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Showing content with the highest reputation on 22/08/20 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. 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
  6. 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
  7. That's something I've been thinking about these past couple days. I haven't watched the trailer since it debuted, but I remember it being about some evil being unleashed from underground. Knowing Nintendo, they usually don't like to rest on their laurels, so I wonder if this evil is going to transform the landscape in some way. I normally don't like open world games, because even though the world is "open", their designs and interactivity tend to be boring and/or shallow, driven purely by machination of "quests". With Breath of the Wild, though, I went everywhere I did because I genuinely wanted to see what was out there. I remember exploring some grassy land the first time around, and then out of the corner of my eye--holy crap, what is that!? Some kind of dragon!? I immediately dropped everything I was doing to go the mountain where I saw this creature, which had disappeared, and suddenly I found myself in a totally different biome, a humid, tropical area with constant thunderstorms. Absolutely magical. In short, if they did Hyrule as is for the sequel, I'd be disappointed, because I really want to experience that sensation of exploration again. I really hope there's more depth to certain locales and characters...I don't need Dostoevsky, but something akin to say Twilight Princess would be really cool. With the first one, they did such an amazing job creating this new vision of Hyrule that's so eminently explorable, I feel like it was their "trial run"...lots of great little moments and characterizations, but little of actual substance. What they did with Zelda was great: through the memories, you see how plagued she was by self-doubt, and how it colored her journey and interactions with Link, which were initially hostile. More of that, please!
    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. 1. Lapti Nek 2. Banning Back Home 3. Yub Nub Encore: All three played at the same time
    2 points
  11. 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. Trailer #1 - The first thing JW recorded for the score, this one's almost a minute shorter than the cue for it. There's an obvious edit at the end, I split the footage there. 1MA Logo - Syncs up well 1M1 The Prologue - Had to extend a shot of Dumbledore turning around to make the scoring of the lights going out consistent. Also had to loop and slow some shots for Dumbledore placing Harry down. 1M3 The Friendly Reptile - Had to slow two snake shots to cover a gap, but couldn't do anything about the other, the sync points are obvious and we're missing too much, it could be Harry reacting, something else in the zoo, it's not scored lively enough to be more Dudley antics. 1M4 Don't Burn My Letter - The cue is much longer than the film scene, the scoring for all the remaining shots are pretty clear. This leaves a big gap between the opening and the blocking the mail slot, I fit a shortened version of the deleted scene with the eggs here even if I think Petunia's hysterical state would make it fit better later. 1M5 Mail Delivery - This one is again a good 15 seconds shorter than the cue. The one place I could find to split it is when the letters start flooding in - there's a cut where the floor is already filled with them pretty quickly. 2M1 The Beach and The Arrival of Hagrid - Had to slow the establishing shot of the shack, and the ending is a mess. 2M2 You're a Wizard Harry - The film removes the part from opening the letter to the umbrella coming out, playing off the former with some tracking. Had to slow a shot and shorten one at the end to make it fit. 2M3 The Wizard's Pub - Thought it'd be fun to do this too, used the sessions take for the ending without the fade. 2M4 Diagon Alley (+ Reveal Insert) - An attempt to guess how the insert might've been intended to be used - its opening is in the same place as the LLL, but it overlaps the first few phrases of the alley music, ending up synced to picture well enough. The film of course tracks 3M5 Entry into the Great Hall in here. Had to shorten a shot in Gringotts, had to put a gap where Hagrid might be searching his pockets, and one with maybe a longer shot or another shot of the ride to the vaults, also had to slow down the shot of Harry's money to make it all fit. 2M5 Harry Gets His Wand - Simple and fitting. 3M1 Hagrid's Flashback - The movie chops out a good portion of the footage and only uses the cue from the start of the flashback. I tried to fit the dialogue to the mood and found some lines of script that fit in the gap. 3M2 Platform Nine and Three Quarters - There are some strange gaps again between very obvious sync points. 