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Showing content with the highest reputation on 10/07/16 in all areas

  1. I've had fun transcribing odd bits and pieces of the score today. And I have to repeat myself: This really is a remarkable score. I can't for the life of me understand the negative reaction among some of the posters here, but then again, I never understood the initial negativity towards Williams' TFA score either. The main theme (which I think was, rather charmingly, conceived as a menuet, as heard in "Building Trust", and again in the end titles) is so beautifully constructed, its harmonic structure actually relatively unique among Williams' themes for its quaint and sweetly nostalgic sounding secondary dominants. I know I've said it before, but I also love how it sort of spells out 'BFG' (1-5-6; there's also an inversion of this in some of the B theme variations). For all its energy and brilliance, there's also a restraint to the writing befitting a mature master, and yet there's a freshness to the textural and timbral ideas that just baffles me. I really hope the more compositionally minded people on here continue to explore this score for all of the many rich lessons it has to offer...
    4 points
  2. The theme gives prominence to the first, fifth and sixth degrees of a major scale, or if you will, and in the key of Bb, Bb-F-G. As composers, we're seldom thrown a bone like this, where the titular acronym allows itself to be literally spelled out in musical terms. I'm certain the opportunity wasn't lost on Williams, who rather than using it as a strict self-contained motto, opted to embed it into a more lyrical melody. The theme itself in most of its more complete renditions (where both A and B themes are heard, or at least implied) is played out as a minuet (which is a graceful 18th century dance form in an even 3/4, without the schwung of a waltz). We have it on good authority that Williams thinks of this score as a kind of collection of dances, and I think he meant that rather more literally than many might realize, as it consists of minuets, waltzes, and even a galop!
    3 points
  3. I don't think so. I think this is a different theme. Its not possible that the second phrase of a theme is associated only once in the entire score with the first phrase and that too literally in the concluding moments. Both Sophie's theme and this theme get play time separately away from each other and there are instances when Sophie's theme is repeated twice instead of playing this supposed second phrase. I think this is a different theme. I completely agree with this. It is either a theme for the BGF or the idea of his benevolence or the influence he has on Sophie or their friendship. Mind you when we define it like this, it need not only appear when BFG himself is on screen or is mentioned. It can also appear when Sophie is thinking about him or feeling his influence in her life.
    2 points
  4. Opinions, mon chère. I think otherwise it's such a brilliant piece, a real étude for flutes that should already be in the instrument's repertoire.
    2 points
  5. To each his own, I guess... "Dream Jars" is one of my absolute favorite cues from 'BFG'. It's absolutely fabulous writing, and to me, a very exciting piece of music!
    2 points
  6. Please let me know if there's some other way we can screw up tonight.
    2 points
  7. 1. A.I 2. CE3K 3. Lincoln 4. Memoirs of a Geisha 5. Minority Report 6. TFA 7. WOTW 8. Potter 1 & 3 9. The Last Cursade 10. Jurassic Park
    2 points
  8. Is that really much of an accolade?
    2 points
  9. I completely respect that it isn't your kind of thing. And I don't know that it needs to be said, but as you've already said it, I will have to add that 'BFG' is, from a purely technical point of view, easily one of Williams' most sophisticated scores yet. It's closer in terms of writing to his concert music than ever, yet I feel the same sense of value to every single note and nuance as, say, 'Lincoln'. Though notey, every note matters, there's very little filler. In that sense, and although I detest ranking (I prefer to view the works of all artists as one continuous developing arc), I probably already hold this score in higher regard than, say, 'Hook'.
    2 points
  10. MV Gerhard has officially confirmed on FSM that THE TOWERING INFERNO is upcoming from LLL: " I am stating this right now -- Towering IS happening, but do not expect it for 2016" He also added earlier: "Some fantastic Williams planned, though...and a smattering of some other fantastic composers ranging from Mancina to Mancini!"
    1 point
  11. The movies and Howard Shore's music are ASMRish too. Very sleepy and dreamy.
    1 point
  12. There's a lovely ASMR quality to Tolkien. Any time I need to sleep, I just read a few sentences of his work.
    1 point
  13. Marcus

