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Showing content with the highest reputation on 02/22/20 in all areas

  1. please god stop with the williams/daisy jokes im sorry i literally cant take it anymore
    12 points
  2. Well, in this case the audio description was really good. A good narrator can be really important, but here it was obviously critical. Case in point: I was unable to enjoy/understand Minority Report because the descriptions were terrible. What I found really interesting is that even though I have absolutely no idea of what light and dark is, the entire Jupiter sequence was still spellbinding because the way he described it made it... I don't know, comprehensible? I think I found is as odd, weird and captivating as normal people.
    3 points
  3. Agreed! It's not even that it's just annoying like those "Could have done more" jokes anymore. It's actually disturbing and wrong. Thanks for speaking up!
    3 points
  4. Chen, I don't recall any topics made by you before. Clearly, the universe wanted to bequeathe this opportunity upon you.
    3 points
  5. I think this is one of those scores that single-handedly saves the film and the Prequel trilogy. The execution of all the dramatic sequences in ROTS danced on a very thin-line between actual emotionally charged scenes and typical melodrama . It was heavy material, something that Lucas was never good at portraying, maybe only matched by the death of Uncle Owen and Aunt Beru in ANH (although could've just been lightning in a bottle). The score carries the back half of that film like I've never seen a score carry a film before. That score saved the Prequel Trilogy and people left t
    3 points
  6. (UPDATED February 4, 2020) PITTSBURGH‘An Evening with Honeck & Mutter & Williams’June 9, 2020The Pittsburgh Symphony Orchestra conducted by JOHN WILLIAMS and Mandred Honeck. Anne-Sophie Mutter, violinPerformance details – Discussion thread
    2 points
  7. Everything in it, the new themes are gorgeous, little bit softer style than in(brilliant) TLJ, wonderful orchestrations and performance by the orchestra. Great closing for a great decade!! Love this man.
    2 points
  8. Especially when you don't know how to do it.
    2 points
  9. Why in the HELL do you need 3 composers to do one cue? Is this some sort of light bulb joke? How many RC composers does it take to exchange a light bulb? It doesn't matter because they're all using broken light bulbs from 1999.
    2 points
  10. Perhaps that was also achieved through Williams (and everyone) believing it would be the conclusion to the saga. There's a forcefulness and inevitability to some of the finale that makes think that this was Williams pouring his heart out and saying 'This is it, this is how it all ends'.
    2 points
  11. Full credit! Source: http://hans-zimmer.com/index.php?rub=disco&id=1808 Wake The Girls (2:37) John Powell Train North (4:02) John Powell Skagway, Alaska (2:31) John Powell Snowy Climb (1:25) John Powell, Paul Mounsey First Sledding Attempt (2:27) John Powell The Ghost Wolf Of Dreams (1:06) John Powell Joining The Team (2:59) John Powell, Batu Sener Ice Rescue (2:26) John Powell, Batu Sener Sometimes Nature's Cruel And Gods Fight (4:57) John Powell Buck Takes The Lead (4:54) John
    2 points
  12. I’m genuinely curious bolle, how 2001 functions without a visual medium. And that it moved you regardless, goes to show the power of the work.
    2 points
  13. 2001. Wow. I just don’t know what to say. Two years ago, people on this forum were astonished that Close Encounters didn’t make me wonder and feel curious. Well, now I finally wonder. What an experience. The only thing I still want to know is what Hal was going to do if Dave hadn’t stopped him. Incidentally, Hal was my very first screen reader and it was not intelligent at all, couldn’t locate the braille display connected to the PC it was running on and basically had trouble with everything else. The use of music is fantastic as well. Not sure how I feel about the re-use of c
    2 points
  14. I'm 2/3 through the album and it's a fun score; albeit not quite on the level of HTTYD. The main theme is rather nice, and it's stuck in my head by this point. Not the most original thing Powell's ever come up with, but I think it does the job. I think there's more than one motif going on, particularly in the first track - either that or the theme is longer form than first meets the ear. Woah, Buck Takes The Lead is awesome
    2 points
  15. Greetings, all of you! I wanted to share with you my first major feature score, written for André Øvredal's MORTAL. The film will be out in theaters worldwide this year, and the soundtrack is already up on Spotify (and elsewhere eventually; CD will be available as of next week). It's been a great privilege working on this, as André Øvredal is such an incredibly gifted director (Scary Stories to Tell in the Dark, Troll Hunter, The Autopsy of Jane Doe), and also deeply passionate about film music. The score is performed by the Stavanger Symphony Or
    1 point
  16. I tend to tune out every time I listen to a Desplat score. He tends to meander.
