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Showing content with the highest reputation on 08/22/20 in all areas

  1. Boy, I can't wait for this film to come out!
    7 points
  2. I finally ripped my copy of JW in Vienna into my library last night. I’ll save my effusive comments about the performances for another thread, but here I wonder, how did you change the artist metadata for that album, if you changed it at all? I had to change it in mine so that it read “John Williams/Wiener Philharmoniker.” It gives me an immense joy to see those two artists’ names side by side, knowing that elsewhere in my library I’ve got plenty of Wiener Philharmoniker next to illustrious names like Kleiber, Abbado, Karajan, Rattle, etc. (And calling it the Vienna Philharmonic Orchestra, as Gracenote does, sounds just wrong, so wrong, to my ears.)
    2 points
  3. When it comes to orchestral classical recordings, the usual way I put things into iTunes is the following: "[Orchestra] & [Conductor]"; if there is a soloist then "[Soloist], [Orchestra] & [Conductor]." I try to use the original language name of the orchestra when possible/readable. So, "Berliner Philharmoniker," "Wiener Philharmoniker," etc. It is easier this way rather than translate everything to English. I used to do that, but then ran into some orchestras whose names are seemingly never anglicized for one reason or another, even when being spoken of in English publications. So it was weird to do it for some but not for others. I always put the soloist in the Artist field at the track level, but only at the Album Artist level if he/she is the main star of the show and features in more than just a couple numbers. Say for instance, a CD featuring one soloist doing a warhorse concerto or something, where that work is the highlight. So even though ASM features on the album, she is only actually on two tracks; therefore my Album Artist for this release is "Wiener Philharmoniker & John Williams." At the track level, the two tracks featuring ASM are entered as "Anne-Sophie Mutter, Wiener Philharmoniker & John Williams."
    2 points
  4. In all honesty I’d really just love to watch him conduct entire films live to projection. It’s a shame that it wasn’t feasible (or in the public interest) back in the 80s/90s, otherwise I imagine he would have done it. On the other hand I have a feeling he’s always enjoyed performing his own music on its own merit, separate from the image or (god forbid) sound effects. So it’s maybe not so surprising.
    2 points
  5. Here are my first impressions from back when: ...and BOY(EGA) HOWDY, that went much better than I had anticipated. Since I'm dead on my feet, just three observations: 1) Good thing I went into this film blind, because surprises are just so much more fun that way. 2) "I just want to see Kylo Ren lose! 3) Saw him. Almost jumped out of my chair! Also, for this one, two friends and I drove half an hour to see the film in English (they are usually dubbed over here). Then, because of fucking course, right during that scene with, uhm, a big stroke of lightning, the entire sound system blew out. It worked great for about 30 seconds, until we noticed that it wasn't supposed to be this way. Finished the film after a short break, now in the dubbed version. Movie theatre bloke told us that in 20 years, nothing like that ever happened to him. Well, there's a first time for everything, I suppose, and it definitely added to the night being a memorable one! So...a greatly entertaining venture. Also a rather wistful one, as there will never be another new John Williams Star Wars score to hear and enjoy. That "first time" feeling is just magical, and I'm glad to have had it again with those friends, 20 years after we began that tradition in the summer of 1999 with The Phantom Menace. Just wanted to share that with you while it's still fresh. More coherent thoughts on film and score after a good night's sleep.
    2 points
  6. I love how you scorned fictional franchise fanatics throw around the word "invest" as if you plonked your life savings into Enron shares.
    2 points
  7. Arpy

    GAME OF THRONES

    It's atrocious writing. It came off like a last-minute scramble to end a story more complex than the writers could think of. Individual components of the finale have potential to work, or even be great, but the way they were handled in the short amount of time they had was where they stumbled. Bran becoming the King, fucking awful. Bron the Master of Coin? What the fuck? The way Dany and Jon's stories are wrapped up. Just poo.
    2 points
  8. I'm not sure why I never participated in this thread in '17, but I'll pop in now to give some love to Home Alone's "Setting the Trap" and the brass variations on the Force theme as the Rebels approach the Death Star in ANH.
    2 points
  9. Quintus

