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Showing content with the highest reputation on 31/03/20 in all areas

  1. No it wasn't that bit. It was 3:18 here
    3 points
  2. Funny enough film composers generally isn’t a topic at parties. That’s why I come here to talk about it instead.
    3 points
  3. Just cancel the movie for maximum safety.
    3 points
  4. That's right. Twice is enough, once is not enough (that sounds like a Bond title, btw). Note that theme and leitmotif can be two different things. A theme can appear once in a film and still be a theme. A leitmotif is also a theme, but must appear at least twice to qualify as a leitmotif. It's the 'leit' part that is important, meaning 'lead'. A theme of this kind is ascribed to a person, object, place or concept and "leads" you through the story. It can be confusing, though. Wagner himself used the word 'Grundthemen' initially, untill the music critic Hans von Wollzogen coined the phrase 'leitmotif' when talking about the composer's work.
    3 points
  5. The Double Life of Veronique It's easy to dismiss this kind of thing. Barebones "plot", meandering characters and subplots and vague flirtations with the "esoteric". And yet, when you arrive at the end, it all works. It might not have the staggering confidence of Tarkovsky in how it handles sensation, but there is a great deal of feeling nonetheless. Largely in part to Kieslowski's excellent subject, the gorgeous Irene Jacob and the beautifully evocative colours that are captured on lens. Everything feels so utterly delicate and otherworldly. As an Americanized audience, one might be scratching one's head at a narrative through-line, or poke "holes" in its plot, but even then, you can't deny the film's images work over you as you follow Jacobs' antics. I would still argue that other filmmakers have fared better in tackling this kind of idea of "spiritual" interconnectedness, but I'll take this over another Cloud Atlas. Preisner's score, in typical Polish operatic-galore, is another great asset to the film.
    3 points
  6. I disagree, and I also don't know why Balfe used it for a bad guy, when it was always used for the good guys before Overall I think it's funny that the one thing you found to praise about Balfe's effort was actually written by somebody else
    2 points
  7. Christ, what is with producers' obsession with Balfe? So pissed he's doing this. Desplat would've been so much better.
    2 points
  8. Here's Schifrin's original from the 60s Here's Elfman playing with it in the opening of MI1 (0:45) Here's Giacchino using it in the opening of MI3 (0:07 and 1:39) And in MI4 (1:14): MI4 again (0:00) Here's Kraemer working it into the opening of MI5 (1:43 and 2:15) And Kraemer giving it a sinister sounding variation (3:03) and a fun one (4:38) And Kraemer giving it a martial variation (0:29) and a nice determined variation with a fun twist (1:12) and an even more determined variation (2:36) And Kraemer giving it an elongated breakdown with an awesome Middle-Eastern flair (2:20)
    2 points
  9. @Mattris I will not quote whatever essay you tried to write there ("An Essay about Delusions in Contemporary Film History" probably). Your personal predictions mean fuck all for an objective necessity to do an additional trilogy. There is none. They are self contained movies with self contained stories, not based on any source material, therefore, the fact that there are some cash grabbing irrelevant comic and novel spinoffs means squat. Maybe you aren't familiar with the box office numbers, interest in these plastic, artificially bred Star Wars bastardizations is going under like a bag of shite. You still pretending they set out to achieve any big picture things in this trilogy, instead of it being a clusterfuck of scattered ideas, and falling for the Disney propaganda hook line and sinker, is high comedy. The only thing it halfway wanted to achieve, is close the original trilogy, which didn't need closing in the first place.
    2 points
  10. This brilliant track, contrary to popular belief, is not by either Powell or Zimmer, but by Balfe I'd give the guy a chance but it's not like the Black Widow movie is gonna give him much room to stretch his legs....
    2 points
  11. Film scoring, social isolation style.
    2 points
  12. I saw Schwabenkinder on TV at some point in the early 2000s. I liked the score then and put it on my Amazon wish list - it's been one of my earliest items on the list since then. I didn't remember much except that it featured a choir, but it had a series of price drops recently, so I picked it up. It's got some lovely melodies, rather Morricone style (think Legend of 1900), but it's all rather simple. Mostly melodies and string chords, with some sound effects in some tracks. For something that takes its choir hints and lyrics from liturgy (it has Benedictus, Agnus Dei, Sanctus, and Kyrie - in that order, curiously), the vocal writing is surprisingly homophonic (again, melodies with chords), and the notable vibrato of the choir and soloists is somewhat at odds with the etheral atmosphere the score generally goes for. And as a choir singer, I'm seriously annoyed by how Schneider changes the rhythm of the Latin word "pecata" to make it fit his melody. In his liner notes Schneider mentions that the film was temp tracked with Angela's Ashes plus Albinoni and Gounoud, and that they made a conscious decision to go for a distinct Morricone sound. He mentions being influenced by Bach, which seems at odds with the homophonic character, but he then adds that they subsequently reduced and simplified the music, and that the simple themes were deliberate. Still, while I suppose the whole things sounds nice enough, it doesn't really seem to hold much interested when divorced from the film.
