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Showing content with the highest reputation on 01/01/18 in all areas

  1. 6 points
    I heard JW described Zimmer's Man of Steel score as a "completely unlistenable shower of shite"
  2. 5 points
    just saw the movie for the 2nd time. I realized that the flatiron scene is introduced by the death star motif from ANH!
  3. 5 points
    That's how it always starts, they're honoured and humbled. Then comes the running and screaming.
  4. 4 points
    I believe that John Powell has gone through things considered more insulting than having to score a Star Wars movie and having to deal with John Williams composing a theme for one of the most iconic characters of the franchise for which he dedicated 40 years of his life.
  5. 4 points
    As much as I adore Williams and his Star Wars scores (they're the reason I got into film music), it might be heresy to say, but Star Wars does not belong to John Williams. If George Lucas could let it go, Williams certainly can. Of course I think he should have first right of refusal on scoring any of these movies, no one will ever make Star Wars music like John Williams. But otherwise I think he should step back and allow other composers to do as they will. I hope this report rumour unverified gossip isn't true, or if it is true I hope it's being mischaracterised.
  6. 4 points
  7. 4 points
    Or: "I don't like Giacchino and I want to believe that someone I admire might have the same opinion." Yep, two can play at that game! It doesn't work, does it? I've got a better idea: How about we allow everyone their own opinions, even if they might differ? And let's stick to the facts. Fact is that you don't like Giacchino. Fact is that I do enjoy what he does, while admitting his work is certainly not at Williams' level. Fact is that there is no official information regarding Williams' opinion. So let's leave Williams himself out of this.
  8. 4 points

    John Powell's SOLO: A STAR WARS STORY (2018)

