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igger6

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igger6 last won the day on June 4 2022

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    Centennial Overturchgoer
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  1. YES! This is what I wished for when I broke the window on 320 Sycamore! It’s like Night After Night for Williams. And can it be that this will finally be my access route to a gorgeous cohesive performance of the tonal melody from Images? Nah, with my luck, they’ll use the cello to simulate those drunken werewolf grunts from the OST…
  2. What a farce. Disney has gone so acquisition-mad under Iger that they’re now sending Bishop from X-Men (company employee!) decades into the past to inform various titans of pop culture that they’re actually working for Disney, who will own them forty years hence. I can’t quite articulate why this feels so icky to me, but it’s the same feeling I got when The Sound of Music and Miracle on 34th Street showed up in their respective decades on the Disney100 section of Disney+ last year. They were not affiliated with you! They were, in fact, directly competing with you! Disney is basically Mother Gothel now.
  3. I just realized this score would be a perfect candidate for a Mutter arrangement. Give us some of those sumptuous melodies without all the overcaffeinated-cannibal sounds!
  4. The other two concert pieces need to be released as "Nazuite" and "Archisuitees" respectively.
  5. Promising, but weird! On my end it says it's releasing on Monday. I thought all music releases have moved to Fridays.
  6. The Deadpool & Wolverine trailer made me sad. I wasn't a child when the MCU was in its glory days, but I thrilled vicariously to the fact that movies for 9–12-year-olds were having such an incredible run—movies that barely earned their PG-13 ratings but delighted in adventure and heroism without being stuffy or portentous. Marvel truly had the magic formula for a long, long time. Now, with the MCU having overstayed its welcome, devalued its brand through overexposure, and misread fan appetites in equal measure over the past five years, this is what we're left with: a cynical, sophomoric, hyperviolent middle finger of a movie that leans into everything the great Marvel movies managed to avoid for so long. And if you're a kid who loves superheroes, that's your Marvel option for the year. A once-great kid-movie empire is behaving like the kid in middle school who can't wait to show off the dirty books in his locker. If there's a silver lining, it's that Endgame was long enough ago—and the intervening movies and TV shows so disparate and haphazard—that they've probably lost most of the kids by now, and the only people lining up for this will be Fox-era nostalgics and frat boys. I just remember a time when Marvel didn't have to court that audience because they had a four-quadrant formula that still managed to feel fresh almost every time. When I was eight years old, I loved Wolverine, and I didn't need or want Logan levels of violence to do so, much less Logan levels of violence delivered with a nihilistic smirk and a side of dick jokes. I hope this flops and leads Feige to some soul-searching, but I'm not optimistic.
  7. Woohoo! I love this category, and I love that they so frequently honor film pieces in it. That's an even dozen for Johnny, although I have to say, giving it to "Angela's Ashes" over "The Egg Travels" from Dinosaur was a cryin' shame. But then again, skunking Hedwig was an equally cryin' shame, so I guess it's a dozen either way. P.S. Your humble correspondent had the dubious honor of adding Johnny's name to the chart on this category's Wikipedia page!
  8. Everyone uses the word "minimalism" to describe this score, but I'm not musically literate enough to venture it myself. I'd say expect something that starts out somewhat austere and reserved, takes detours into darkness and drama, and ultimately arrives at a place of warmth and beauty that somehow, in places, still retains a whiff of futuristic austerity—not in a way that diminishes the warmth, but in a way that keeps the sound rooted in science fiction. Even when the score hits its emotional heights, you won't mistake it for E.T.—which is also science fiction, of course, but of a purely Spielberg variety, rather than the Kubrick-Spielberg alloy that is A.I.
  9. Technically this doesn't fall directly under the umbrella of this thread, but I happened to hear the violin arrangement of Helena's Theme on a playlist today, followed very closely by a track from Jenny Oaks Baker's superb Disney album, Wish Upon a Star, and it got me thinking about the several folks who have mentioned they don't care for ASM's playing/tone/sound/insert correct musical term here. My euphoria over the existence (and increasing multiplicity!) of these new arrangements has blinded me to it thus far, but I'm starting to agree, and it makes me wonder if we'll ever hear other violinists attack these arrangements. (Baker's playing, for example, seems much smoother and less "harsh" than ASM's.) Does anyone know if they've been published as scores or made available for others to perform?
  10. My dude, Enguerrand Etc. Etc., is back! Looking rather like an Indy villain himself, here he is with a rather slickly shot Motorcycle Scherzo!
  11. Wow, that's striking. Makes me wish I'd picked up the ROTJ disc when the used bookstore had them all sitting there individually priced!
  12. This fascinates me as well, actually, as a SE lifer who doesn't know any better. I bought the ESB disc of the Anthology used because I just love that score the most. Can anyone point to any YouTube videos or anything that illustrate the quality differences between the releases? Is the current OST on Spotify the awful remaster or the 2016 one (or are those the same)?
  13. The John Williams Music Scene and End Credits
  14. Spielberg never runs out of brilliant bon mots about JW's film scoring! Also, with J.J.'s presence here, can we finally put to rest the notion that Williams has some sort of lingering distaste toward him? Also also, your move, Juilliard! Do they have yet to name anything after him?
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