quite enjoy called “Fighting in the War Room.”  He can be a bit pretentious at times but then, how many film critics aren’t?

 

Side note, I really can’t wait to see Lady Bird!

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Okay I absolutely have to know.  Why the fuck do you waste your time reading, thinking, and posting about things you so fervently hate?  For gods sake get a hobby other than polluting this forum with your whining.

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On 01/12/2017 at 9:43 AM, MedigoScan said:

No wonder the ticking was downplayed from the IMAX preview piece (then again, the IMAX preview was just scenes spliced together)

Speaking of the IMAX preview...how realistic do you all think it would be to try recreate the score from that using the OST and film sound mix elements?

 

Wanna do an HD recreation of the prologue using the Blu-ray, like I did with the Interstellar IMAX preview.

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2 hours ago, TheGreyPilgrim said:

 

He's pathetic.

 

While I am not a big fan of the score, and I agree with some of his critique of Zimmer's approach, the only thing that really think he got right is that this is a film that doesn't need a score at all. I fundamentally disagree with him that the music doesn't work in the film. It works totally fine in the movie. 

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10 minutes ago, Mephariel said:

 

While I am not a big fan of the score, and I agree with some of his critique of Zimmer's approach, the only thing that really think he got right is that this is a film that doesn't need a score at all. I fundamentally disagree with him that the music doesn't work in the film. It works totally fine in the movie. 

I agree too, I felt the music was often a distraction - the film isn't improved with the score. Not Zimmer's fault...

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11 minutes ago, BloodBoal said:

The music is often a distraction, but it's not the composer's fault?

 

OK...

It's Nolan's, you fool!  He should've just said: "Ya know what, Hans, I think it's time we stopped seeing each other. It's not you, it's me."

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CC has overreacted on occasion, and has a very blatant bias towards traditional orchestral music.

 

But I do think he's one of few score reviewers not talking pretentious shit about Zimmer. I listened to some of Dunkirk earlier. A few bits of were fairly functional underscore, but if it were composed by anyone else, we wouldn't be talking about it.

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7 hours ago, Stefancos said:

Such a letdown after the splendid Interstellar. Maybe the Zimmer/Nolan chemistry stopped working?

Yet Interstellar demanded a different score to the one for Dunkirk; wonder, atmosphere and that building anticipation don't fit with Dunkirk.

 

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22 hours ago, Richard Penna said:

CC has overreacted on occasion, and has a very blatant bias towards traditional orchestral music.

 

That's not bias. That's called good taste.

 

Spoiler

I kid!

 

14 hours ago, Denise Bryson said:

CC has been dishing out undeserved five star ratings to Danny Elfman scores since Alice in Wonderland. Does he just do that because Elfman is a politically active (and aggressive) Democrat, and CC feels the need to reward him?

 

The ratings for Alice were deserved. It is a fantastic score for a terrible film.

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10 minutes ago, TheUlyssesian said:

 

That's not bias. That's called good taste.

 

  Reveal hidden contents

The ratings for Alice were deserved. It is a fantastic score for a terrible film.

 

Yeah but for the second one too? And Reel Steel? Something's off there.

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On 12/24/2017 at 11:58 AM, Richard Penna said:

CC has overreacted on occasion, and has a very blatant bias towards traditional orchestral music.

 

But I do think he's one of few score reviewers not talking pretentious shit about Zimmer. I listened to some of Dunkirk earlier. A few bits of were fairly functional underscore, but if it were composed by anyone else, we wouldn't be talking about it.

Not talking pretentious shit? The dude slanders him in almost every single sentence possible. He isn’t reviewing the score, he’s trashing the composer. And why the need for the obligatory “ghost writers” comment, as it has no bearing on the quality of the music? They aren’t ghost writers if you can name them and they’re credited on the score. Words thrown around like “conglomerate,” “slurred,” and his asinine insistence that period films can only be scored using instruments of the time all point to a deep seeded hatred that has no bearing on the music itself. Guy’s a nut job. 

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4 hours ago, TheUlyssesian said:

 

That's not bias. That's called good taste.

 

  Reveal hidden contents

 

 

The ratings for Alice were deserved. It is a fantastic score for a terrible film.

 

You are the reason why I love the fact that scores like Dunkirk and Arrival are getting critical acclaim and awards nominations. Not because those scores deserves so much attention, but it is a way of giving traditionalist like you and CC a huge middle finger. I love John Williams and James Horner, etc. But not every good score needs to be orchestrated. Or bombastic.

 

 

4 hours ago, Denise Bryson said:

 

Yeah but for the second one too? And Reel Steel? Something's off there.

 

I think Real Steel deserve its score. But Alice didn't. Basically Elfman gets 5 stars for writing the same generic stuff he been doing in that genre. 

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