Another influence is Pirates of the caribean.
Red Reckhams theme is very Media Ventures!
The Adventures of Tintin MUSIC Discussion thread
Started by Jason LeBlanc, Oct 21 2011 12:20 PM
458 replies to this topic
#241
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Posted 29 October 2011 - 08:44 AM
It's true. You're my role model, Stefan Cosman.
#242
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Posted 29 October 2011 - 08:46 AM
The low string ostinati have forever been tarnished by RCP composers. Woe the film composers!
I must be one of the few who had their rosy coloured JW glasses on when listening to that piece. I never made the connection until people started pointing it out.
I must be one of the few who had their rosy coloured JW glasses on when listening to that piece. I never made the connection until people started pointing it out.
Ars superior est vita hominum.
"We pop out and come into the world and music is there. We didn't invent it - it's all organised in the atmosphere by divinity or whatever. It's a miracle." - John Williams-
I think music is a stream of some kind. It could be blood. It could be water. It could be ether. Whatever it is it seems to be a living, organic force that’s in motion, that serves humanity and is part of humanity and part of what describes us as humans. We sing, play, dance, all the things that we do. And there is a vibrant and great literature we have been given. ... As musicians, we join the stream. We swim in the stream with all the other millions of music makers. It’s a life force, a strong one, surrounding us and we are part of it. -John Williams-
#243
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Posted 29 October 2011 - 08:48 AM
It's more about certain gestures and orchestrations, i guess, which are very much linked to his older writing for those kind of films. And i don't really hear INDIANA JONES per se but the scherzo style only introduced with LAST CRUSADE.
@Stefan: it's not so much about starting from the scratch - like HOOK it again seems a case of Spielberg requesting the sound of his older movies (i presume). It would be interesting to know if a Peter-Jackson-directed film would have taken a musical road less-travelled.
I take those chords over hectic WHIRL AT ACADEME writing any day!
@Stefan: it's not so much about starting from the scratch - like HOOK it again seems a case of Spielberg requesting the sound of his older movies (i presume). It would be interesting to know if a Peter-Jackson-directed film would have taken a musical road less-travelled.
The low string ostinati have forever been tarnished by RCP composers. Woe the film composers!
I take those chords over hectic WHIRL AT ACADEME writing any day!
You wouldn't see a subtle plan if it painted itself purple and danced naked on top of a harpsichord, singing "Subtle Plans Are Here Again."
#244
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Posted 29 October 2011 - 08:50 AM
I agree. John Williams writing in the Zimmer mode is far more interesting then Klaus Badelt writing in the Zimmer mode.
It's true. You're my role model, Stefan Cosman.
#245
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Posted 29 October 2011 - 08:50 AM
You should wear rosy coloured JW glasses more often. 
Ars superior est vita hominum.
"We pop out and come into the world and music is there. We didn't invent it - it's all organised in the atmosphere by divinity or whatever. It's a miracle." - John Williams-
I think music is a stream of some kind. It could be blood. It could be water. It could be ether. Whatever it is it seems to be a living, organic force that’s in motion, that serves humanity and is part of humanity and part of what describes us as humans. We sing, play, dance, all the things that we do. And there is a vibrant and great literature we have been given. ... As musicians, we join the stream. We swim in the stream with all the other millions of music makers. It’s a life force, a strong one, surrounding us and we are part of it. -John Williams-
#246
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Posted 29 October 2011 - 08:53 AM
Another influence is Pirates of the caribean.
Red Reckhams theme is very Media Ventures!
didn't I say that a while back?
#247
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Posted 29 October 2011 - 08:55 AM
It's more about certain gestures and orchestrations, i guess, which are very much linked to his older writing for those kind of films. And i don't really hear INDIANA JONES per se but the scherzo style only introduced with LAST CRUSADE.
The Unicorn Theme reminds of of an indiana Jones artifact theme. Moreso then the theme for the crystal skull.
@Stefan: it's not so much about starting from the scratch - like HOOK it again seems a case of Spielberg requesting the sound of his older movies (i presume). It would be interesting to know if a Peter-Jackson-directed film would have taken a musical road less-travelled.
