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Showing content with the highest reputation on 08/06/20 in all areas

  1. https://www.facebook.com/varesesarabanderecords/photos/a.207302096128750/1417357701789844/
    8 points
  2. Yeah, this whole thread is wrong.
    4 points
  3. Because his body blew up with the Death Star. There shouldn't be any coming back from that. I don't like that Darth Maul lived after being cut in half and falling down a huge shaft either. If they both survived then it's dumb that Qui Gon died. Oh, yeah, Dark side blah blah blah. Dumb. Secondly, the story doesn't need Palpatine. Ren and Hux should have been the main villains of Episode 9. Palpatine coming back and Hux becoming a spy were both dumb. YES. I very much wanted her to be a nobody. There was no reason to make her a Palpatine. The movie doesn't explain that she's a daughter of a Palpatine clone. That may have helped make it less dumb than thinking Palpatine had a family we had no idea existed, which is the impression everyone had until the novel came out. Trevorrow or Rian Johnson should have done Episode 9. Abrams fucked up.
    4 points
  4. The proof is the giant dump Abrams took on Rian Johnson's film.
    3 points
  5. Does "a CD Club drop" mean 1 title, or any number of titles? 🤔 Here's hoping for Horner's BRAINSTORM in either case
    3 points
  6. There is more evidence that there was no plan than there is evidence of there being a plan. Your conspiracy theories sound pathetic.
    3 points
  7. They're both utter masterpieces, but I have to go with Potter. That score really moves me emotionally -- albeit perhaps in large part because the film is near and dear to my heart. Just such wonderful marriage of music and picture (at least to those who like the movie):
    3 points
  8. I doubt it. Abrams only came up with this after TLJ. If it had been intended from the beginning it would have been in Trevorrow's script. Don't tell me that Trevorrow's script was a hoax. Way too much time was spent on it just to distract the fans. Didn't most of it leak after TROS came out? What would be the point? I don't know about you but I can agree to disagree because you're nuts.
    3 points
  9. The Godfathers Part 1 and 2 and The Lord of the Rings Parts 1, 2, and 3 are great and deserve their reputations. And I say this without their ranking among my subjective favorites. Let's separate the films themselves from the folks who think jumping on a convenient and obvious bandwagon is a sign of good taste and being edgy, shall we?.
    2 points
  10. Length is usually irrelevant to me, it's all about the sequencing and general representation of the score. That being said, I can't really think of any OSTs that were too long at 40 minutes, even those that are mono-thematic and/or relatively static. Well, scores I dislike to begin with are too long at even 1 minute (Giacchino stuff, for example), but that's a different discussion.
    2 points
  11. There is *finally* a commercial recording of one of my favorite orchestral pieces of the last 20-or-so years, Lowell Liebermann's fantastic Trumpet Concerto written in 1999. This is really the only trumpet concerto that's truly in competition with John Williams' for me (although I haven't heard Goldenthal's yet!). I think Liebermann's music is perfect for fans of the classic Hollywood romantic film score style. It's tracks 2 - 4 on this album: https://open.spotify.com/album/4K4LWwNxFDemgu61oZ18XV?si=drr9u1E5T7CqgPLLYSBhyg Or here's a playlist
    2 points
  12. I don't know where you get your delusions.
    2 points
  13. Might as well complete the triptych and break down Born On The Fourth Of July, too, though it’s by far the most straightforward of the three, with no cue combinations at all. Cue list: 1MX Trumpet Prologue 1M1 Acting Out The Future 1M1 Alt - Kids At Play 1M1A Earliest Memories 1M5 Early Days 2M1 On The Mat 2M2 The Call To Duty 2M3 Recruiting Scene 2M4 After The Soda Shoppe 4M2 The Shooting Of Wilson 5M1 (New Start) Ron Is Hit 5M1 Ron Is Hit 5MA Approaching The Village 7M1 The Homecoming 8M3X Parade Overlay 8M4 Off The Platform 10M1 Campus Rally 11M2 To Mexico 12M5 Shopping For Present 12M7 Montage Of Girls 12M8 Writing The Wilsons 13M1 To Georgia 13M1 Insert 15M1 Convention Disturbance 15M2 The 1972 Convention 15M3 Alternate 15M3 Short Version End Credit Intro End Credits Ron’s Theme OST breakdown: 1–8 Various pop songs 9 Prologue 1:24 1M1 Acting Out The Future 10 The Early Days, Massapequa 5:00 1M5 Early Days 11 The Shooting Of Wilson 5:09 4M2 The Shooting Of Wilson 12 Cua Viet River, Vietnam, 1968 5:20 0:00-0:31 5M1 (New Start) Ron Is Hit 0:31-end 5M1 Ron Is Hit 13 Homecoming 2:39 0:00-0:55 13M1 To Georgia 0:55-end 13M1 Insert 14 Born On The Fourth Of July 5:42 End Credits
    2 points
  14. It's a piece that introduces all the major thematic ideas for the film. It works wonderfully in the trailer, doesn't really have a place in the movie per se. It's a brilliant overture and perfect encapsulation of the score. Being used in the movie or not does not diminish it in any way. It's like saying overtures or main titles are disappointingly only used over text and not dramatic scenes
    2 points
  15. Two of the most beloved scores by JW for fantasy movies, now pitted against each other. What score do you personally consider is the best? The nautical adventures of Hook? Or the magic in Harry Potter and the Philosopher's Stone? Vote now!
    1 point
  16. For nostalgia reasons, I voted for HP. I watched Philosopher's Stone on theaters when I was 8 and then countless other times on DVD, meanwhile I've never seen Hook until this day. Both scores are amazing, but I find HP to be the richer score.
    1 point
  17. Harry Potter. It's actually Tier 1, not Hook.
    1 point
  18. Well I suppose they took it down after posting because Robert Drasnin's name was spelled wrong in the flyer (not but the album cover), so a fixed version will probably be posted when it's ready
    1 point
  19. Chen G.