    2 points
  13. But these are different times. No one in their right mind would release these movies direct to ttreaming in normal times.
    2 points
  14. 2 points
  15. Still better than Giacchino's kindergarten JW impersonations.
    2 points
  16. Yes, I went through a period of ultra-fandom (as opposed to a 'huge' fan now) a few years ago when I listened to her more than scores.
    1 point
  17. More of Dildo's anti-Marvel drivel.
    1 point
  18. There's no knowing - viruses morph and change in ways that could make them less contagious, vaccines can be found, etc. This is such a new thing that nobody really knows. No studies have been done. I didn't mean to swing this conversation to the doom and gloom thread I've been avoiding, so sorry everyone!
    1 point
  19. god damnit. Don't mind balfe, but was looking forward to Desplat.
    1 point
  20. A Disney property.
    1 point
  21. 1 point
  22. That's why I have been hoarding those, by picking up cheap used CDs that are 3 or 4 (or even 6) disc sets... Fortunately these are all the stronger variants that don't buckle and snap as easily as the ones LLL uses.
    1 point
  23. Yeah, me too. I have the Criterion bluray. I prefer it over The Three Colors trilogy. * * * Fail-Safe (1964) "American planes are sent to deliver a nuclear attack on Moscow, but it's a mistake due to an electrical malfunction. Can all-out war be averted?" In the beginning I was bored a bit but thought to give it a chance till the end since it's so highly regarded. The second hour was quite suspenseful with the action taking place in only 2-3 rooms. Highly recommended! Wow!!!! I honestly have it in line to watch it tonight! Talk about coincidence!
    1 point
  24. I tried reading Heir to the Empire, but it was such a dry prose style, I gave up.
    1 point
  25. mstrox

    Star Wars Disenchantment

    The Zahn books aren’t as bad as the KJA books of the same era, but man did I not care for them. For me, I think the only really good books of the pre-prequels era were a few of the Rogue Squadron books. And the kids’ books about Palpatine’s three-eyed sons Trioculus and Triclops, of course
    1 point
  26. Maybe they can play the ghosts instead.
    1 point
  27. Just type "Rebel Force Radio" into your podcast app of choice, all the Oxygen episodes are right there Or check out his newer podcast instead https://www.jwfan.com/forums/index.php?/topic/28302-new-score-podcast-david-w-collins-is-back/
    1 point
  28. If John Williams were ever to write a "Star Wars opera", then this short track would make a great opening to the 2nd or 3rd act: You can almost hear the tenor coming in at the end: "Yooooodaaaaa haaaas faaaaaaaaaaaallen!!!"
    1 point
  29. 1 point
  30. But what you'll get is the definitive Stepmom. Welcome to the depressing 20s.
    1 point
  31. This is a disturbingly prescient post for many reasons that have nothing to do with soundtracks.
    1 point
  32. From JGouse0498 at the FSM Custom Cover Art thread: So much better. https://www.filmscoremonthly.com/board/posts.cfm?threadID=138846&forumID=1&archive=0&pageID=6&r=693#bottom Probably cost-cutting measures. One of the labels should hold a "create your own cover" competition for a forthcoming release. The winner gets their art used on the release and a free copy of the CD.
    1 point
  33. That leap of logic about Hammond is absolutely genius. To celebrate it, I created something special: For those who are not real JWFans: 1. Krzysztof Penderecki, a classical composer born in 1933, also a friend of ASM 2. Dumbledore takes memories out of his head and puts them into the pensieve so that he does not have to remember 3. Did you know that John Williams stole from Holst? 4. Sony Classical put the photo of Guitar Williams in their Twitter post celebrating JW's 88th birthsday 5. Don Williams said that John has always been interested only in girls and music 6. Telling stories at Tanglewood! Edit: I noticed that some of my explanations already require a measure of fan knowledge. So advanced is this meme!