I can't wait for Brian Eno's synth stylings...
didn't I say that a while back?
Yep, but the theme is actually good.
It's true. You're my role model, Stefan Cosman.
#248
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Posted 29 October 2011 - 08:58 AM
@Stefan: it's not so much about starting from the scratch - like HOOK it again seems a case of Spielberg requesting the sound of his older movies (i presume). It would be interesting to know if a Peter-Jackson-directed film would have taken a musical road less-travelled.
I can't wait for Brian Eno's synth stylings...
Or Howard Shore block chords. Come to think of it, John Williams wearing his Prokoviev hat might not be all that bad, after all.
You wouldn't see a subtle plan if it painted itself purple and danced naked on top of a harpsichord, singing "Subtle Plans Are Here Again."
#249
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Posted 29 October 2011 - 09:04 AM
You do not want to hear the "Rising Chords of Doom" from Shore in Tintin? 
Ars superior est vita hominum.
"We pop out and come into the world and music is there. We didn't invent it - it's all organised in the atmosphere by divinity or whatever. It's a miracle." - John Williams-
I think music is a stream of some kind. It could be blood. It could be water. It could be ether. Whatever it is it seems to be a living, organic force that’s in motion, that serves humanity and is part of humanity and part of what describes us as humans. We sing, play, dance, all the things that we do. And there is a vibrant and great literature we have been given. ... As musicians, we join the stream. We swim in the stream with all the other millions of music makers. It’s a life force, a strong one, surrounding us and we are part of it. -John Williams-
#250
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Posted 29 October 2011 - 09:09 AM
I don't want to hear them in a lot of things.
You wouldn't see a subtle plan if it painted itself purple and danced naked on top of a harpsichord, singing "Subtle Plans Are Here Again."
#251
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Posted 29 October 2011 - 09:12 AM
Why would Shore do a Tintin score anyway?PJ only uses him for Middle Earth.
It's true. You're my role model, Stefan Cosman.
#252
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Posted 29 October 2011 - 09:16 AM
You never know with PJ. His musical collaborations have been quite varied. Think about a Shore scored Tintin with layers and layers of themes and ideas as Shore explores the full depths of the characters and the deep psychological underpinnings of Haddock's alcoholism and the dark side of Tintin. Rising Chords of Dooooommm!!!!
Ars superior est vita hominum.
"We pop out and come into the world and music is there. We didn't invent it - it's all organised in the atmosphere by divinity or whatever. It's a miracle." - John Williams-
I think music is a stream of some kind. It could be blood. It could be water. It could be ether. Whatever it is it seems to be a living, organic force that’s in motion, that serves humanity and is part of humanity and part of what describes us as humans. We sing, play, dance, all the things that we do. And there is a vibrant and great literature we have been given. ... As musicians, we join the stream. We swim in the stream with all the other millions of music makers. It’s a life force, a strong one, surrounding us and we are part of it. -John Williams-
#253
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Posted 29 October 2011 - 09:19 AM
That would sound appaling.
Why doesn't PJ use, i dunno.....John williams?
Why doesn't PJ use, i dunno.....John williams?
It's true. You're my role model, Stefan Cosman.
#254
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Posted 29 October 2011 - 09:23 AM
We can certainly hope he does and if Williams is still composing. Wouldn't the sequel come out in 2014 or 2015 the earliest?
Ars superior est vita hominum.
"We pop out and come into the world and music is there. We didn't invent it - it's all organised in the atmosphere by divinity or whatever. It's a miracle." - John Williams-
I think music is a stream of some kind. It could be blood. It could be water. It could be ether. Whatever it is it seems to be a living, organic force that’s in motion, that serves humanity and is part of humanity and part of what describes us as humans. We sing, play, dance, all the things that we do. And there is a vibrant and great literature we have been given. ... As musicians, we join the stream. We swim in the stream with all the other millions of music makers. It’s a life force, a strong one, surrounding us and we are part of it. -John Williams-
#255
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Posted 29 October 2011 - 09:32 AM
I can see red Reckham's theme becoming the theme for the franchise, because it's so RCP-like.
