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Showing content with the highest reputation on 05/11/16 in all areas

  1. Steven Spielberg mentioned the score - In terms of the movie's music, it's no surprise that Spielberg would turn to his longtime collaborator John Williams, a five-time Oscar winner who has scored most of Spielberg's films since 1974. "I will tell John my story by showing him my cut and he goes away and eight weeks later, he tells a story musically," Spielberg explains. "He has done this brilliantly with 'The BFG.' Every moment is accompanied by a little bit of a musical reminder that there is another layer of story being told." http://www.moviefone.com/2016/05/11/steven-spielberg-the-bfg-d23/
    7 points
  2. Hello everyone, So we have received all of the entries for the Composers Challenge, now it's time to vote. All the composers have received an email from me with a link to a Youtube playlist. The composers have one week to vote on and rank the other composers' entries. After that the rankings will be compiled and the winner will be announced. Again, if you are a composer for this challenge, please check your email (or junk mail) for my email. For those who just want to review the entries, here is the link (but your votes will not be counted). https://www.youtube.com/playlist?list=PLShjA9iqcZ2eFYfABesvD9Xgd4krY2rvD Again, The composers have until May 17th to cast your votes. If anyone is curious about the next composers challenge, I have an action scene in mind from a popular epic science-fiction video game. Thanks to everyone for their support. Kevin
    4 points
  3. A big surprise - http://deadline.com/2016/05/steven-spielberg-john-williams-afi-life-achievement-award-1201753402/ Steven Spielberg To Present John Williams With AFI Life Achievement Award The American Film Institute said today that Steven Spielberg will present his longtime collaborator John Williams with the 44th AFI Life Achievement Award next month. The previously announced award for Williams marks the first time AFI is honoring a composer. It will be handed out during a private Gala Tribute on June 9 at the Dolby Theatre in Hollywood. TNT will air a special, AFI Life Achievement Award: A Tribute to John Williams, at 10 PM June 15. Williams and Spielberg — who won the AFI career award in 1995 — have collaborated on more than two dozen films, including The BFG, which willpremiere at Cannes. Williams won Oscars for the scores to Spielberg’s Jaws, Star Wars, E.T. The Extra-Terrestrial and Schindler’s List, in addition to the adaptation and original song score to 1971’s Fiddler on the Roof. Three of Williams’ works landed on AFI’s 100 Years of Film Scores, with Star Wars topping that list. He has been nominated for an Academy Award in four of the past five years, and his next Oscar nom would be his 50th. A Tribute to John Williams re-airs September 15 on sister network Turner Classic Movies during a night of programming dedicated to Williams.
    2 points
  4. Normally I don't bother posting very much, but this time I feel I should weigh in as well. The reason I visit this thread is because I actually have some interest in the subject. So whenever I see new posts, I check in to see if there is any news or interesting insights. Repeated negative comments without such insight are neither of those two and are therefore a waste of my time. Those types of posts are also intensely BORING. Are you allowed to make them? Technically yes. But why bother? It is unlikely they would do any good at all to anyone, except (I hope) the person who made the post. On another forum that I am Admin on, we had a bunch of trolls repeatedly making posts like that to the point that any actually interesting stuff got drowned out. I consider that unacceptable and it led to threads being locked several times. So I also have to request that posts made should actually have something interesting to say. Repeating the same thing over and over isn't it. (Oops, I might have repeated myself within the SAME post! My bad...)
    2 points
  5. 2 points
  6. 1 point