    GAME OF THRONES

    My favourite online movie guy/Youtuber is uncharacteristically longwinded, but he essentially nailed it:
    2 points
  10. Movement I - The Magic Begins Prologue/Privet Drive holds no great surprises beside a couple microedits. Neither does this one. This, on the other hand... My best guess is when JW scored it it was a bigger montage with 4-5 scenes that was cut down to just 3 (Vernon letterproofing the door, the owls on the car and the fireplace) - I fit in cut down version of the deleted scene with the eggs (included after the owls on the car and scored terribly unfittingly with Platform 9 3/4 in the EE, slapped in lazily from the Deleted Scenes section where the tracking was perfectly fine when presented alone) to fill some of the black time. and played a bit with the others to find the best possible spot. The cue title could even be a quote from a deleted segment where Harry shouts at Vernon maybe? The letterbombing scene seems pretty coherent as is, the microedit is kind of puzzling. Hagrid's Entrance is more like baffling, unless JW wrote that last big portion to go over the spoken line and all the way until Hagrid puts the door back into the frame. In other parts he works around dialogue well so I don't think that's very likely, and the line releases the tension it builds up perfectly too. Finally, the first cue which fits perfectly as intended... and the middle half of it was edited out in the film, with the first third getting a tracked ending to smooth it over. And seeing it like this, I can actually totally see why, some of the malicious Dursley stuff doesn't work that well, sometimes it can't quite decide if it wants to score the dialogue or react to things onscreen, resulting in Dudley stuffing his face to Hogwarts Forever etc. Hagrid seems more worked up and threatening without the music to soften it too. Tune in on Sunday for Movement II!
    2 points
  11. 1. Lapti Nek 2. Banning Back Home 3. Yub Nub Encore: All three played at the same time
    2 points
  12. Well, the time has come for this. I see no reason to try and comment on every track when @Incanus's excellent full analysis is done and available, I urge everyone interested to read it. I used the LLL, JW's intentions, no source music, no recreating tracked music or microedits - therefore in many many many places (70% of the tracks in fact if I counted correctly) I had to adjust the footage to fit to the music by either splitting it and inserting black screens in places where there could be missing shots, or surprisingly often (namely in Introduction to Quidditch, Quidditch Match, Invisibility Cloak, The Dark Forest and The Face of Voldemort), I had to remove footage, sometimes intentionally somewhat jarringly to indicate it. I wasn't 100% a slave of following the movie's audio track - my thinking was if they trimmed multiple shots, they'd probably find a place where the music can be edited down to still sound continuous and musical instead of also just trimming everything that went with those trimmed bits and being left with a horrific mess - I used it for guidelines, bigger sync points, start points to preserve the spotting. As double-checking, rendering and uploading will take quite a bit of time and I'm not available tomorrow, I'm just leaving this little teaser for now (half to check if MEGA video sharing works as I'd imagine, would appreciate feedback on it if it doesn't! - if ads play, sorry, it's not me, even in MEGA allowed to either turn them off or make money from them I'm not scummy enough to do it to get some miniscule change from others' work, I'd turn them off), and updates will be added later. EDIT: MEGA Video works fine, however be advised, it's still 7 or so GB and you can only access 4 at a time with a free MEGA account so plan to watch them in 2 sessions. Or 5! Or use a VPN like crumbs suggested. EDIT: I'm keeping just under 4GB on MEGA video because it's much more convenient to use, but uploading the rest on Drive so you guys can view it in one sitting if you want. (yes I know not all of it syncs up greatly but it's a vastly different approach anyway, who knows how the scene was originally, and the end is funny)
    1 point
  13. How is it possible... Holy shit, how do you make Batman like this? If you thought Nolan was too depressing, how about a Bruce Wayne that looks like shit and a deranged meth addict? Pass. Also, barf. Batman isn't supposed to look like Scarecrow.
    1 point
  14. Ideally, I'd put the performers in the "artist" tag and the composer in "composer". But unfortunately, the ID3 system, and even more most software using it, seems to have been created mostly by people unfamiliar with the concept of music being first written by a composer and then performed by different artists, so usually "artist" means composer and writer and performer at the same time. My player software even has a feature where I could define that for certain genres, the albums are filed under the composer instead of the artist for regular sorting, but unfortunately, I've never been very careful with genre tagging, and I'm not going to re-tag 800GBs worth of music. It would probably cause problems with most other software anyway. So I usually put the "musician(s) of primary import" in the artist tag, and sometimes fill in composer and performer tags as well when relevant. For works of which