It's true. You're my role model, Stefan Cosman.
#256
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Posted 29 October 2011 - 09:36 AM
If the movie's a hit, they sure don't suffer shortage of sequel scripts. It will be interesting to see if they say Fuck You to Williams' style like they did with POTTER, or if the following composers will honor it.
You wouldn't see a subtle plan if it painted itself purple and danced naked on top of a harpsichord, singing "Subtle Plans Are Here Again."
#257
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Posted 29 October 2011 - 03:21 PM
Spielberg's liner notes message is up on the main page now too
http://www.jwfan.com/?p=1376
Spielberg's liner notes are really lovely. It's great to see his passion for JW and his music.
Oh, and I'm sure that when he writes he loves to listen to the score in his car and on his iPhone, he means the complete recording sessions
The low string ostinati have forever been tarnished by RCP composers. Woe the film composers!
I take those chords over hectic WHIRL AT ACADEME writing any day!
For me, it's the exact opposite!
"It's still baffling to me. I sit down with a pencil and a piece of paper and do my best... The remarkable thing is that my music is heard by billions of people." --John Williams
"Let me say, however, there is no "next" John Williams. Sadly, he is unique--- a figure who simultaneously embodies and transcends the music of all the masters of film music who preceded him (much like Brahms and Wagner of the Romantic era). He comes from a time when the craft of music in film was still one of the ear, heart and mind. Today, sadly, the craft is largely technical. Most composers do not conceive their music "inwardly" but rather at the computer--- and with rather limited skills, musically, at that. The inner spirit knows no boundaries--- our plastic abilities, sadly, do. John is a man of spirit, heart, intellect and soaring music." -- Conrad Pope about John Williams
"Let me say, however, there is no "next" John Williams. Sadly, he is unique--- a figure who simultaneously embodies and transcends the music of all the masters of film music who preceded him (much like Brahms and Wagner of the Romantic era). He comes from a time when the craft of music in film was still one of the ear, heart and mind. Today, sadly, the craft is largely technical. Most composers do not conceive their music "inwardly" but rather at the computer--- and with rather limited skills, musically, at that. The inner spirit knows no boundaries--- our plastic abilities, sadly, do. John is a man of spirit, heart, intellect and soaring music." -- Conrad Pope about John Williams
#258
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Posted 29 October 2011 - 03:53 PM
Spielberg's liner notes message is up on the main page now too
http://www.jwfan.com/?p=1376
Spielberg's liner notes are really lovely. It's great to see his passion for JW and his music.
Oh, and I'm sure that when he writes he loves to listen to the score in his car and on his iPhone, he means the complete recording sessions
The low string ostinati have forever been tarnished by RCP composers. Woe the film composers!
I take those chords over hectic WHIRL AT ACADEME writing any day!
For me, it's the exact opposite!
You are insane!
You wouldn't see a subtle plan if it painted itself purple and danced naked on top of a harpsichord, singing "Subtle Plans Are Here Again."
#259
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Posted 29 October 2011 - 03:59 PM
Indeed!
It's true. You're my role model, Stefan Cosman.
#260
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Posted 29 October 2011 - 11:08 PM
I want that phone....Oh, and I'm sure that when he writes he loves to listen to the score in his car and on his iPhone, he means the complete recording sessions
Among all the things I have done in my short and pitiful life, becoming an inside joke on JWFAN is the one I'm the least proud of.
#261
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Posted 31 October 2011 - 06:06 AM
Here are the notes for 13 Presenting Bianca Castafiore:
Includes excerpts from "Rosina's Cavatina" from The Barber of Seville by Gioachino Rossini and "Je Veux Vivre" from Romeo et Juliette by Charles Gounod.
Includes excerpts from "Rosina's Cavatina" from The Barber of Seville by Gioachino Rossini and "Je Veux Vivre" from Romeo et Juliette by Charles Gounod.
#262
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Posted 31 October 2011 - 12:05 PM
A small trivia:
In the film's end credits, Eddie Karam is credited as the only orchestrator. It's known for sure Conrad Pope contributed as well. Strange.
In the film's end credits, Eddie Karam is credited as the only orchestrator. It's known for sure Conrad Pope contributed as well. Strange.
