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Showing content with the highest reputation on 05/10/17 in all areas

  1. Richard, strangely... I repeat... strangely... nobody (that I'm aware of) ever re-recorded a track from it... since 40 years.
    2 points
  2. Close Encounters of the Third Kind. Listening to the 1998 Arista album as well as Charles Gerhardt's recording of the long suite. This score, or at least some really chunks of it, might be John Williams' single greatest achievement - as a contribution to the film as well as pure music. Karol
    2 points
  3. I was wondering if that was the case. Good thing I prepared an alternate version then. Enjoy this as a little bonus. 18. Visitor in San Diego, part 2 */Ludlow's End */Tranquilizer Dart */The Lost World (alternate)/Jurassic Park Theme (End Credits) * 13M2 The Streets of San Diego 13M3/14M1 Ludlow’s End 14M2 The Saving Dart [unknown] Here is the finale again, but this time with The Lost World kicking off the end credits, before going into the Jurassic Park Theme.
    2 points
  4. It has been a very, very busy day today. But here's a final treat for you guys before I'm off to bed! 17. Visitor in San Diego, part 2 */Ludlow's End */Tranquilizer Dart */Jurassic Park Theme (End Credits) */The Lost World (alternate) 13M2 The Streets of San Diego 13M3/14M1 Ludlow’s End 14M2 The Saving Dart [unknown] And here we come to our final video. The Streets of San Diego was written to start right on the smash cut to the screaming woman, but the first forty seconds of the track are dropped in favor of silence. Instead, in the final film the music
    2 points
  5. 2 points
  6. That's a very tough question to answer. If I had a gun held to my head and was forced to answer, I think it might be this or the march from Raiders, but there are easily 10 other ones that could take the #1 spot as well.
    2 points
  7. Why, thank you. Now you know! I finally got around to making some new videos based on your suggestions. First up, @JohnnyD's resequencing of The Hunt: I can see where you were going with this, but the musical shift at 0:27 doesn't really make sense in the middle of that shot. It lines up nicely at 0:38, though. But there's lots of places where it feels just slightly off. As I was editing this again, I realised there's a bunch of weird continuitiy errors in the sequence. Roland's hat switches on and off his head, the guy being punched t
    2 points
  8. Geez, get it right. Tatooine is a gangster desert planet, hive of scum and villainy. Jakku is a sad depressive scavenger desert planet where people eat broccoli bread. Nothing alike at all!
    1 point
  9. "From my point of view, Hoth isn't a desert planet!" "Well, then you are lost!"
    1 point
  10. 1 point
  11. Very cool: Randy Bachman (Canadian rock royalty) breaks down the opening chord of "A Hard Day's Night"
    1 point
  12. #SnowyVernalSpringsEternal

    America

    You believe it's one or the other? Not both?
    1 point
  13. I like your take on the reason the Nazgul theme was utilized for the fight between Thorin and Azog. Never thought of it that way before.
    1 point
  14. Here is the second part of my analysis of Howard Shore's score for the first part of the Hobbit trilogy. Unfortunately I could not present it in one piece as it was too long for a single post. I am just that verbose. Check here for the FIRST PART (The Thematic Analysis) of the complete write-up. The Hobbit: An Unexpected Journey Music composed, conducted and orchestrated by Howard Shore An Analysis of the Special Edition of the Soundtrack Album By Mikko Ojala Track-by-Track Analysis Below I will journey through the Sp
    1 point
  15. Naïve Old Fart

    America

    Actually, there's something I need to tell you...
    1 point
  16. He recently released his Death Star and Scarif suits. Some very intersting references to the Prequels in there (including a section in the Death Star Suite that reprises the Droid Battle from TPM and a section in the Scarif Suite that references "The Falcon" from The Force Awakens.)
    1 point
  17. Not at all! The OST is a great listen and one of my favourite JG albums. 1983 might have been his best year of that decade.
    1 point
  18. Quintus

    America

    Twat. *Here for the free Likes!*
    1 point
  19. What are the official motivations? All I read was it was done to re-establish trust in the FBI again. Which normally would not be a valid reason for firing someone.
    1 point
  20. Quintus

    America

    Yawn. You've just become boring now mate. That's the absolute worst of the worst for online personas.
    1 point
  21. I met Koray Savas the other day, he doesnt look like a janitor. And guys, why are you arguing about who's got the bigger postcount? That's like arguing who is Buzz Aldrin!
    1 point
  22. AC1

    America

    Indeed. Nixon fired the FBI boss who was investigating him as well. In true democracy this wouldn't have been possible.
    1 point
  23. My magazine has been fortunate to get a special screening tomorrow, just for the three of us in the staff. I'm getting that kind of old-school 'nervous thrill' or childlike glee now that I haven't had since before PROMETHEUS and partially THE FORCE AWAKENS. Regardless of how the movie turns out, this is the film event of the year for me.
    1 point
  24. He could, if his name was Gary, and he was spying. That's all spying is - acting! Derka-derka-derka
    1 point
  25. Did Trump just fire the guy who was investigating him?
    1 point
  26. I really don't have a favorite melody of his, but the Force theme is definitely of Williams' best compositions.
    1 point
  27. Koray Savas