    1 point
  17. Another few items:
    1 point
  18. I wish I could find that really funny without realising it might well be the truth.
    1 point
  19. No more Daisy/JW jokes? Fuck! *Deletes camera roll full of photoshopped images*
    1 point
  20. I don’t think they’re saying it’s a prequel to Episode IX. The “underworld of Exegol” comment seems like just a clever way to say it’s being kept secret and nobody knows.
    1 point
  21. "Hans will do the work when it's a personal project for him" is just an apologetic translation for "he'll do the work on projects with the most marquee value".
    1 point
  22. 1 point
  23. Whatever way you slice it, GONE WITH THE WIND is among the greatest films ever made. Sure, it's a product of its time, as all films are, but it needs to be viewed in context. What's next? Will THE GODFATHER be banned, because it stigmatises Italian-Americans? Will OLIVER! be banned, because one character is offensive to Jews? Fuck's sake.
    1 point
  24. John Williams upon gazing upon Daisy ridlely, "i could have done more!!!"
    1 point
  25. Agreed, give it a rest. If nothing else, the "joke" is old at this point.
    1 point
  26. Seems it's also up on YouTube. Here's a little teaser of sorts:
    1 point
  27. The Tree of Life, especially after seeing the extended cut
    1 point
  28. What do you mean? It's still Powell! How do we know the cue wasn't 95% Powell and 5% Sener? I've always seen this as the lead composer writing most of it, with his collaborators helping out and getting credit.
    1 point
  29. JWFAN. Here to ensure every composer is dutifully credited.
    1 point
  30. HanZ, of all people, has the power to influence this shitty practice, which suspiciously enough has become worse under him.
    1 point
  31. This is one of my main problems with HanZ: taking full credit when others have done quite significant contributions to the composing of the score. That, and his tendency of extreme self-plagiarism.
    1 point
  32. Yeah... The Sherlock scores were solely credited to him, despite Balfe helping - and that probably costed Lorne an Oscar nomination (he'd be the first RC alumn to do it if he got credited as co composer for Sherlock, doing so one year before John Powell). Pirates 4, Lone Ranger, Rango, all of them are mostly Zanelli, I think. On the other hand, BvS is credited to him and Junkie, but apparently he worked way more on that score than Holkenborg, which was busy with Deadpool. Conclusion: being credited on something usually means next to nothing when it comes to these RC peo
    1 point
  33. Wow. It has been some time since JWFan got to witness such unbridled optimism from TheGreatEye himself!
    1 point
  34. I like his Ice Age scores as well, and I love Ellie's theme from the second one. Pure Powell fun! Rio's main theme is pretty great as well:
    1 point
  35. No, it's not a temp thing. Powell just doesn't really tread new harmonic or melodic territory, so a lot of his stuff naturally bleeds into each other. But because its done so damn well, and he's one of the few composers still actively exercising the full colours and range of the orchestral ensemble, you could forgive him. I'm looking forward to checking this out. You can always count on Powell for a good ride!
    1 point
  36. Every cue of The Rise of Skywalker is better than Portals.
    1 point
  37. The crucifixion as a horror score, complete with jump scares: Also, Duel of the Fates at 1:09.
    1 point
  38. Well we've already got an optimist for the thread! Let me play the cynic! With that said, let me brighten up the thread with some Faure:
    1 point
  39. Its a 5 star score. One of the 21st centuries best.
    1 point
  40. Probably between The Ghost Writer and The Painted Veil. Two great, consistent albums. Desplat's OSTs are generally just too long. Too often it's a great opening cue, followed by an hour of filler material that drowns out the good stuff. The man needs to curate/trim his presentations.
    1 point
  41. Black Panther by Ludwig Goransson. I bloody love this score, definitely one of the more fun, colourful, imaginative and just plain fun blockbuster scores in the past decade. It fulfils all the modern fad requirements of big studio film music and at the same time is cleverly written and carefully crafted. There are ideas and textures in it that vividly describe the world portrayed on screen and these ideas evolve and develop. Bit like Avatar but better. It's just a joy to listen to. Karol
    1 point
  42. The irony of that being a digital exclusive for the film score fan base that still purchases and relies on physical cds. Ughh.
    1 point
  43. I made some minor tweaks to my OT revisionist cover set.
    1 point
  44. I'll watch another Bond movie when it has a title song like this again. The franchise has become such a joke, why not go back full throttle (raiding Barrys old sketches).
    1 point
  45. Weird? I have no idea what you're talking about... Karol
    1 point
  46. Quintus

    Blu-ray News and Deals

    https://youtu.be/ydgnM2fYAkA Doc looks amazing.
    1 point
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