"It's still baffling to me. I sit down with a pencil and a piece of paper and do my best... The remarkable thing is that my music is heard by billions of people." --John Williams
"Let me say, however, there is no "next" John Williams. Sadly, he is unique--- a figure who simultaneously embodies and transcends the music of all the masters of film music who preceded him (much like Brahms and Wagner of the Romantic era). He comes from a time when the craft of music in film was still one of the ear, heart and mind. Today, sadly, the craft is largely technical. Most composers do not conceive their music "inwardly" but rather at the computer--- and with rather limited skills, musically, at that. The inner spirit knows no boundaries--- our plastic abilities, sadly, do. John is a man of spirit, heart, intellect and soaring music." -- Conrad Pope about John Williams
"Let me say, however, there is no "next" John Williams. Sadly, he is unique--- a figure who simultaneously embodies and transcends the music of all the masters of film music who preceded him (much like Brahms and Wagner of the Romantic era). He comes from a time when the craft of music in film was still one of the ear, heart and mind. Today, sadly, the craft is largely technical. Most composers do not conceive their music "inwardly" but rather at the computer--- and with rather limited skills, musically, at that. The inner spirit knows no boundaries--- our plastic abilities, sadly, do. John is a man of spirit, heart, intellect and soaring music." -- Conrad Pope about John Williams
#263
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Posted 31 October 2011 - 02:23 PM
Here are the notes for 13 Presenting Bianca Castafiore:
Includes excerpts from "Rosina's Cavatina" from The Barber of Seville by Gioachino Rossini and "Je Veux Vivre" from Romeo et Juliette by Charles Gounod.
Are you saying that is a direct quote from the booklet, or are you just letting us know that information on your own? Cause I noted all that in my original review of the CD on the main page weeks ago
-Jay
#264
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Posted 31 October 2011 - 04:57 PM
A small trivia:
In the film's end credits, Eddie Karam is credited as the only orchestrator. It's known for sure Conrad Pope contributed as well. Strange.
If I'm not mistaken, Pope mainly arranged the opening and closing tracks, according to his descriptions. Maybe that's why he isn't credited?
If you start taking yourself seriously, then you’re in deep trouble! - Jerry Goldsmith
#265
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Posted 31 October 2011 - 05:08 PM
A small trivia:
In the film's end credits, Eddie Karam is credited as the only orchestrator. It's known for sure Conrad Pope contributed as well. Strange.
Yes, i noticed that too.
#266
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Posted 31 October 2011 - 05:16 PM
If I'm not mistaken, Pope mainly arranged the opening and closing tracks, according to his descriptions. Maybe that's why he isn't credited?
The closing tracks?
You mean the concert arrangements? Except these concert arrangements are based on the actual cues, so...
#267
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Posted 31 October 2011 - 11:46 PM
I was just going to comment on this.
I think Pope may have orchestrated the early sessions, and this eddie karam got to orchestrate the finished cues.
Maybe pope was not available, he is not credited because the film cues are mostly revised ones...
EDIT: i m really digging this score more with each listen.
I really love 'the adventures of tintin'
I think Pope may have orchestrated the early sessions, and this eddie karam got to orchestrate the finished cues.
Maybe pope was not available, he is not credited because the film cues are mostly revised ones...
EDIT: i m really digging this score more with each listen.
I really love 'the adventures of tintin'
I hope Episode III is Called 'Revenge of the Sith'
#268
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Posted 01 November 2011 - 04:37 AM
I constantly see this score being called "weak" by people who's seen the film on several sites.
I don't understand...
I don't understand...
#269
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Posted 01 November 2011 - 05:49 AM
The score lacks Zimmerian muscularity.I constantly see this score being called "weak" by people who's seen the film on several sites.
I don't understand...
#270
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Posted 01 November 2011 - 08:07 AM
Maybe Pope was busy with DHp2?
#271
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Posted 01 November 2011 - 08:20 AM
EDIT: i m really digging this score more with each listen.
Same here.
I really love 'the adventures of tintin'
Me too. Ever since I saw the movie, this has become one of my favorite tracks! Now I understand what it "means."
