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Showing content with the highest reputation on 04/13/16 in all areas

  1. I compose when I have the time. "Anyone here could have written Rey's theme" strikes me as woefully naive, and gives me the impression that you're young and precocious--the type that would dismiss Eric Satie, John Barry or John Tavener. I say that because I was (sorta) like you when I first hit JWFan 5 years ago. I can only hope you mature out of this phase and will be able to look back on these early posts and cringe or laugh. Writing a theme this precise and eloquent in character is extremely challenging. You're constantly second-guessing yourself as you refine your idea, until i
    5 points
  2. It always upsets me when I read people saying that tracks like this are "just noise". It takes a tremendous amount of skill, effort, and above all confidence, to write music like this; to achieve balance within the orchestra, to make all the different ideas flow together. Besides, I love the energy and excitement Williams' action tracks convey. It's the kind of music I can play over and over again, discovering something new with each listening.
    4 points
  3. No, but he recently learned a couple of new words and is dying to use them.
    3 points
  4. Still holding out hope Christopher Young is doing it
    2 points
  5. In this movie, Indy goes to the moon. Imagine the map segue of Indy's Saturn V spaceship's journey from the earth represented by that red line.
    2 points
  6. Such negativity around here sometimes. I'm definitely going to really "live with" this score for a week or so before checking on opinions here.
    2 points
  7. He could write a sort of long suite for this movie before actually seeing it and let Spielberg use it as he pleases.
    2 points
  8. Cantus, all great themes are really just re-combinations and arrangements of familiar musical structures. What makes Williams stand above the rest as a tunesmith is his incredible patience and crafting, adjusting and fine-tuning that sequence to come up with the tune that is "just right". And as much as composers rely certain intervals and cadences to evoke the appropriate feeling, it's ultimately a very subjective voice that determine whether that half note should become a dotted quarter, or whether the 4th should move to a 6th instead. Williams has spent so many years doing just this, as muc
    2 points
  9. I had the idea for double-stuffed Oreos like 10 years before they did.
    2 points
  10. The first score is amazing but it's conventional Williams. He can write scores like the first two Potter's in his sleep. Azkaban is remarkable because it's such uncharted territory by comparison. Cuaron pushed him out of his comfort zone and produced a unique, bizarre, otherworldly score, yet for all its idiosyncrasies it still works holistically. Not only does it punch home the emotional heart of Cuaron's direction, it fits the film like a glove and stands on its own as one of the most enjoyable standalone listening experiences of Williams' entire career. It's so remar
    2 points
  11. Hey guys ! RedoKeyboard shortcut Ctrl+Y As you might remember a few years ago I released several French Horn Medleys of JW cues. Back then my audio mixing and video editing skills were quite limited, and listening back to the whole thing I felt it would definitely benefit from a little "update" ! So I am now in the process of remixing and remastering the entire Tribute ( that is 5 parts, totalling 1 hour of music ) I will be doing a brand new video for each part, which will feature a brand new audio mix, all of the corresponding movie scenes and sheet music synchroni
    1 point
  12. finalscore

