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Showing content with the highest reputation on 01/26/20 in all areas

  1. 9 points
  2. I'm still amazed about the acoustics in this place...
    7 points
  3. It literally sold on eBay two days ago lol https://www.ebay.com/itm/283755800726
    6 points
  4. My brief montage of the weekend. This time last week was some of the happiest hours of my life so far.
    6 points
  5. Because the CD wouldn't be bloody 192kbps MP3s?
    4 points
  6. Despite its three hour runtime, it's very economical in its editing when you consider how much fluff and excess was ultimately axed.
    3 points
  7. If I were to recut Titanic I would remove maybe two or three minutes off it’s running time, at the most. I love that the movie is patient, confident and takes its sweet time. Filmmakers today don’t have the balls to edit like this.
    3 points
  8. Conan the Barbarian by Basil Poledouris I've come to the conclusion that there's not a single unsatisfactory note present in this entire score. Anvil of Crom, Theology/Civilization and the neo-Bolero fantasy that is (clears throat) The Orgy have all been getting some serious plays lately. The unique blend of medieval and pastoral qualities hit upon a wide range of cultural influences. An absolute treat! A View To A Kill by John Barry Probably one of my favourite Bond scores not named Thunderball, On Her Majesty's Secret Service, From Russia With Love or Goldfinger. It ma
    2 points
  9. Anyone else experiencing some post Vienna depression? It's like, I was looking forward to the concerts for so long - then it happened and now...my life feels so empty 😢
    2 points
  10. Hopefully a generous JWfan won this c.d. and will share lossless files.I'm sure some people here were still checking ebay every day
    2 points
  11. I finally, a bit late perhaps, had time to sit down with The Towering Inferno. Early this Saturday morning, with a cigar in hand, the sun rising and my headphones on tight, I sat down on the balcony and pressed play. I guess this is the “crown jewel” of The Disaster Box and it doesn’t disappoint. The composition is the epitome of disaster music. Each cue paints a vivid picture of wreckage and unfortunate events. I am not an avid fan of “action music” - those kind of busy cues rarely make it into my regular rotation when I listen to John Williams or any other composer. S
    2 points
  12. It's a shame Hamill spent all his energy talking down Johnson's interpretation of his character, because it really was a fabulous performance. He had every right to be proud of what he did and talk himself up, but he really just threw fuel on the fire by acting so sour over the whole thing.
    2 points
  13. How many Disney movies a man is allowed to watch before he can no longer be considered a male person? I'm afraid it's too late for me, but I want to know this for my future, still unborn son. I'll raise him on a healthy dose of Rambo, Rocky, Taxi Driver, the Saw franchise and Schwarznegger's Commando. Or better yet, I won't even allow him to watch movies, stuff like art is too sissy for him. The less time he spends watching movies, the more time he will have for his shooting and martial arts lessons!
    2 points
  14. I love the theme and hate the song go figure. But the theme is genuinely outstanding.
    2 points
  15. Whether he liked or not, surely that was Hamill’s performance of a career!
    2 points
  16. I liked how the SE's presented them like intermezzos/Ent'racte
    2 points
  17. Who knows, maybe this tragedy will increase the chance of a release
    1 point
  18. Oh, get well soon - we have to celebrate the Maestro's birthday later on... ...now that you mention it: I almost fell ill myself - I cured my aching throat with lots of tea, just in time. *phew* We were quite well a week ago - might have something to do with PVSD[1]. [1] Post Viennese Stress Disorder
    1 point
  19. This makes Dear Basketball, film and score, way, way too poignant.
    1 point
  20. Would be surprised if he doesn't do it again at Hollywood Bowl at least.
    1 point
  21. Tell me about it - I somehow sleep-walked through the last week - for all I know the concert could have been yesterday; in fact I wish I could go back in time and experience it for the _first_ time again, only cherishing each moment twice as much. Somehow I have the nagging feeling I missed every second moment because I was being so emotional the whole time and could have soaked in so much more. Oh, well, that's why they call these ONCE-in-a-lifetime experiences, I guess. *sigh* P.S.: ...and the amazing, intimate, detailed, rich, noise-free, and warm acoustics of this live performa
    1 point
  22. bollemanneke

