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Showing content with the highest reputation on 11/19/17 in all areas

  1. 1. Main Title and The First Jedi 2. The Second Jedi 3. The Third Jedi 4. The Fourth Jedi 5. The Fifth Jedi 6. The Sixth Jedi 7. The Seventh Jedi 8. The Eighth Jedi 9. The Ninth Jedi 10. The Tenth Jedi 11. The Eleventh Jedi 12. The Twelfth Jedi 13. The Thirteenth Jedi 14. The Fourteenth Jedi 15. The Fifteenth Jedi 16. The Sixteenth Jedi 17. The Seventeenth Jedi 18. The Eighteenth Jedi 19. The Nineteenth Jedi 20. The Last Jedi and Finale
    9 points
  2. That also lines up a bit with the story Williams recalls from working on the film. Evidently, when he watched the first cut, he told Lucas that he was going to need a much worse composer than him for the job.
    6 points
  3. 1. Main Title and the Finale (78:05)
    4 points
  4. Oh wow, they're already recording the score! Guess that's why Williams didn't score it, Spielberg must want both his films wrapped before Christmas (maybe barring VFX revisions for RPO). Nice of Williams to drop by the sessions though, just to add another layer of stress to Silvestri's job. Nice of Silvestri to address comments on his social media too: rojas_gustyyFirst time with spielberg as director how would have been the experience? alan.silvestri_music@rojas_gustyy amazing
    3 points
  5. Great news! And the concerts being on Saturdays and Sunday are likely to be broadcast.
    2 points
  6. Performance details from BSO.org: TANGLEWOOD ON PARADE (John Williams + various conductors) Tuesday, August 7, 2018 https://www.bso.org/Performance/Detail/93173/ JOHN WILLIAMS’ FILM NIGHT (John Williams and Andris Nelsons, cond.) Saturday, August 11, 2018 https://www.bso.org/Performance/Detail/93186/ NEW WORK FOR CELLO AND ORCHESTRA (Andris Nelsons cond., Yo-Yo Ma, cello) Sunday, August 19, 2018 https://www.bso.org/Performance/Detail/93195/ THE BERNSTEIN CENTENNIAL CELEBRATION (John Williams + various conductors and performers) Sat
    2 points
  7. Luke will come across an old VHS tape of the Christmas Special and will commit suicide.
    2 points
  8. Absolutely, it's probably the strongest stretch of music in the film. It's just that instantly recognizable, effortless John Williams in Star Wars mode writing we all know and love. Not one moment under or overscored; just a superb selection of music right to the end of the credits. Very glad Williams gave us the entirety of the finale unedited on the OST (unlike all the terrible edits in the glorious ROTS finale).
    2 points
  9. Track 1: Main Titles and Porgs! and Kyle Ren’s Crusade and A Princess and a General and Poe Dameron’s Noble End and Snoke vs BB-8 and Escape from Ach-To (55:10) Track 2: Finn’s Return (00:10) Track 3: Rose’s Theme (00:57) Track 4: Rey and the Porgs (0:46) Track 5: Chewie and the Porgs (2:20) Track 6: Luke and the Porgs (0:13) Track 7: Porgs and the Porgs (3:12) etc etc I’m done with this bad joke post
    2 points
  10. Love seeing that track get some love. This & the one immediately after (Farewell & the Trip) are my favorites on the entire TFA soundtrack. The movie goes thru a whole series of emotional beats in rapid succession during those tracks, and the music just flows effortlessly in support of each one. JW at his most masterful, IMO.
    2 points
  11. Another pic from the sessions.
    2 points
  12. https://www.bso.org/brands/tanglewood/features/2018-tanglewood-season/2018-season-highlights.aspx Tickets on sale January 28 at 10 a.m. In addition to those three concerts: Note that the cello piece will premiere on August 19, conducted by Nelsons. When it is performed at the Bernstein Centennial concert that will be its second performance. Presumably Williams will conduct it then, although technically all we know is that he'll conduct something in that centennial concert.
    1 point
  13. This set would definitely be $60
    1 point
  14. One can easily love both Bach and the "atonal." Anything short of that is uncultured. Certainly not JWFan Pro material!
    1 point
  15. Amazingly enough, I picked this up, barely used, at Camden Market last week for three pounds. It had a five pound sticker on it but as I was looking at it the guy immediately said three. So of course it was a no brainer. The funny thing was there was another sticker on the back that said $7.00, so apparently this disc has made the rounds and somehow landed here from America. This was always one of my favourite scores (I think at one time it was always one of everyone's favourite scores), so I was really happy to get this, especially since I didn't know it even existed. Most of the
    1 point
  16. Good one! And Scherzo for X-Wings is awesome too!
    1 point
  17. I Can Fly Anything! Was just watching that scene again a few days ago and was reminded how Williams' incredible cue transforms a normal ho-hum action scene into an absolutely marvelous piece of rhythmic excitement.
    1 point
  18. Darkman - Sam Raimi brings his manic energy to this mash-up of Batman and Phantom Of The Opera, with very enjoyable results. Some scenes suffer from the budgetary restraints, but overall tremendous fun.
    1 point
  19. Well remember it was recorded long, long before Williams' official "Marion's Theme" arrangement from 2008 so I assume they just lopped off the crate from "Marion's Theme/The Crate." I don't have that album so I am just assuming.