  7. Ooops, haven't updated in a while! Music Box Records' second February batch 2016-02-29 Paul Misraki - Closed Shutters (087 - limited) 2016-02-29 Claude Bolling - Lucky Luke / Daisy Town / The Ballad of the Daltons (086 - limited) Varese's first Club batch of the year 2016-02-29 Alan Price - The Whales of August (ENCORE) (1167 - 1,000) 2016-02-29 Ennio Morricone - Bloodline (1166 - 2,000) 2016-02-29 James Horner - Cocoon: The Return (Deluxe Edition) (1165 - 2,500) 2016-02-29 Jerry Goldsmith - Executive Decision (Deluxe Edition) (1164 - 2,000) Intrada's March 1st titles: 2016-03-01 Various - The Twilight Zone (1985) [3CD] (ISC348 - limited) 2016-03-01 Bruce Broughton - Lost In Space [2CD] (ISC340 - limited) Quartet's first March batch 2016-03-11 Jean-Claude Petit - The Return of the Musketeers 2016-03-11 Ken Thorne - Sinful Davey Kritzerland's March title: 2016-03-14 Alfred & Emil Newman - Sun Valley / Orchestra Wives (1,000) Intrada's March 15th titles: 2016-03-15 Miklós Rózsa - The Golden Voyage of Sinbad (ISC349 - limited) 2016-03-15 Frank Ilfman - Abulele (ISC399 - limited) Quartet's second March batch 2016-03-23 Carlo Savina - The Legend of Blood Castle 2016-03-23 Claude Bolling - The Awakening Intrada's March 29th titles 2016-03-29 Vince DiCola - Transformers [VINYL] (INT3006 - unlimited) 2016-03-29 Jerry Goldsmith - Powder (ISC351 - limited) La-La Land's March titles 2016-03-29 Blake Neely - The Great Buck Howard (1385 - 1,000) 2016-03-29 Jerry Goldsmith - Link (1384 - 2,000) 2016-03-29 Lolita Ritmanis - Batman: Mystery of the Batwoman / Chase Me (1369 - 2,000) Kritzerland's first April title 2016-04-01 Johnny Mandel - The Sailor Who Fell from Grace With the Sea (1,000) Music Box Records' April titles 2016-04-04 Gabriel Yared - The Ark and the Deluge (089 - limited) 2016-04-04 Serge Franklin - The Saint (TV) (088 - limited) Quartet's first April batch 2016-04-04 Chad Cannon - Paper Lanterns 2016-04-04 Alberto Iglesia - Julieta buysoundtrax April titles: 2016-04-13 Jack Nitzsche - Revenge (DDR612 - 1,000) 2016-04-13 Tangerine Dream - Shy People (DDR607 - 1,000) Quartet's second April batch 2016-04-18 Piero Piccioni - Fighting Back 2016-04-18 Manuel De Sica - The Voyage / The Lovers La-La Land's April title 2016-04-19 Marvin Hamlisch - Ordinary People / Save The Tiger (1383 - 1,500) Kritzerland's second April title 2016-04-20 Bernard Herrmann - Jane Eyre (1,000) Music Box Records' May Titles 2016-05-02 Rob - Made In France (096 - limited) 2016-05-02 Georges Delerue - Under Suspicion / The Passerby (091 - limited) 2016-05-02 Armando Trovajoli - Frankenstein 90 (090 - limited) Intrada May 3rd titles 2016-05-03 Hugo Montenegro - Hurry Sundown (ISC353 - limited) 2016-05-03 James Newton Howard - Collateral (ISC352 - limited) La-La Land's first May title 2016-05-03 John Carpenter and Alan Howarth - Big Trouble In Little China (1386 - 3,000) Quartet's first May batch 2016-05-06 Marcelo Zarvos - Our Kind of Traitor 2016-05-06 Pascal Gaigne - El Olivo buysoundtrax May titles 2016-05-09 Dan Redfeld - Across The Stars: The Film Music of John Williams (BSXCD9115) 2016-05-09 Dominik Hauser, Dan Redfeld and Joohyun Park - Siren Songs: Classic Film and TV Themes for Solo Voice and Orchestra (BSXCD9116) Varese's second Club batch of the year 2016-05-09 Georges Delerue - Joe Vs The Volcano (Deluxe Edition) (2020 - 2,000) 2016-05-09 Alex North - Spartacus (Album Masters) (1170 - 2,000) 2016-05-09 Alan Silvestri - Volcano (Deluxe Edition) (1169 - 2,000) 2016-05-09 Basil Poledouris - Starship Troopers (Deluxe Edition) (1168 - 3,000) La-La Land's May 17th titles are 2016-05-17 John Douglas & Brian Gascoigne - Crack In The World / Phase IV 2016-05-17 Henry Jackman - Uncharted 4: A Thief's End Quartet's second May batch will be: 2016-05-20 Henri Mancini - The Great Waldo Pepper 2016-05-20 Riz Ortolani - Horror Castle 2016-05-20 Bruno Coulais - The Seasons La-La Land's May 31st title is 2016-05-31 Thomas Newman - The Shawshank Redemption [2CD]
    1 point
  8. Jay

    THE BFG OST ALBUM Discussion

    OOoh, nice quote!
    1 point
  9. So considering this post is called 'Michael Giacchino's Star Trek Beyond,' how about we talk about things related to Michael Giacchino's upcoming Star Trek Beyond instead of pages and pages of "I don't like Giacchino's music, and I want every one to know I don't!" Followed by "Stop being mean, say something nice or not at all." Let's move on. To those who actually want a discussion on the upcoming music; what are we expecting from the new material? I have only caught the teaser stuff of the motorcycle riding on that new planet, but who are the new aliens and bad guy? I'm guessing there's a main antagonist who Giacchino will score, and that's Idris Elba no? Thoughts on what their theme will entail? I'm a big fan of his previous two main bad guys themes. Nero's was fun with the huge, heavy brass which portrayed the might of the mining ship and his relentless quest for vengeance very well. And Khan's was nicely developed and varied with the soft piano for his intellectual side and the pulsing power for his strength and ruthlessness.
    1 point
  10. What makes BoH distinctive to me is the A section's uniqueness within Williams's canon--there's no clear precedent in any score. It also seems to tap into a broader film music language associated with the medieval, arcane and pagan. The omnipresence of Orff's Carmina Burana is probably a significant factor, but I believe there's more.