    RISE OF SKYWALKER

    Why did you create a thread for this?
    1 point
  23. Catch Me If You Can A very fun movie, yet with a lot of depth. Spielberg directs with a sure touch, keeping a delicate balance between the sheer entertainment of Frank's exploits and their darker origins and consequences. DiCaprio does a remarkable job of making him really come across as just a kid. And the script ties all themes together very well, and subtly, like having Frank "deliver the mail" in prison, referencing his dad's last job. It just works. Kaminski's cinematography gets a little too Kaminski sometimes, however. 4/4
    1 point
  24. Superman by John Rosewood by Towner Cello Concerto by Williams
    1 point
  25. A shame DIsney didn't bother uploading a better quality version, to present the score in its best light. It's like they're barely even trying to help JW win. What's more likely to resonate with Academy voters? A weblink in some random email that could easily get filtered into their spam folder, or a physical CD mailed to their home address? Such a no-brainer.
    1 point
  26. That's James Norton, you ejit
    1 point
  27. I am not a fan of James Horner at all, so I don't have to grapple with his cheesy music or gooey songs or constant plagiarism. I wished Williams or Goldsmith had written the score to Titanic, because it would have been much better in every regard (but it's also hard to do much worse than Horner).
    1 point
  28. There's nothing wrong with Horner's tunes. I just feel that through his melodic gift he expresses his ideas well enough already. And when he adds lyrics on top of it telling you what the music is saying explicitly on its own then he ends up ruining a perfectly good theme. It's just unbelievably cheesy and redundant. @publicist that's true -- these are slightly less horrible. I actually don't hate the Avatar song. Not sure why. I suppose the poppy feel of the score just works well with it. Karol
    1 point
  29. It's a fine list. I had expected more Morricone, given his previous comments about his music. I've actually witnessed Zimmer's enthusiasm for composers like Goldenthal and Moroder "live", during the back stage intermission of his Ghent apparances. The Moroder one was especially fun, as Zimmer bowed reverently for Moroder while greeting him for the first time.
    1 point
  30. Earthquake is not complete, as it does not include several source music cues composed by John Williams, approximately eight minutes of which are audible in the theatrical version of the film. As far as dramatic underscore goes, I think everything is included on the new CD but I would have to watch the film again to be sure (I have not watched it since I received the wonderful new CD set). My uncertainty stems from the fact that there are a few scenes scored with music tracked from elsewhere in the film - the scene early in the film when Dr. Adams is buried alive is tracked mostly
    1 point
  31. For a man who writes film music for a living, it's not enough.
    1 point
  32. Sorry mate, no idea. Just found it on YouTube searching for Williams videos.
    1 point
  33. Imagine this - Star Trek which came out in 1979 used an Overture! It had the magisterial Ilia's Theme - one of Goldsmith's very best themes - unfurling in all its glory before the main title. There is more than enough material for JW to work with to provide Overtures. But then again the opening chord is so iconic, I think part of the effect of the music is that it is the very thing you hear everytime - honestly what can compare? I agree with above that in this case the main title itself functions as the overture as it is not an actual title - there are no credits on scr
    1 point
  34. The music for the opening crawl of the original Star Wars is a sort-of overture, but because that simply got replicated for future episodes, they don't each have a distinct overture. Star Wars wasn't really a throwback to the kinds of films that had overtures, though. It owes much more to campy serials than it does to big-screen epics. Musically, Williams arranged the album of The Phantom Menace to have the concert arrangements at the top of the presentation, after the manner of an overture. Its a smart way to acknowledge it as the "first" score in the cycle, I thought.
    1 point
  35. Yeah, I can relate to that. Unfortunately, the score didn't impress me much on the first listen (haven't seen the film). However, the penultimate track, which isn't much more than sustained, pianissimo strings tremoli, was very moving. A prime example of Shore's "one-note" sombreness that I like a lot.
    1 point
  36. The symbol that can be seen inside the lens could be Harry Potter's scar.
    1 point
  37. Here are extracts from Scott Bettencourt's six-part article called "TIMELINES: JOHN WILLIAMS" which was published on FSM website in 2007: 1974: Williams was originally announced to score Robert Altman's gambling drama, CALIFORNIA SPLIT, which featured his actress wife Barbara Ruick in a supporting role. Ruick died unexpectedly of a cerebral hemorrhage during the filming and Williams left the project, though despite his personal tragedy (which inspired his violin concerto), he kept working. 1976: Around the same time, Williams was announced to score Michael Winner's Sat
    1 point
  38. Elba is simply a bit too old now. 10 years ago, sure.
    1 point
  39. I found out that Tibor Kovac, the VPO principal 2nd violin, who seemed to be in an especially jolly and enthusiastic mood during the concerts, is no stranger to performing JW music. He even arranged Hedwig‘s Theme himself for his chamber ensemble (Philharmonic Five, featuring other VPO members) and recorded it for Sony. Here‘s a live performance:
    1 point
  40. Thankfully this new edition of Inferno has six additional pieces of source music included. The FSM release only had the song and the Morning After instrumental.
    1 point
  41. More importantly, its sequel and prequel that are in tremendous need of an expansion!
    1 point
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