    1 point
  20. Dracula. It's an incredible piece indeed
    1 point
  21. To be honest, they might as well. It's not like you can hear Elfman's score in the film. Karol
    1 point
  22. Just saw Justice League, its fine. Nothing special but fine.
    1 point
  23. I wish they had this discussion a year ago when I was writing my essay. Although, I agree @publicist this discussion seems so tame and lacks any in-depth inquiry about the issue, although you can definitely sense that Desplat is more pissed off. It also doesn't help when Zimmer comes out and says the industry doesn't have studio interference when it comes to scoring, the heart of most of these issues, of composers being ousted and rewrites is often entirely because of studio interference, test screenings and studio screenings/focus groups all have a say in the score, let alone wha
    1 point
  24. I'm feeling strangely confident that Kylo will have a new/expanded theme, rather than just his two separate ideas in TFA. Williams will roll them together to bring it closer with Imperial March, but with greater 'hesitancy' and without the brash confidence of a march.
    1 point
  25. What's the point of any of it if you own the full soundtrack release from 1997?
    1 point
  26. 19. There Can Only Be One [Jedi] 20. And Then There Were None and Finale
    1 point
  27. Can't believe I agree more with Junkie XL than Elfman. But I do. "It’s a massive undertaking. And I can’t say anything about Justice League specifically, but I’ll tell you this, and this was exactly the same experience that Hans and I had when we did work together on Man of Steel and Batman v Superman: It’s like when you see a movie like that, these iconic superhero movies, some of them have a 60 to 80 year legacy, multiple composers had a go at their themes, multiple filmmakers did their version of these characters—it’s very scary. You watch a movie and it’s like, “Holy shit, now
    1 point
  28. I just fundamentally disagrees him him calling other composers egotistical just because they want to create something new.. Sure, some franchises absolutely needs continuity, but most franchises do not. Composers want to create their own theme, so they can forge their own identities and their own paths of success. I mean, is that egotistical or just the normal desire of an artist? Elfman didn't use the 1960s batman theme did he? Times change and styles change too. Is using color egotistical because the original film is black and white?
    1 point
  29. Hello my name is Paul Klusman I'm known for a series of cat videos on YouTube starting with "An Engineer's Guide to Cats" and others. I'm working on a cat video of Star Wars ep. IV A New Hope and I need to contact Mr. John Williams for permission to use his composition in my video. I'm not using the original theatrical recordings but instead I am singing - "meowing" the melodies and using it as underlying music in my video. I would like to use the exact melodies rather than skewing them as a parody. I know this is a long shot but does anyone have a way to contact Mr Williams quickl
    1 point
  30. The Journey Home is one of my favorites from TFA. I'm curious as to why they would use alternates/unused music from TFA in Star Tours especially when the other TFA music seem to be direct from the soundtrack. The OT music sounds a bit different, too.
    1 point
  31. Red hair, vacant expressions... tatty, second-hand CD. You must be the Elfmans.
    1 point
  32. Sherzo for Fighters and Porgchestra?
    1 point
  33. Preordered!!!!!!!!! Come through with that release date delivery Amazon. It'll be good to spend a month with TLJ before getting The Post. And now there's at least one John Williams score in 2018
    1 point
  34. I hope it would be more "serious" than Rebels... I'm currently stuck at the very beginning of Rebels Season 2... it's a little bit too simple and childish for me, it's hard for me to get hooked.
    1 point
  35. November 26th 2015 was Thanksgiving here in America. Maybe we'll get the tracklisting for Thanksgiving this year! (the 23rd)
    1 point
  36. I'm not even sure he watches the movies he scores.
    1 point
  37. 1 point
  38. ROTS is the everything-plus-the-kitchen-sink score of the series. Heaps of fun and easily the most diverse collection of music in a single score in the SW series. There's extended percussive-based action, laments, epic choral elegies, an adagio, weird synth experimentation, plus all the trademark brassy fanfares and action that Williams writes in his sleep. I think it's part of the reason people were so taken aback by JW's TFA, which couldn't be further from ROTS if he tried (a score which showed the musical restraint of a David Zucker comedy, but reveled in it).
    1 point
  39. I actually really like Revenge of the Sith. Sure, it doesn't have the polish of the first three films and it does have some structural problems, but overall some of the best dramatic beats of the series are in there. I also voted for for it as best score. I really like the dramatic effect of the choir, and while the application here feels less organic than The Phantom Menace and is certainly more deriviative of Lord of the Rings - it's still effective.
    1 point
  40. Here's my unpopular opinion: Williams is in a league entirely of his own among modern media composers. There's simply no one alive this side of the world of concert music who puts out more consistently stellar work. And I think the real reason for this, is that Williams simply gives much more thought and effort to his scores than most of his colleagues, probably more than people realize. I've heard lazy, phoned-in offerings from many composers. Never from Williams. His work-ethic would make Haydn nod in recognition.
    1 point
  41. I think the cue is one of the very few instances where Williams didn't write the cue "around" the dialogue, but let the music score the feeling of the scene in a sort of Morricone-like approach, something he did very rarely. By consequence, you can sense a bit more the mixing console faders going up and down when dialogue comes in, so to speak.
    1 point
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