    1 point
  34. It was actually @Borodin who edited the image. I remembered posting this and began an exhaustive Google image search of my username which turned up many photos of myself with longer hair, the E.T. ride and sexy celebrities. I was clued off by one result I somehow happened upon, a wonderful skillfully edited image of JW as John Hammond, done by Borodin. That's when I started to suspect he may have been the one who did the Colonel Sanders photo. I continued my search with Borodin's username and that's when I eventually saw the image of Williams in the Colonel Sanders suit with his arms perfectly posed to hold a bucket of fried chicken that would make the Man and Arms and Gwildor cream in their pants. Anyway, we delivered the bomb.
    1 point
  35. 'tis the season to stay home alone though.
    1 point
  36. Give a source. They better not. Desplat is 10x the composer Giacchino is. I'm still salty about ROGUE ONE.
    1 point
  37. He works with two different sets of orchestrators, depending on the project of origin. For his European films, he tends to work with Nicholas Charron, Jean-Pascal Beintus, and Sylvain Morizet. For American films, he tends to work with Conrad Pope, Nan Schwartz, Bill Newlin, and Clifford J. Tassner. Even with two sets of orchestrators, Desplat will co-orchestrate when he can. Every note is his, even if the orchestration isn't.
    1 point
  38. https://ew.com/article/2015/02/05/alexandre-desplat-talks-oscar-nominated-scores-grand-budapest-and-imitation-game/ (obviously he has a team of people that assist him in some way, I just remembered this interview when I read your comment)
    1 point
  39. Given how it seems to piss everyone off these days? Probably a wise person. Karol
    1 point
  40. Obviously also regardless of any musical quality.
    1 point
  41. As a relative outsider (and less frequent poster) looking in, there is something very interesting going in this thread. Koray really seems to be personally, emotionally involved in what people say, and how people feel, about the director McQuarrie and composer Balfe, as much, or even more than, the movie itself. It seems like anyone who makes a negative comment about the film or its score gets treated as if they've personally insulted not only the director and composer, but also Koray himself, to a degree. I honestly, and with the utmost respect, wonder why that is.... I think it's funny that Dan Goldwasser (Scoringsessions.com) got all annoyed when Drew asked about the "Pirates" score on Twitter, too. A funny commonality between the two (as many here may know) is that Koray's brother runs FILM.MUSIC.MEDIA and Dan runs SCORING SESSIONS. Both of these websites rely on positive personal relationships with composers, in the latter case, to get permission to come photograph recording sessions, and in the prior case, to get inside access to composers for their in-depth video interviews. Not that anyone asked, but personally, I think the current trend in film music tends to favor scores that sound more like recordings/sound design and less like live orchestral performances. I liken it to the trend in the 90's when MTV-style quick-cutting was all the rage in filmmaking, or when digital color-grading came in and made everything look super saturated (like Oh Brother Where Art Though or Ultraviolet) or when Bullet-time was everywhere. I think Drew asked a relevant question when he asked about samples vs. live. Does anyone here really think that RCP scores sound the same as JW scores? Honestly, I think we all agree RCP has a sound that is not really anything like JW's. There are people on this board who dismiss the current sound (myself included, if I'm honest), and there are people who like it. The people who seem to like it, such as Mr. Who, seem to take any criticism of it as a pointless exercise in "bashing" music they like. Some even seem to feel like certain people here take JW too seriously, which strikes me as funny considering this IS a John Williams fan site. One thing that has emerged seems to be that the community here could be sorted into two very general camps - 1 camp likes to listen to film music primarily for it's musical value and the other camp likes to listen to film music primarily because of its association with a film. Camp 1 has been critical of the score to Fallout, while camp 2 has argued that camp 1 is disregarding what it's association to the film adds to it. For what it's worth, I fall into camp 1, again, not that anybody asked. thoughts?
    1 point
  42. Library music is better than this score.
    1 point
  43. Yeah, I wondered about that. I was listening to Black Sunday the other day (a personal favourite) and for the fun of it, decided to pop up a few clips of Rogue One, mute the sound and sync them with cues from BS. With the exception of the groovy Fender bass/hi-hat stuff, it worked perfectly. Now THAT is what Death Troopers should've sounded like. Not Spaceballs 2: Electric Boogalo.
    1 point
  44. He acts borderline egotistical on Twitter. He searches random tweets related to him and his music and will always chip in if someone criticizes him (even without mentioning his account). I think he knows hecking well why that fan is nervous. On a lighter note, this Twitter exchange is pretty hilarious:
    1 point
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