    I think the compressed schedule thing comes off as a flimsy excuse. Williams et al in their "youth" regularly scored movies in the timeframe Gia had. Williams managed to knock off several big scores a year and concert works while being the full time conductor of the BPO. In effect, give Gia another month, and I would bet RO would sound pretty much the same. It is an okay score. I think Williams in well within his rights to want more than an okay score for something so closely connected with his legacy.
  9. 3 points
    John Williams would not be where he is today without having strong opinions and particular points of view when it comes to music/his music. I'm sure he's just as opinionated as Goldsmith, Barry, Herrmann, and Horner were...he's probably just better at airing those opinions in the appropriate setting while being diplomatic and gracious in public. It has nothing to do with being nice or mean or positive or negative. As one member of the LSO put it: 'the iron fist in the velvet glove'. And I absolutely think JW can judge the quality of a score after viewing a movie once. He could also probably listen to one cue from Desplat, Powell, and Giacchino and make very astute judgements about compositional quality without needing to listen to their entire discography.
  10. 3 points
    There has been a lot of anti-Giacchino sentiment going around lately which appears quite over-the-top to me, regardless of Giacchino's merits (or lack thereof). This is very similar to the larger anti-Disney sentiment in regards to the Star Wars films and the whole DC versus Marvel flame wars elsewhere. What I see there are fanboys heatedly defending their own opinions with whatever arguments they can, whether true or made up, to back up their claims. Sometimes they make valid points. And sometimes they make no sense at all. Sometimes rumours turn out to be true. And sometimes they prove to be no more than conspiracy theories. Truth is that this rumour might be true and it might not be. We don't know for sure and we possibly never will. Personally I find it very difficult to believe, based on what facts I know. But I honestly do not know and I will not claim that I do. Ultimately, it is a rumour and I will treat it as such.
  11. 3 points
    He can do what he wants. But it doesn't sound like it fits his personality at all, nor does it fit with the (admittedly limited) facts that I know. Giacchino did his best on Rogue One, doing a lot of work in a short time. The end result may not be perfect, but I've listened to it several times and it is honestly not anywhere close to being bad. Why would a consummate professional and humble person like Williams bring Giacchino down? Especially when he knows that Giacchino was dealt a difficult situation to begin with? Surely he also knows that Giacchino is very respectful of him. Why would Williams not be supportive in return? Remember that Williams has also voiced respect for Hans Zimmer's work in the past. I have not a clue if Williams meant that or not, but he certainly said something along those lines. Giacchino has had Steven Spielberg's support for a long time already, who is obviously very close to Williams. Surely Giacchino has been mentioned in their conversations at times. If Williams were not appreciative of Giacchino, surely he would never have been hired for Jurassic World? And if Williams had objected to his work there, surely Giaccchino would not have been asked to "save the day" on Rogue One? It just doesn't make any sense. This whole rumour sounds like a conspiracy theory if ever there was one. Until I hear actual facts or official statements, I simply cannot believe it.
  12. 3 points
    Some people on here have this weird image of Williams that he must be a kind of saint who wouldn’t dare say a bad word about anybody. If if he has any sort of professional integrity (which he obviously does) he absolutely would want to hear what other people have done in a universe he sonically defined and he absolutely would give his honest opinion on it.
  13. 2 points
    Amazing catch, lemoncurd. It absolutely is the Death Star motif -- listen to this: https://drive.google.com/open?id=1dJQ5VhvY_WLjvkka6v0SSZyPPK_gcWKg Quite an easter egg! I'll update my little catalogue accordingly.
  14. 2 points
  15. 2 points
    Exactly that! And that applies to Giacchino and Powell too. Chances are there will be a gazillion Star Wars movies in the future and they won't all have the same composer. They do seem committed to maintain Williams' original style, which means we haven't seen or heard the last of this. What if they are at the moment "shopping around" for different composers while Williams himself is still around to provide feedback and perhaps support? If they try as much as possible now, they'll learn as much as possible too. Giacchino is still in Disney's good graces as he's still attached to The Incredibles 2. And he's still attached to the next Jurassic World, which is produced by Spielberg and suggests that he's still considered good enough to follow John Williams there. I expect Rogue One will not be his final Star Wars score. The same applies to Desplat. I expect he'll end up getting another Star Wars assignment as well, eventually. Though I have to admit, I also expected one of those two to get "Solo". John Powell getting that assignment was therefore a rather massive surprise! But not an unwelcome surprise; out of the three attached so far, I think he's the most promising choice of all. Williams writing the main theme is yet another surprise, but again a welcome one. I do not believe it would have been necessary and I don't want to read too much into it. But Powell is used to collaborating with other composers anyway, so there does not necessarily need to be any conspiracy. In the end, only the future will tell. I think we'll see more Star Wars scores by all of them. And, based on Fantastic Beasts, I reckon James Newton Howard is a strong contender too. I'm excited to find out! One way or another, it'll lead to varied and enjoyable scores in a genre that I appreciate!
  16. 2 points
    That's being complimentary, all things considered. It's bizarre that people believe Williams is incapable of passing criticism about other composer's works. He might indulge in platitudes for the cameras but behind closed doors his finger is on the pulse of modern sensibilities and, to close friends and collaborators, he'd say exactly how he feels (especially on other composers interpreting his work -- especially if he didn't like the results). We also know he's very involved with Star Wars music beyond his scores and we know from Giacchino that he's heard Rogue One. If he wasn't a fan of the score then he did the sensible thing: told Kennedy his honest thoughts (which were probably solicited), why he felt that way, and recommended another composer he believed would better reflect the musical sensibilities of the series. What is disrespectful about that? Should he only lavish effusive praise, regardless of his actual opinion, just so people don't get their feelings hurt? Ridiculous and unrealistic, especially in Hollywood (doubly so with a ruthless operator like Kennedy in charge, who clearly wouldn't appreciate such nonsense). It's also perfectly likely he wrote to Gia and told him the things he liked about his score, glossing over the things he didn't.
  17. 2 points
    I think you completely miss the point: this is no official interview or something, there have been insider rumors that, maybe at Kennedy's behest, Williams saw this movie and may have said something to the effect that he wasn't entirely convinced by Giacchino's score and he wouldn't recommend him for further movies. What the hell does this have to do with character assassination you insinuate? If he didn't like the score - and i don't think it's a fabricated lie, because more than one LA insider reported it - of course he would have to say at least *something* to get his point across, don't you think?
  18. 2 points
    This would be cool if true and it meant Gia was barred from future involvement in any franchise featuring a John Williams score!
  19. 1 point
  20. 1 point
  21. 1 point

    What Are You Eating Tonight?