    Emperor's Theme

    One of my favorite themes composed for the Star Wars series. I have pieced together moments of the theme from Return of the Jedi to create this "concert" version. Also included is a piece of music from one of the best scenes in the entire canon, at one time one of the most requested "unreleased" cues. Enjoy. Emporer_Theme.wav
    1 point
  13. Awesome, yet again! Can't wait for part 3!
    1 point
  14. It's also worth noting that he stresses how it's a job, and you do what you're asked to do. He acts like if Alain Ducasse was asked to cook a burger.
    1 point
  15. Lincoln didn't serve non-American audiences well, or at least my family and the showing we were in. We just didn't know enough American political history to understand what was going on. I was half interested, half bored for most of it, and apparently I was by far the most engaged, with my brother and parents. My co-worker understood it only having read an online article concerning what non-US audiences needed to know.
    1 point
  16. I think it was more for effect - if you compare the orchestration of the string instatement of Rey's Theme in the actual Rey's Theme track (1:40); there is much more overt rhythm and energy, and indeed pleasing harmony. In The Abduction for example, the horns play very deliberate accented dissonant chords whereas in Rey's Theme horns 1+2 double the melody whereas 3+4 play supporting, rhythmic harmony. Also there's a lack of a sense of movement as the semiquaver trumpet and viola accompaniments found in Rey's Theme aren't present either. It reflects more the mood of the film at that moment in m
    1 point
  17. For a man of Pope's caliber, that did seem like a peculiar professional mis-step.
    1 point
  18. Saying "it will take time to do this, it's complicated. This isn't LotR" is not an insight, nor is it intelligent. It's comment that could have been made by a rabid Williams geek here on the board.
    1 point
  19. I think Richard simply doesn't like those directors. Personally, I'm grateful to have THE PATRIOT among Williams' works. "Autopilot" or not, it's a fine score.
    1 point
  20. I've been reading surprises on the net that the film follows the plot of CRYSTAL SKULL. Seriously? Why is that so surprising? Indy/Ford is 10 years older, and the plot will account for that (taking place in the 60s). Plus, I'm a sucker for continuity, so I I'm relieved to hear this. I also belong to the three people who find CRYSTAL SKULL underrated (despite a couple of apparent flaws).
    1 point
  21. Sessions, schmessions, Potter, schmotter.... Call me when someone leaks a good-sounding version of STORIA DI UNA DONNA.
    1 point
  22. It would all be worth it if we got a performance of the Raiders March on theremin for the journey.
    1 point
  23. This is just getting in the way of the Moctezuma movie...
    1 point
  24. The Count of Monte Cristo by Edward Shearmur. Now, this score is rather understated and quite dark. But it's a real fine composition uncovers its riches to the listener gradually. Probably requires more than one listen to get the most out of it. I particularly love this lengthy cue (and the action material right in the middle of it): And, of course, there is this standout cue: What is happening to Ed Shearmur anyway? And why isn't he getting hired for any Star Wars spin-offs? He's a perfect choice. Not to mention his Johnny
    1 point
  25. I don't think this sounds dull at all. Quite the contrary, a very intriguing story with lots of audiovisual potential. And my heart burns after another religious-style score by Williams.
    1 point
  26. So assuming he starts writing in May; he'll have about 6 to 7 months to write and record it. That's about 4 years in Desplat's composing terms, so plenty of time. I'm sure he already has sketches and ideas of things as well.
    1 point
  27. They're the true vision of George Lucas. At least until 2004/2011 when his vision changed.
    1 point
  28. Not at all. Shore is in the privileged position to pick-and-choose whatever project he's interested in. He doesn't need to chase big hits and doesn't seem particularly interested in commercial studio fare. He only works for people and projects he feels attuned to. Also, it happens frequently a composer bails out of a project because of scheduling conflicts and not necessarily for creative reasons.
    1 point
  29. Yeah it was such a unique thing that Williams actually walked away from the franchise after working with Cuaron.
    1 point
  30. JWFan mangles this little 3-minute tune a lot. Sure, there are the more 'melodramatic' parts of it that by design and necessity relate to a simpler, more populist Hollywood style but if you compare it to David Arnold, John Debney or Michael Giacchino - all composers that have come up with similar concoctions - it still seems a lot more profound (even if it's not the greatest tune ever written). Wholly pentatonic or not, the way its build out of this rigid scale makes it a far more worthy addition to the SW canon - shades of a stoic asian warrior - more than another Tchaikovsky-flow
    1 point
  31. Absolutely fantastic! My favorite thus far. Truly, this was a joy to hear, thank you
    1 point
  32. I didn't realise colour gradists charged extra fees when you branch outside the teal and orange filter!
    1 point
  33. The Signature Editions are overall quite good, and quite faithful to the original works. What you're getting is typically only modified very slightly from the original - things like changing the number of horns or getting rid of synth parts. There also may be structural changes where Williams has written a new intro or ending, things like that. But the parts that are from the films aren't brand-new arrangements - they're adapted only slightly from the originals.
    1 point
  34. That was amazing! I especially enjoyed Cantina Band + Forest Battle. Awesome stuff!
    1 point
  35. I agree, I would love a project like that, but it seems like either nobody's asking or he's just not accepting. But that to me is why Episode VIII may be the most interesting thing he's got going, because even though it's blockbuster action/adventure at least he'd be working with a writer/director who has more offbeat tastes and normally runs outside of Hollywood circles. Obviously nobody ever pegged Rian Johnson as somebody who would ever get a Williams score for his movie, and he could bring in the kinds of new influences and sensibilities within a familiar soundscape that made Azkaban so in
    1 point
  36. I'm glad that STAR WARS and Spielberg projects alone will probably keep Williams busy enough at the tailend of his career (not counting concerts, concert works etc.), but I can't help but desire that 'off beat' assignment by someone else in his presumably last decade, something a la THE BOOK THIEF, only a bit more interesting (both filmically and musically).
    1 point
  37. Spielberg may think that after Bridge of Spies, it's not a complete disaster if JW doesn't score all his future films. I really don't think JW would have written anything dramatically superior to what Newman did for BOS
    1 point
  38. The director ideally has control over every single aspect of the film. You can't be serious stating that Yates has nothing to do with the look of his own film. THAT is absurd. Of course he has control. A film looks how the director wants. The DP realizes the vision that the director has.
    1 point
  39. Maybe Desplat heard that I thought his music was boring, so he graciously stepped aside.
    1 point
  40. Overall I think the first score is the better, more consistent score, but Azkaban has some amazing unreleased highlights which make it so sought after.
    1 point
  41. Hello, I am Egardo Mortara. You killed my father. Prepare to die.
    1 point
  42. In case you did not already know this, Karol, the BBC Concert Orchestra will be doing one of those live to picture concerts of Bernard Herrmann's Vertigo next year at the Royal Festival Hall. Jessica Cottis conducts. Vertigo live in concert
    1 point
  43. I think this is likely and makes me wish we had Williams doing it even more.
    1 point
  44. I think these reactions depend on expectations and indeed perceptions of Kylo Ren as a character. To my mind Ben (or Ren) shows the impetuous immaturity of youth very clearly in the film. He has been raised to a position of power by Snoke, which he thinks he deserves through his skills and lineage but is constantly hounded by insecurity and immaturity. He lacks focus and concentration, self control, that would allow him to rule his passions and rage, from which he seems to think he can draw a lot of his power but which is mostly shown as a weakness not a resource. There is arroganc
    1 point
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