    Star Wars Disenchantment

    There's nothing in The Force Awakens that intentionally sets-up Palpatine's return.
    1 point
  20. Well, it would have been simplier to take a screenshot, indeed... Thank you!
    1 point
  21. Not even close! Love Field has a central action cue (in the film) and a hell of a lot of other music (not in the film or on the original 28 minute album) still unreleased. I think an expansion of that would likely be a revelation. Speaking of more classic scores, The Other and both Flint scores are *over half unreleased*! Now we do have the Twilight Time isolated score tracks which double the time and give us an idea of all the other wonderful music that hasn't been put out on CD...but all three of these feature film micro-edits and such and even they are not the complete scores. The Mephisto Waltz is missing at least three cues as well as missing overlays and generally having an inaccurate mix on the previous Varese release. This is a masterpiece that needs a definitive edition. Medicine Man and City Hall are only missing 12-15 minutes of music, but I love both scores and want every note. Rudy and The 13th Warrior are generally beloved and even if the ~20 minutes of unreleased music is just more variations on the same material, I think it's still perfectly valid to want them...this is Goldsmith we are talking about, and he almost always did *something* new with each variation. Hollow Man and Along Came a Spider are not favorites of mine at all but they're missing a lot more music and I know many people do want them. And even though there are boots of varying quality, we *obviously* need definitive official editions of both Matinee and Looney Tunes: Back in Action (complete with the John Debney finale cues...so that there IS a finale to the score even if it doesn't quite reach Goldsmith levels). C'mon. Oh yeah...Timeline too! (Even though the boot sounds great...gimme officially licensed, all the way!) Oh yeah and "honorary Dante score" Mom and Dad Save the World has some great unreleased music (and the boot is TERRIBLE sounding). How could I forget? (So many people seem to.) Yavar P.S. you're the only one bringing up Criminal Law, publicist...even though I don't think that score deserves the hatred it gets it's not remotely one of my favorites, and I think the existing album is the complete score or very very close to it.
    1 point
  22. True or false: Saving Private Ryan?
    1 point
  23. Interesting! I'm sure what happened was, then, was that as post-production went on, the 9 reel film shrunk to an 8 reel film, so 8M5 NEW was actually the final slate of the end credits. Neat! Main post updated.
    1 point
  24. So...it's teddy bears vs a lesbian snog, and a "come on". Yer pays yer money, and yer takes yer choice
    1 point
  25. Tough call. But I'd say stronger main theme for Harry Potter gives it a slightly edge in being a more cohesive score. But of course Hook is also an outstanding score and both are great Williams classic masterpieces. Great call here. I think Harry Potter is definitely helped by being mixed so loudly and prominently in a watchable entertaining film. It's been some time since I saw Hook so I don't quite now how it is featured in the film - whether it is butchered or mixed low - I don't remember. But HP1 must pretty much take the cake as probably the best film Williams score to listen to "in movie".
    1 point
  26. In my opinion this film has the greatest directing of any film every made. Not saying it is the best movie ever made but the best directed.
    1 point
  27. And isn't it great that this irks Alexcremers no end Quintus - never saw Godfather Part II
    1 point
  28. 🤷‍♂️
    1 point
  29. And yet each film had a different director and different writers. Even when Abrams was brought back on-board with IX, it was with a different co-writer to The Force Awakens. If you have a robust plan, you might as well make the films back-to-back (it saves a lot of money) or at least entrust it to one filmmaker. That Lucasfilm didn't tells you everything you need to know about any supposed "plan".
    1 point
  30. No. No one is insinuating. People are flat out stating it. And by "people" I don't mean myself or @Demodex, I mean Colin Trevvorow (who said bringing back Palpatine was an idea of Abrams' when he was brought on-board IX) and Chris Terrio, who said they came up with Palpatine's return in story conferences for IX, after Trevvorow was disposed with.
    1 point
  31. He rarely makes political comments, but yes -- obviously. He's composed themes for both Michael Dukakis and Obama.
    1 point
  32. All I'm saying is that GOT has its likeable, righteous characters. Those aren't always the most interesting or colourful ones but they are necessary to bring some moral balance to the world of GOT. And as you'll find out, even the despicable are human. I watched two episodes of the docu series Jeffrey Epstein: Filthy Rich
    1 point
  33. Arpy