I have (or expect to have) multiple recordings (mainly classical), I often put the important performers (usually conductor or primary soloist) in parantheses in the title; sometimes also the year (especially when I have multiple recordings by the same performer). For soundtrack re-releases and expansions, I also put the label or "complete" or "expanded" in the title, unless it's the only version I have. None of this is relevant for the Williams concert, because Williams as the artist and the correct title ("John Williams in Vienna" and "John Williams Live in Vienna", respectively) is perfectly sufficient. For classical recordings, I used to put the full roster of performres in the "comments" tag, but stopped doing that years ago when (I think) my ripping software started having problems with it. I never resumed doing that, which is unfortunate, because it means I can't search for individual performers in my collection.
    1 point
  15. No, its just a way to try and explain - to myself as much as anyone else - my way of looking at this particular film. I see its merits as a movie. I happen to think its sumptously photographed, for instance, and I don't just mean the stark black-and-white. Its got all the affectations of a faux-documentary, but at the same time its somehow very well composed. Obviously its very well performed, too. I like the way its cut together; and the score... I mean, its a good movie. I even like the infamously-melodramatic climax. But I don't really want to watch it again; and I mean ever. Indeed, most people I know never saw again since high-school when they were made to watch it, and feel no need to change that. When I explain my way of thinking about it, other people in Israel seem to grasp it quite readily. Again, it might be different in other countries. Here its treated more as a testament than as a movie: like visiting a monument or having a memorial ceremony. Its almost thought of as though it really were a documentary rather than a narrative film, and its very, very hard to tear oneself away from that outlook and truly experience it as a film. The same is true of other Holocaust films like the Pianist. No thank you: I don't want to watch a single frame of that film ever again. There's just no point to it. For my money, its not a good movie subject.
    1 point
  16. If you have a music library on your computer, each track (or “song”) has information about the artist, release date, and so on. This “data about the data[the actual music]” is called metadata and it can be edited. That’s all there is to it!
    1 point
  17. Does he do " E.T AND ME" in concert? I agree it's a better choice than ADVENTURE
    1 point
  18. I'm not going to order this untill October, when the Blu-ray is released alongside the CD, but I haven't yet figured out how I'm going to import it to my computer. It doesn't have a CD-ROM drive, so I'm not sure what I'm going to do. But I need to have it in iTunes somehow. It will then be marked as "John Williams" in 'Artist', 'Album artist' and 'Composer', and the album name will be something like "John Williams in Vienna", as it's called. There will be no mention of the Wiener Philharmoniker. It's all apparent in the cover.
    1 point
  19. Ooh, this is interesting. So, obviously, the LSO would play all of it, Dirk Brossé or Keith Lockhart would conduct it and someone would have the common sense to ensure a proper recording was made. Catch Me If You Can: Joy Ride ET: Flying Theme Far and Away: Suite Harry Potter 1: Diagon Alley Harry Potter 2: Fawkes Harry Potter 3: Bridge to the Past Home Alone: Somewhere in my Memory Home Alone 2: Star of Bethlehem Hook: The Banquet Jane Eyre: The Return Jaws: Out to Sea/Shark Cage Fugue Lincoln: The People’s House Midway: Men of the Yorktown March Schindler’s List: Remembrances Star Wars: Duel of the Fates, Across the Stars, Han Solo and the Princess (new), Rey’s Theme, The Rebellion is Reborn, The Rise of Skywalker Superman: Love Theme The Terminal: Viktor’s Tale War Horse: Dartmoor 1912
    1 point
  20. Hey mates, let's watch Night And Fog tonight! Who brings the popcorn?
    1 point
  21. Jumped ship at just the right time for the new hot thing (Denis).
    1 point
  22. Absolutely without question. You can actually listen to the entire Quartet album for free on Spotify before you decide to buy https://open.spotify.com/album/1wBuLruSZJx2Izf2ZnaKmz?si=5kzqY5-yRFCOVgU6jrMVKg And for good measure, the Quartet Basic Instinct is there too: https://open.spotify.com/album/73ftiIj8z1a3ykgtpVhC9c?si=5Qsi43nhQh6eU_zXqbEHxg
    1 point
  23. Poulenc's piano music is perfect weekend morning music. I love the second improvisation here, in A-flat:
    1 point
  24. I can confirm it was never recorded. Yaaaaaaaaaaaaas I hope so! I think so, too. Absolutely. He makes all the decisions about all his albums entirely. Thanks! Yep, I had them in the wrong spot and moved them now I have no idea what level in the game that cue played during, but the file names in the game rip are TD_PANKOTSECRETS_B_QUI & TD_PANKOTSECRETS_A QUI The Map Insert that is used in the film but isn't on the Concord is in MAP_TEMPLEOFDOOM There's some of the 11m3 rope bridge music, including sections not used in the film, in TD_BATTLEONTHEBRIDGE_C_QUI and TD_BATTLEONTHEBRIDGE_D_QUI and TD_BATTLEONTHEBRIDGE_E_QUI Yaaaaaaaaas
    1 point
  25. Quintus