#272
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Posted 01 November 2011 - 08:31 AM
Link? Or, better yet, exact location? Napalm drop is due!I constantly see this score being called "weak" by people who's seen the film on several sites.
I don't understand...
He doesn't always get a credit. I think he once said he's done much much work for other composers than he's given credit for. It's the same as with screenwriters, I think.I was just going to comment on this.
I think Pope may have orchestrated the early sessions, and this eddie karam got to orchestrate the finished cues.
Maybe pope was not available, he is not credited because the film cues are mostly revised ones...
EDIT: i m really digging this score more with each listen.
I really love 'the adventures of tintin'
Karol
From a storytelling point of view, from a directing point of view, there is one thing I associate with what he does, which is calm. There is such an inherent calm and inherent trust of the one powerful image, that he makes me embarrassed with my own work, in terms of how many different shots, how many different sound effects, how many different things we’ll throw at an audience to make an impression. But with Kubrick, there is such a great trust of the one correct image to calmly explain something to audience. There can be some slowness to the editing. There’s nothing frenetic about it. It’s very simple. There’s a trust in simple storytelling and simple image making that actually takes massive confidence to try and emulate.
- Christopher Nolan
#273
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Posted 01 November 2011 - 10:56 AM
but that means he was not the main orchestrator as we thought.
I'm sure he gets his credit when he is the main one.
I'm sure he gets his credit when he is the main one.
I hope Episode III is Called 'Revenge of the Sith'
#274
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Posted 01 November 2011 - 11:14 AM
he orchestrated Tinker-Tin*.
John Williams and cue names... Tinker-Tin?
* The Adventures of Tintin (ost 1)
This movie has changed alot since it's filming.
"Sir Francis and the Unicorn" (Old Enemies Meet) was originally meant to accompany a confrontation between Francis and Red Rackham.
The scene was revised and so was the music.
John Williams and cue names... Tinker-Tin?
* The Adventures of Tintin (ost 1)
This movie has changed alot since it's filming.
"Sir Francis and the Unicorn" (Old Enemies Meet) was originally meant to accompany a confrontation between Francis and Red Rackham.
The scene was revised and so was the music.
#275
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Posted 01 November 2011 - 11:22 AM
Sir Francis and the Unicorn scores a confrontatio between sirf francis and recd rackham... and the are old enemies that meet.
There is a second vision later where the confrontation gets personal. Scored with the same theme.
What do you mean?
There is a second vision later where the confrontation gets personal. Scored with the same theme.
What do you mean?
I hope Episode III is Called 'Revenge of the Sith'
#276
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Posted 01 November 2011 - 11:42 AM
The first version of Sir Francis and the Unicorn (Old Enemies Meet) scores a personal confrontation.
But also Tintin... Maybe the original visions were more like in the books (constantly swapping from Haddock to Francis shots).
But also Tintin... Maybe the original visions were more like in the books (constantly swapping from Haddock to Francis shots).
#277
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Posted 01 November 2011 - 11:45 AM
What is the source of your information?
It's true. You're my role model, Stefan Cosman.
#278
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Posted 01 November 2011 - 11:48 AM
The source is not important, the information is.
#279
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Posted 01 November 2011 - 11:55 AM
We must have the source, so we can judge the validity of this information.
I am Emperor of JWFAN, you cannot refuse me!
I am Emperor of JWFAN, you cannot refuse me!
It's true. You're my role model, Stefan Cosman.
#280
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Posted 01 November 2011 - 11:58 AM
He can:
Karol
Karol
From a storytelling point of view, from a directing point of view, there is one thing I associate with what he does, which is calm. There is such an inherent calm and inherent trust of the one powerful image, that he makes me embarrassed with my own work, in terms of how many different shots, how many different sound effects, how many different things we’ll throw at an audience to make an impression. But with Kubrick, there is such a great trust of the one correct image to calmly explain something to audience. There can be some slowness to the editing. There’s nothing frenetic about it. It’s very simple. There’s a trust in simple storytelling and simple image making that actually takes massive confidence to try and emulate.
- Christopher Nolan
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