    1 point
  11. Here is part 6 of my Celebrating Star Wars series, this one on Revenge of the Sith. http://www.filmmusicnotes.com/celebrating-star-wars-themes-part-6-of-6-battle-of-the-heroes/ Enjoy! Analysis of themes and leitmotifs in Episode VII coming soon as well...
    1 point
  12. There's other threads on JWFan? WTF!
    1 point
  13. It's the Independence Day Resurgence score that never was.
    1 point
  14. This holds the right kind of neutrality for me.
    1 point
  15. I've always been more memorable than you dear Alex, but then so is drying paint and growing grass.
    1 point
  16. Godzilla (1998) has been a go-to standby score for years. I could listen to it every day. It's incredibly underrated.
    1 point
  17. 1 point
  18. Wrong, you joined here in 2003, and there are lots of examples of you and Joeinar having conversations between 2003 and 2007, like these gems: http://www.jwfan.com/forums/index.php?/topic/3381-the-legitimacy-of-sequels/&do=findComment&comment=68759 http://www.jwfan.com/forums/index.php?/topic/6606-most-overrated-williams-scores/&page=2#comment-160383 http://www.jwfan.com/forums/index.php?/topic/10564-preferable-williams-renditions-lso-or-bpo/#comment-267798 http://www.jwfan.com/forums/index.php?/topic/7043-what-is-the-last-film-you-watched-part-ii/&page=25#comment-196361 http://www.jwfan.com/forums/index.php?/topic/8452-jar-jar-binks-vs-the-ewoks/&page=3#comment-207694
    1 point
  19. Being Debbie Downer continually popping in just to reiterate over and over that you don't enjoy Giacchino's music on a discussion board of people excited for a soundtrack release isn't exactly striking any blows for intellectual freedom. People do the same thing on Hans Zimmer-dedicated threads. I don't like Zimmer's music very much but unlike others I don't feel the need to constantly say that I don't. EDIT: This isn't to say that these threads should be nothing but enthusiastic cheerleading, but what's the point of popping in just to say something like "This will be mediocre and unworthy of attention." What's that contributing?
    1 point
  20. Like that vid of Morricone being mobbed the day after his Oscar win.
    1 point
  21. Both. According to the schedule, Saturday at 11:45am and 7pm and then Sunday at 5:30pm. I believe both of the Saturdays are invite-only gala premiere screenings, don't know if that will mean anything in terms of whether immediate reactions are allowed out or not but I'm guessing we'll see at least a few.
    1 point
  22. Star Trek is better than everything.
    1 point
  23. Great, now I don't know who anyone is!
    1 point
  24. I have absolutely zero problems with people not liking Giacchino's music; there are certainly lots of popular composers whose music I don't enjoy very much. But I'll never understand the mentality behind popping into a thread about one of his scores over and over again to remind everyone that you're not looking forward to this score and don't like his other music either. What a waste of everyone's time that accomplishes nothing positive!
    1 point
  25. Desplat is simply a better composer.
    1 point
  26. It may be that I didn't justify enough why I hear these relationships. Far from being merely random, the similar notes I point out actually have much in common: 1) They are all in the same key (which is especially significant in Williams, where keys of themes tend not to be consistent). 2) They all outline a descent through the same scale degrees, from 3 down to 7, with stepwise motion filling in most or all the gaps. 3) These scale degrees 3 and 7 form the high and low boundaries within their respective spans, making those notes more prominent than they would otherwise be. And perhaps most importantly, 4) They all involve the flat 7 scale degree rather than the generally more typical raised 7, giving these themes the distinctive sound of the Aeolian mode rather than the more common sound of the harmonic minor. These things considered together with the associations the various themes have only strengthens these connections. Now of course the connections I'm arguing for here are more difficult to hear than the others in these analyses, and that's primarily because they involve similarities in pitch structure rather than in rhythm or harmony, which are more common for film music themes. But just because a relationship may be hard to hear does not mean that we should dismiss it as not being there at all. After all, looser relationships do exist elsewhere in the Star Wars scores. Take the snippet after the Death Star explodes in ANH, from 8:38-8:45 below: I would call this a transformed reference to the end of the Rebel Fanfare, the beginning of which then enters on its heels in its normal form. Or how about that theme that enters after Vader has frozen Han on Cloud City, what I've called "Vader Succeeding"? I'd call that a transformed reference to the Imperial March: Or how about the similarities between Luke's theme and Across the Stars I point out in the part 5 of these analyses?: http://www.filmmusicnotes.com/celebrating-star-wars-themes-part-5-of-6-across-the-stars/ What I'm advocating for is getting at a kind of subconscious connection between various themes rather than a more obvious leitmotivic kind of referencing.
    1 point
  27. Hire a security detail to keep him locked in his house composing. He's only allowed to leave to go to the scoring stage.
    1 point
  28. The situation kinda sounds equivalent to if Williams was Luke at the end of TFA, and, instead of a lightsaber, Daisy is handing him his baton, and he is unsure whether to take it and reprise his Star Wars scoring duties or to leave it and never return to that world.
    1 point
  29. 1 point
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