    GAME OF THRONES

    I never had much fun with it personally. That sequence was probably my single biggest disappointment of the climax (the entirety of S8 was intended to be climatic, right?). Coming from the Battle of Helms Deep and the Pelennor, I had been told (by the producers of GoT themselves) to expect a melee spectacle which would outdo even those two benchmark battle scenes. The reality was though that the Long Night wasn't even as good as the Battle of Rorke's Drift. It's a terrible set piece actually, probably Game of Thrones' worst battle sequence.
    1 point
  26. Jóhann Jóhannsson - may he rest in peace - is in another league altogether. I would have loved to see and hear a Nolan/Jóhannsson collaboration.
    1 point
  27. Quintus

    GAME OF THRONES

    Imagine being a blustery big mouth who loves taking the piss out of others but then having unconditional Game of Thrones adulation as an achilles heel 😂
    1 point
  28. So what is counter-culture these days, something like Alex Keaton?
    1 point
  29. Docteur Qui

    A Daria Thread

    Daria was really great. Epitomised the disenfranchised mood of the late 90’s/early 2000’s. The family dynamic was hilarious. Can’t see that kind of dry and sardonic character working as well these days though, today’s kids are much more involved and wise to that kind of writing. Plus the mono-pop culture of the 20th Century no longer exists, making counter-culture characters and observations less effective.
    1 point
  30. Everything about this film would have elevated with the names Spielberg and Williams attached.
    1 point
  31. Ok, here it is: 1. The Lost World theme 2. Stargazers from ET 3. Remembrances from Schindler's List 4. Rey's Theme 5. The Rebellion is Reborn 6. The Rise of Skywalker intermission 7. Here They Come! from Star Wars 8. Princess Leia's theme from Star Wars 9. Galaxy's Edge theme from Disney Parks 10. Becoming a Geisha from Memoirs 11. Confluence from Memoirs 12. Hymn to the Fallen 13. Summon the Heroes encores 14. Hedwig's Theme 15. The Imperial March from ESB
    1 point
  32. I love much of Nolan's work. But unfortunately Interstellar was a bit tedious.
    1 point
  33. 10:06 of 'Indy's Very First Adventure'. Indy's theme plays over the playful young indy motif. The fact that it plays the Indy theme when we see the dog, Indy, is just another level of genius by JW.
    1 point
  34. Great to see some love for the Epilogue from the Fury in this thread! So let's see... Summon the Heroes The Map Room (Raiders of the Lost Ark) Scherzo for Motorcycle and Orchestra (Last Crusade) Avner and Daphna (Munich) Epilogue (The Fury) Dance of the Witches (Witches of Eastwick) The Tale of Viktor Navorski (The Terminal) Star of Bethlehem + Setting the Trap (Home Alone) Exsultate Justi (Empire of the Sun) ---------- Intermission ---------- To Thornfield (Jane Eyre) Seven Years in Tibet Man Against Beast (Jaws) The Big Rescue (Superman) Blood Moon (Images) Becoming a Geisha (Memoirs of a Geisha) Pulling the Cannon (War Horse) Dueling the Basilisk (Harry Potter 2) Farewell Neverland (Hook) So that's already 90 minutes of music. If we add a few encores for the brave: Rey's Theme (Star Wars 7) The Throne Room (hard to beat as a conclusion)
    1 point
  35. 1. Jurassic Park's choral prelude 2. Swim to Otoh Gunga 3. Dracula Theme (End Titles) 4. CE3K (the early, more atonal excerpts) 5. Holy Grail Theme & Henry Jones Sr.'s theme - sewn from Ahh Rats! and The Keeper of the Grail 6. Devil's Dance 7. Star of Betlehem (Home Alone 2 orchestra & choir version) 8. The Lost World selection (Main Theme, Rescuing Sarah, The Trek, Compys, Ripples) 9. Jaws Theme 10. The Clash of Lightsabers (from ESB) 11. Ark Theme (concert arr.) - sewn from The Medallion, Map Room Dawn & The Miracle of the Ark 12. Duel of the Fates 13. Qui-Gon's Funeral (concert arr.) 14. Schindler's List Theme / Remembrances 15. Marion's Theme 16. Emperor's Theme 17. ROTJ Final Duel (concert arr., incl. choir) 18. CE3K (finale) 19. E.T. end credits 20. Encore: March of the Resistance 21. Encore 2: Rise of Skywalker Concert time: 2 hours and ca. 5-10 minutes. Who needs Mahler?
    1 point