    The BFG THEMES Discussion

    I think TheUlyssian sums it up perfectly. But to reiterate: The BFG main theme (friendship theme) serves as a theme for both, despite not being a character theme for Sophie per se.
    1 point
  14. Indeed, Williams only plays on "Bottoms Up".
    1 point
  15. You can't talk that way about a blind person!
    1 point
  16. definitely do it man. ay attention to the score especially in the first act. You will notice how cues are shortened and edited for the album, and how touching the friendship theme can be. One of my favorite moments in the film after watching it again is the music that underscores BFG's hand reaching into the orphanage in the very beginning. Instead of doing cliché build up music (which is what most other composers would have done), Williams explores this enchanting and fun sound. it's really adventurous and fun
    1 point
  17. Just seen the film and the score is so much more enjoyable in context
    1 point
  18. The theme I refer to as 'Sophie's Theme' is heard in track 2 at 02.50. I think of it as musically depicting her loneliness, so one could also refer to it as a 'loneliness theme', or an 'orphan theme' (the theme you're talking about is simply the B theme of the 'Sophie&BFG Relationship Theme'). The main theme -being a relationship theme- also 'subs' for her, but this film isn't so much about Sophie, as it's about Sophie and the BFG. Again, I don't think we should take these leitmotifs too literally.
    1 point
  19. I think it's both/neither: It's not a character theme per se, but rather a relationship theme. The theme serves them both (though I think the main inspiration for it is the BFG, or the idea of this benevolent giant comforting the orphaned Sophie).
    1 point
  20. Everybody Runs! is one of my all time favorite action tracks. I hope Williams opts for a similar direction for Ready Player One
    1 point
  21. Marcus

    The BFG THEMES Discussion

    I have a feeling some of these themes defy traditional leitmotivic identification. Rather, Williams seems to have gone all "sonata form" in his thematic conceptions this time around, and designed whole thematic groups, rather than simply themes. -There's the main theme (BFG theme), which consists of an A and a B theme, although the B theme also seems to have its own 'B theme' of sorts -Then there's the music for Giant Country and the giants, which includes the jagged juxtaposed minor thirds, as well as two waltz themes; all of these are subjected to such transformations as to at times become almost entirely new motifs. 'Fleshlumpeater' also belongs to this group of themes, as does 'Frolic' -The Dream Country music has three main melodic ideas, a broadly lyrical theme with often lydian inflections, and the somnambulistic lullaby heard twice (once in track 4, for vibes, celeste and synth, and then again in track 10 at ca 02.45 as an oboe solo), although the piano theme heard in track 15 may also be seen as an offshoot from this theme, as well as the fast paced scherzino. Additionally, there are textures that may also be seen as endemic to this section of the score (I've already mentioned the flutes) And I suppose the Nightmare theme (which in itself consists of several motifs) could also be seen as belonging to this thematic group -The 'solo themes' (themes that don't belong to the aforementioned groups) are, as far as I can tell, only the Queen's theme and Sophie's theme (not the BFG one, but the solitary piano melody first heard in track 2)
    1 point
  22. Marcus

    THE BFG OST ALBUM Discussion

    Yes, that's the waltz I was referring to (although I suspect it's more a 'traveling theme' for the BFG's gait than a theme for Giant Country). Another waltz is the theme some refer to as the 'Fury theme', as it consists of minor chord arpeggios with an added 6th. It is of course entirely possible to view the two as the A and B themes of the same waltz...
    1 point
  23. Will