    Upcoming Films

    Both of them are pretty mediocre.
    1 point
  28. Not sure what you're referring to specifically, there, but my guess is you're hearing the keyboards/plucked part of the continuo group, which probably has a portativ organ, one or more lutes or something similar, a harpsichord.... Baroque music doesn't always have the most wild or difficult to pin down orchestration, but the timbres of the period instruments used can be enchantingly strange.
    1 point
  29. They want Star Wars, but what they NEED is Deadly Friend!
    1 point
  30. That string swell in E.T. and Me is an utterly breathtaking musical moment. Kind of an interesting Potter selection there.
    1 point
  31. It's really not a good point.
    1 point
  32. There are so many great scores, cues, and melodies I like to single out that are "below the surface" to show people how deep and rich Williams' oeuvre is, but when it comes right down to it if I'm being completely honest my favorite score is E.T., my favorite cue is "The Rescue/The Bike Chase/The Departure" (or whatever soundtrack track names you want to give them) from E.T. and my favorite melody is the "chase" theme (never really seen any consensus on what to call it) especially the end credits piano performance of it, but all the permutations/developments of the melody in "Looking for E.T."
    1 point
  33. If you play the Star Wars theme on trumpet on his front lawn, he might let you in his house to look at the scores in his personal archives.
    1 point
  34. 1 point
  35. For me, it's a tie between E.T. and me… …and the theme from Omaha Beach in SPR. Not Hymn to the Fallen, the other one. Just something about how simple it is in construction, how stately it unfolds, and the aching suspensions.
    1 point
  36. ...or the Holy Grail Theme.
    1 point
  37. Double Trouble or Short Round's Theme
    1 point
  38. Shore abandoned us long ago. All our hopes now lie with Doug, somewhere in the wilderness.
    1 point
  39. 16. Heading North */Ludlow’s Speech */The Wrecked Ship */Monster on the Loose */Visitor in San Diego (part 1) * 12M2 Heading North 12M3 Ludlow’s Speech 12M4 Wompi’s Wrench 12M5 Monster on the Loose 13M1 A Neighborhood Visitor NOTE: This video and the accompanying text have been updated to reflect new findings discussed below. Heading North is supposed to start soon after High Bar and Ceiling Tiles, right as we first see the captured Tyrannosaur. Contemplative strings underscore the sight of the captive T-Rex and Ludlow’s conversation with Roland. After Roland speaks hi
    1 point
  40. 15. The Raptors Appear */High Bar and Ceiling Tiles * 11M2 The Raptors Appear 11M3/12M1 High Bar and Ceiling Tiles The following cues have a large number of small edits. This effects-heavy sequence was probably trimmed down in various places after Williams scored it. In one case, there's several music edits within a continuous shot. For that part I just synced the picture to the music (which is why you'll see some blank screens within an unbroken shot). I also don't think this sequence was heavily restructured - just trimmed. In the film, the end of The Raptors Appear is rep
    1 point
  41. AND ALSO WITH YOU!
    1 point
  42. 14. The Long Grass **/Finding Camp Jurassic * 10M2 Steiner in the Grass 10M3/11M1 After the Fall Steiner in the Grass, named for its homage to Max Steiner’s King Kong music, plays mostly as is, but it’s slightly longer than the accompanying scene. The scene was likely trimmed and some of the score was removed with it. After the group slides down the hill, the next cue starts, overlapping with Steiner in the Grass. The opening atmospherics are longer on album than they are in the film. There may have been some trimming at the start of the scene. Nick then moves into the islan
    1 point
  43. 9. Spilling Petrol and Horning In * 5M3/6M1 Spilling Petrol 5M3/6M1 Part II Horning In Here we get to another sequence that was quite heavily cut down: the nighttime camp sequence. The conversation overlooking the camp is unscored in the film. When we cut to Ludlow down below, we're already 45 seconds into the track. Between these scenes, the August 22 script features a lot more stuff. There's much more dialogue between the team on the ridge, featuring Nick recounting a previous encounter with Roland and Sarah mentioning her fear of heights. Then there is a scene where Ludlow gets drunk
    1 point
  44. I could give it a go, but I probably won't get around to it before the weekend. Yes. As it is now, it also feels odd to me that the only "reaction" shot we see of the hero group is the back of their heads. Which is why I think I may need to put the shot of Nick back in. Yeah, that scene gave me a headache. But it feels like it has the most "subdued" part of the track underneath it now. And it still feels a bit off. Of course, the music is now mixed much, much louder than it would be in the film, so that might give you a skewed view of the s
    1 point
  45. Absolutely,...can't get that with an MP3.
    1 point
  46. 6. Fire at Camp 4M1 Fire at Camp A very brief cue underscores the fire and the discovery of Kelly. It was paired wirh the next cue on the La-La Land set, but in the film there's several minutes of silence in between. This cue is used in its entirety. The next two cues overlap, so tomorrow, we get to look at a whole bunch of unused music. Including... The Hunt!
    1 point
  47. 4. The Stegosaurus, part 1 3M2 The Stegosaurus For the first appearance of these majestic herbivores, Williams employs a sound reminiscent of the wonder featured in My Friend, the Brachiosaurus (albeit with a slightly darker tone befitting the sequel score). This cue was coupled with the next cue on the original soundtrack album and the La-La Land release, but they’re actually two cues separated by a few minutes of musical silence in the film. This cue is used in its entirety. Tomorrow, we get our first significant piece of dropped music!
    1 point
  48. 1 point
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