  36. The part where they cut back to the kids reading it just played in my head. Beautifully performed.
    1 point
  37. theme for The Lost World Remembrances from Schindler's List The Rise of Skywalker theme Played five times each.
    1 point
  38. I don't have a whole program in mind, but I would definitely open with the theme for The Lost World. Starting with timpani and such a bombastic piece would be so fun and it's so rarely performed. The concert would start with great energy and signal to the audience that this isn't gonna be your typical JW concert. Somewhere in there I would program Remembrances from Schindler's List and The Rise of Skywalker theme.
    1 point
  39. You can watch it as a 'visual album' on Apple Music/iTunes. I would have much preferred them to release it as a straightforward release in the movies section as other concerts have been though.
    1 point
  40. The concert would be at The Royal Albert Hall in London and played by the London Symphony Orchestra. BBC Concert Orchestra if the LSO were not available. 1. Olympic Fanfare. 2. Heidi - Main title. 3. Sabrina. 4. Superman - March 5. The Cowboys Overture. 6. Space Camp - End titles. 7. The Olympic Spirit. 8. Dracula 9. E.T - Adventures On Earth (Full soundtrack version). Intermission. 1. Liberty Fanfare 2. The Towering Inferno - Main title. 3. Lost In Space - COP arrangement of both themes. 4. Jane Eyre Suite - 3 : The Return 5. Hook - The Flight To Neverland. 6. Harry Potter - Hedwig’s Theme 7. Schindler’s List - Main Theme 8. Jaws - Concert arrangement. 9. Jurassic Park - Concert suite. 10. Star Wars - End titles. Encores: 1. Raiders Of The Lost Ark - March 2. The Empire Strikes Back - The Imperial March It might be quite a long evening.
    1 point
  41. My ideal Williams programme would not necessarily be a symphonic concert, but a smaller jazz & chamber ensemble highlighting these, in particular: 1. Selections from early film scores DADDY-O - "Main Title" THE SECRET WAYS - "Main Title" NONE BUT THE BRAVE - "Main Title/Kuroki's Introduction" HOW TO STEAL A MILLION - "Two Lovers" (with choir) NOT WITH MY WIFE YOU DON'T - "Hungarian Jungle Music" Song medley from NOT WITH MY WIFE YOU DON'T, PENELOPE and GUIDE FOR THE MARRIED MAN 2. TV music M SQUAD - "The End" WAGON TRAIN - "Golden West" ALCOA PREMIERE THEATRE - "Theme" and suites from "Jeeney Ray" and "A Moment of Decision" KRAFT SUSPENSE THEATRE - "Theme" and suite from "The Hunt" BOB HOPE PRESENTS CHRYSLER THEATRE - "Theme" and suite from "One Day in the Life of Ivan Denisovitch" Theme medley from TAMMY GRIMES SHOW, AND BABY MAKES THREE, WHO GOES THERE, CHECKMATE, BACHELOR FATHER and LOST IN SPACE 3. Less-played films JANE EYRE - "Restoration" OR "Theme" STORY OF A WOMAN - "The Cortina Sequence" THE REIVERS - "The Road to Memphis" IMAGES - "In Search of Unicorns" CINDERELLA LIBERTY - "New Shooter" OR "Neptune's Bar" THE EIGER SANCTION - "Main Title" STANLEY & IRIS - "End Credits" ROSEWOOD - "Look Down Lord" (with choir) ANGELA'S ASHES - "Angela's Prayer" 4. Encore THE LONG GOODBYE - "Theme song" (male vocal version)
    1 point
  42. I have no problem with the program he chose for Vienna, but perhaps he could have squeezed in his symphony.
    1 point
  43. I come up with these lists in my head every few years and it keeps changing. The definite items would be: Hedwig's Theme from Philosopher's Stone Bridge/Window to the Past from Prisoner of Azkaban Epilogue from The Fury Duel of the Fates from The Phantom Menace Welcome to Jurassic Park (as heard on the OST) End Title from Jaws 2 End Credits from Temple of Doom Devil's Dance from The Witches of Eastwick Finale from The Empire Strikes Back
    1 point
  44. From reading the reviews around here, apparently the performances were so awful that nobody applauded, they just sat in stunned silence, absolutely horrified at the tempos.
    1 point
  45. 1 point
  46. my favourite ones, not so much as 2 themes sounding simultaneously, but as general counterpoint writing are: 1) the Stored Memories choral piece (A.I.) 2) Arlington (JFK) from 2.55'' and on 3) Epilogue (The Fury) from 1.10'' and on
    1 point
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