    I bet Fergie tastes amazing.
  22. 1 point
    true, I thiink the few tracks I kept are from that score and maybe one from How to Train Your Dragon
  23. 1 point
  24. 1 point
  25. 1 point
    But probably not for being not able to deliver 'real' SW music. Or they got really shafted by Giacchino on this one.
  26. 1 point
    Yeah, what J. S. said. D'ya wanna sell CE3K?
  27. 1 point
  28. 1 point
  29. 1 point
    Easily solved. Finn was recovering in some kind of Bacta tank at the end of TFA right? First scene of Episode IX: "Finn..Finn..wake up". You're welcome JJ.
  30. 1 point
    What is this debacle you speak of? I'm honestly not sure what to think of it. On the one hand, your story makes a lot of sense. On the other hand, I think even Williams himself would want to be above such negative emotions. But I suppose, as much as he is a genuine hero to me, both in what he accomplishes in his music and as a human being, he is still a human being. As such, not even the great John Williams is perfect. But I strongly believe that he does aim for it, on both the musical and personal front. I know how tough that is and, for that, he has my everlasting respect.
  31. 1 point
    I'm sure he's honored and humbled to be working with the Maestro!
  32. 1 point
    I would believe Lucasfilm would secure the services of the composer in case of delays due to reshoots. Anything else would be highly risky and unprofessional. It's not like SW is a low budget production anymore. That's why I find it most likely that Desplat was indeed fired.
  33. 1 point
    We'll find out what happened eventually. They clearly thought enough of Desplay to offer him the job in the first place. If it was really a scheduling conflict, he'll get another chance. If he was fired, he won't.
  34. 1 point
    I have no reason to assume Desplat is lying.
  35. 1 point
    Nah. It's too inconsequential to be a leitmotif, much less one that can be treated separately from the unabridged Force theme. It's just a little introduction figure.
  36. 1 point
    As much as I like the Rey lightsaber cue, I prefer both Rey's Journey cue and the awesome rendition of her theme at the beginning of The Last Jedi. If I had to choose only two of these three to appear on the FYC, I'd omit the lightsaber cue. I still would have liked it to appear on the FYC though. It was quite a prominent piece of music in the film so it is unfortunate it never appeared in either the OST or the FYC. Its short length and major theme makes it an ideal cue to appear as a blu-ray menu music so maybe we'll get lucky.
  37. 1 point
    Here’s an interview with Desplat where he mentions leaving Rogue One; https://filmschoolrejects.com/composer-alexandre-desplat-choosing-luc-besson-star-wars/
  38. 1 point
    I'm sure he's honored and humbled.
  39. 1 point
    Actually I believe that was me who said that, I think...
  40. 1 point
    I have this image that Williams is a genuinely good person first and foremost and an incredibly gifted composer second. There are plenty of composers who have rather colourful personalities and can be harsh in their opinions at times. I'm thinking Bernard Hermann, Danny Elfman and to some extent Jerry Goldsmith, Hans Zimmer and James Horner. However, as far as I have ever been able to tell, Williams is different there. And I respect him even more because of that!
  41. 1 point
    "I like Giacchino and I'm unable to deal the possibility that someone I admire might have a different opinion."
  42. 1 point


    Okay, all done. I'll post a more detailed reaction to TPTR later. Meanwhile I'll read back on this whole thread.
  43. 1 point
    Music Composed by Michael Giacchino Indiana Jones themes by John Williams Nothing by John Powell
  44. 1 point
    So according to you he should be lying when asked what he thought of this particular score? (which really is rather poor, especially when it plays to picture)
  45. 1 point
    To compose drive-by music for a theme park attraction and for a dramatic motion picture are wholly different things. In a movie, dramatic shortcomings are much easier to spot.
  46. 1 point
    Don't fret about Rey's training track. We might get really lucky and be able to assemble a mostly SFX-free version with the Bluray extras/rear channels.
  47. 1 point
    The film gets better each time I see it. Patiently awaiting the complete OST and FYC combination track order.
  48. 0 points
    Again, read what me and others wrote to clarify the situation whereas you muddy the waters with even more broad beside-the-points that are either by poor wording or just plain misconception of the situation at hand blown out of any sensible proportion. Nobody dissed anyone publicly - you just heard some inside gossip, which spread every day on thousands of subjects. Is that so hard to understand/accept?
  49. 0 points
  50. 0 points
    Very interesting story. Like Peter, I'll admit I'm rather bothered by it. From reading through that FSM thread I'd imagine that this is less about Giacchino in particular and more about Williams having trouble watching someone use his themes in a major film. It's like how George Lucas was sore about TFA (and perhaps about the later films, too). I don't think anyone, even Williams, can truly judge the quality of a score from one viewing of the film. Perhaps he listened to the OST afterwards as well, but if not that's a pretty weak basis to give an honest analysis. Thus, I can only conclude that Williams would likely have criticized the score no matter who did it (although that doesn't rule out him finding less to criticize if Desplat had done it!) Williams reportedly barely listens to music or watches movies these days, much less contemporary films and film music, so I'd be very surprised if he'd heard enough Desplat, Powell, and Giacchino to think that the former two were significantly more nuanced and skilled than the latter. I suppose we've always known that Williams can have negative emotions (e.g. the brief Boston Pops disrespect debacle) but I'd been hopeful he'd gotten over them in his old age. As I said yesterday, I still think it's exciting to see Williams engaging with the next generation of composers. But it's also a little disturbing that he's allowed himself to be bothered enough by a score after, apparently, only one viewing of the film, that he recommended a different composer for the next one. Of course, I suppose I can't really complain, since I want to hear as many different composers get their shot at SW as possible.
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