    THE BFG OST ALBUM Discussion

    Whoops. Typing this on my phone. @Marcus Wow, that's really cool! I assume when you say Williams used a waltz you are referencing the giant country theme? Or is there another example?
    1 point
  24. The BFG by John Williams A masterful display of orchestration and technique. What this score shows is that Williams is still easily able to stimulate precise moods/emotions/set-pieces like an expert craftsman or technician. But sadly, there isn't much more to it than that. He lifts all-too-familiar colours to fit the mould of his latest children's film, and while it certainly has some wonderful moments (ex. Dream Jars) and its execution is impressive, it does ultimately fall flat.
    1 point
  25. I do agree about Minority Report, though and it's incredibly underrated, even here.
    1 point
  26. Oh great... Does KM know? Maybe we shouldn't tell him, to avoid causing heart attack. @Marcus Could you explain in layman's terms how the main theme spells out BFG, and (as Jay has already requested) how that theme is a minuet? Thanks.
    1 point
  27. Thanks!! I have a good story about the flute compositions for BFG. Later, I have some questions to ask before...
    1 point
  28. The Fury Images The Return of The Jedi Nixon A.I. The Last Crusade Born on the Fourth of July Jurassic Park The Accidental Tourist Close Encounters of the Third Kind
    1 point
  29. The Matrix Reloaded and The Matrix Revolutions. It's been a while. I was worried that we overestimated Don Davis slightly and that his music might weaken over time. But a careful listen of these two sequels reveal his abilities way exceed those of other modern contemporaries, even if it loses some of its edge by expanding the concept. Yes, the two scores are decidedly more Hollywood in their broad epic scope and increased levels melodrama. Yes, they do abandon the anxious horror-like tension of the original and its excellent spotting. But as far as blockbuster music goes, this is about the last true attempt at creating something memorable in the massive budget cinema. Along with Shore's Middle-earth music, this is as good as it gets in the 21st century. It's instantly recongnisable as The Matrix music and that's something rarely achieved these days. The Ghost and the Darkness Karol
    1 point
  30. Let's all just be grateful we got both versions regardless.
    1 point
  31. This isn't really a specific moment, but I just love the evil twist in both the Trade Federation march and the Flag Parade. I believe it's a short shift to the minor tonality a minor second below the tonic (in the case of Williams, pedal tonic may be a more useful term). So cool!
    1 point
  32. A few random thoughts and impressions I had of BvS. To me, it actually felt more like a Nolan film than MOS. Not in amounts of plot, but in its tone. It reminded me of Nolan's Batman trilogy but with less dialogue. There's a lot of just visual scenes and I don't mean action scenes. While I did not hate Eisenberg's Lex Luthor, I did find his "Mmm" a bit annoying. However, the big positive thing about this Lex Luthor is that you actually don't like him, you know, like an old-fashioned, traditional villain. Instead of being the one who steals the show or the cool dude that happens to be bad, you feel his negative presence. Finally villains are unlikable again. Will he make it into the best villain's of all time list? Nope! Not a chance. I don't know why but I'm so Amy Adamsed out! The big buildup is easily the best part of the movie. They don't throw in an action scene every 5 minutes to feed the audience. No, the movie takes its time to show each perspective. In fact, the buildup is so long, the hate was so strong, that it was an anti-climax to see Batman coming to his senses so quickly. That was a huge 'Huh?!' moment for me. Batman's long post-apocalyptic desert dream/vision sequence looked downright incredible. Weird and incredible ... Yeah! Gal Gadot as Wonder Woman pulls it off with much ease. See! Snyder can create characters! I dunno about the final act which to me almost felt like a different movie. BTW, I was never a fan of these superfights where characters are being kicked through buildings in a straight line. Oh, I almost forgot, I sorta liked the score. How about that? The sad Krypton theme, the heavenly choir voices, ... Overall, I thought it was very colorful. Must be Junkie's contributions, right? There's a scene where many people wanna touch Superman with their hands and it was very reminiscent of a scene with Jesus and the lepers in Jesus Christ Superstar. Is Snyder a fan? Just like me? As you have guessed by now, I was entertained but it's not a great movie. Maybe not even a good movie but it easily held my interest. Like Steef, I prefer this one over Man Of Steel. Alex
    1 point
  33. Interestingly, a lot of us find this score to be JW going in a playful and impressionistic new direction.
    1 point
  34. The Prestige is his best
    1 point
  35. According this interview, Williams told JJ he would only score the film if he could stay in LA? http://projectorandorchestra.com/john-williams-on-the-force-awakens-and-the-legacy-of-star-wars/ Although it's entirely possible Williams only asked for this after JJ told him their post-production schedule would require sparodic scoring sessions between June and November.
    1 point
  36. I look forward to John Williams' first use of a Nintendo Entertainment System soundchip in a score.
    1 point
  37. Forget it. No one wants to share the video. At least at REBEL FORCE RADIO PODCAST Star Wars Oxygen made a special program about the gala with audio clips and lot of information. Available on itunes, ivoox etc...
    1 point
  38. I wanted the kids to all die.
    1 point
  39. I kind of agree with Drax. It's not a bad film. but like Terminator Genisys and Jurassic World it is a wholly redundant one. The original film managed to build some serious tension in it's first half, and some effective "America FUCK YEAH" in the second. Both are missing in this film. It's actually funny how one can watch thousands of alien spaceships circling a massive Alien Queen and not actually feel much excitement. Also, most of the characters are misfires, while that's something that really did work before. Brent Spiner is the best one this time. It's a solid rental. With a few good scenes and excellent effects. The music is "effective" if completely generic.
    1 point
  40. I must say I really am liking these stable shots we're seeing, like the long wide shot of the boat along the water with the spacecraft in the background. It's been such an increasing trend in films recently to have these really kinetic camera shots, sometimes to the point where you can't even see what is going on. It's kinda nice to see somebody like Emmerich continuing to frame shots a bit more old school and restrained. He knows how to shoot good ol' eye candy, I'll give him that.
    1 point
  41. I don't care. I need to be heard.
    1 point
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