    Star Wars Disenchantment

    Coming to this thread everytime it's bumped:
    1 point
  34. 1 point
  35. Not how it started out. For the 1st film, it had a female protagonist and a male antagonist. The 2nd film moved him into anti-hero territory and the 3rd film straight up moved him into the protagonist column. It didn't seem like an organic evolution to me. It brought absolutely nothing to the table. Nothing at all that we didn't see in 1 to 6. It rolled a generic - evil bad guys want to subjugate the universe. Good people will rebel story. This was the story of 4 to 6. To its credit, 1 to 3 actually rolled out quite a different story with a very different emphasis. So it feels necessary and earned. But not 7 to 9. Seems like a pointless rehash of 4 to 6 without adding even a single new element of interest of any kind. I think the intention in 7 was clearly to have Snoke be the big bad. Johnson killed him in the middle of the film. I think the set-up in 7 was for Luke to play a major role going forward. Johnson killed him. The intention for Rey was to advance in her abilities in some way. She just gets to levitate some rocks at the end. I think the intention was for Rey to play a major role in the resistance. She gets caught in a side subplot for the entire film - basically providing character development for Kylo. And lastly Johnson dead-ended 8 with no momentum leading into anything. To hell for all I care. Couldn't give a fuck. I would say, the choice of protagonist is the author's prerogative. But they just told us she is the lead without anything more meaningful. So I might be tempted to say she wasn't but for the marketing and the film-makers telling us so. And because typically the jedi figures are seen as the "leads" in the skywalker saga.
    1 point
  36. Ludwig

    March of the Resistance

    Ok, I get what you mean. The A# sounds like it shouldn't be there. If you're hearing it as out of place, it's likely because you're expecting the melody to sound a plain old A there and stay in the key of E minor, which has been going for the last bar and a half. But Williams also will often write a melody that uses only uses notes from a major or minor scale while the harmony ventures outside it (e.g., Luke's theme, Force theme, Raiders march). So I can understand where you're coming from. For me, I hear that note as derived from the down-up (or what's called a neighbour-note) figure that starts the fourth bar in your example above. And I think what makes that figure really distinctive is that the down-up motion is within a half step, or semitone. Almost every statement of the figure is within a semitone: the very first one, the one in the middle of bar 5, the one starting bar 6, the two in the middle of bar 9, and almost every statement in the B section as well (from bar 11). This use of notes outside a scale to match a semitone interval in a motive is something that is exceedingly common in music from the classical and romantic periods in particular. March of the Resistance has more of a conservative rather than more radical 19th-century feel to it, even if it is molded in Williams' own style (i.e., something more akin to, say, Dvorak than Wagner): both the melody and harmony stay in a single key for its opening 8 bars (unusual for Williams), the theme uses harmonic minor with the raised 7th degree (also unusual for Williams), and the melody is fashioned in a 4+4 structure (so common for Williams!), so it makes sense that it follows 19th-century melodic conventions as well.
    1 point
  37. What primarily made Chernobyl great was the writing of Craig Mazin: all the years of research he did, the structure he came up with, the composite characters, the way he was able to explain the complex situation that happened, the framing device of the suicide, etc. It WAS also directed amazingly by Johan Renck no question about it, but the success of a Last of Us adaptation, or almost any TV project really, is more about having the right writer than the right director IMO. I'm not familiar with Neil Druckmann , but hopefully Mazin knocks it out of the park again (Chernobyl was one of the best things I saw on television in the entirety of the 2010s), and hopefully Renck does too
    1 point
  38. Just the tip of the iceberg, @Alex
    1 point
  39. Nice ! But they should have given the award to a real artist, Hildur Gudnadottir for example, rather than some movie composers...
    1 point
  40. AOTC is better than the Disney movies. It's also the only one where a character wears a henley, and what a beauty it is.
    1 point
  41. Whew. I gotta stop somewhere. The rest is coming tomorrow.
    1 point
  42. I think only people who’ve read the books will get it.
    1 point
  43. 99% of the time these days when I have free time to watch a movie, I'd rather watch one I've never seen before, than one I've already seen. I almost don't even know why I even have a blu ray collection. There's just and endless list of films made I want to see but haven't yet that take precedence...
    1 point
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