3M3 Escaping Frog - Fits nicely. 3M4 Arrival at Hogwarts - Funnily enough, this is the cue they single out in the documentaries where they wanted to cut down the footage but JW was just too good to cut down. Well I had to extend it and shuffle some shots around to fit well enough. 3M5 Entry into the Great Hall - Fits well. 3M6 House Selection - I had to slow a Hermione and later a Harry shot, and added a script line in one gap. 4M1 The Banquet - There's one gap probably for more eating, one puzzling long one with darkish music that comes in between two well-matched Nick shots, a gap between the reactions to his near-headlessness and him floating on, I had to slow the shot of the kids walking towards the Grand Staircase, and there's also something missing with the Fat Lady. 4M2 Lonely First Night - Completely unused (replaced by 9M2 Leaving Hogwarts) but fits nicely. 4M3 Mail Drop - I disregarded the film sync and except for a missing chunk of mail drops it fits well. Aside from the different sync and the chopped out bit, the film also speeds up the opening. 4M4 Mr. Longbottom Flies - A total mess of missing bits, necessary lengthenings and even shortenings. 4M5 The Moving Stairs - Had to shorten a shot and extend the next one. 4M6R It's Guarding Something - This is the best guess how this unused cue would fit. 4M7 Introduction to Quidditch - Had to remove a shot of Wood struggling and extend Harry's reaction to cover it up. 5M1 Hermione's Feather - Split the LLL track in two. [Tracked] [Halloween] - Since my HP2 iso score recreates the additional tracked cues as well, I thought I'd do it here too, this is a combination of 3M4 Arrival at Hogwarts and 7M4 Running to McGonagall. 5M1X Troll in the Dungeon - Unused but fits. 5M2 Fighting the Troll - Easily the cue I had to spend the most time on. We have 3 minutes of footage for a 4 minute cue. The first break is simple, they probably showed it going through the hallway in full form instead of keeping the reveal for when Hermione sizes it up. Originally the troll was possibly slower, more lumbering, but then it's puzzling how energetically Williams scored it. Anyway, I had to do a ton of chopping, resyncing, looping/reversing and slowing down to get it to some coherent form. 5M3 Nimbus 2000 - Fits great. 5M4p1 Let The Games Begin - Had to remove the part with Harry and the other seeker looking at the Snitch and jumped right to it flying up in the sky. 5M4p2 The Scoring Begins 5M4p3 Slytherin Scores - For long and incredibly VFX-heavy sequences, it's very surprising that these both fit perfectly, it's only at their joining point that the picture starts going slightly out of sync so I shortened the shot of Wood falling. 5M4p4 Harry's Great Victory - Had to slow the shots of Harry standing up and reaching for the Snitch but otherwise this also fits perfectly. 6M1 Hagrid's Christmas Tree - Fits great. 6M1Aalt Cast a Christmas Spell 6M1A Christmas Music Box - Thought I'd recreate the film assembly of these too. 6M2 Christmas Morning - A good chunk of something is missing here between the two cues. 6M2A The Library Scene - I had to remove the part where Harry avoids Filch in the library to make everything fit. The film loops it and also tracks in material from 8M1 The Chess Board to make the Snape/Quirrell/Filch part more dramatic and less understated. I also had to shorten the shots of Harry entering the Mirror room, lengthen the shot of the Mirror's inscription, swap some shots around when Harry touches it, and remove a bit where he tries to wake Ron up. 6M3 Dumbledore's Advice - I grabbed some missing lines from the script to fill a hole even though I'm not sure they fit that part of the cue. 6M4alt Hedwig's Time Transition - Fits. 6M5R Hermione's Reading - Also fits. 6M6 The Norwegian Ridgeback - Simple, fits. 7M1 Filch's Fond Remembrance - Also fits simply but the film dials out the recorded-lead second half. 7M2 The Blue Forest - This was also difficult. Had to extend the first shots of walking in the forest, remove the conversation between Harry and Draco (servants' job, I think you're scared etc) and mock something up to cover it up. A bit is missing where Firenze chases Voldemort away, and also in his conversation with Harry about the Stone. 7M3 Three Note Loop - I still don't think this was composed as a proper film cue but I recreated its film edit anyway. 7M3A Hagrid Plays the Flute - And of course added this one while I'm at it, sessions take for the ending. 7M4 Running to McGonagall - Fits fine [Tracked] [Neville Stiffens] - This was probably originally spotted (only possible cue to fit as 7M5), then not scored anyway, then scored anyway with tracked music, from 2M2 You're a Wizard Harry, 5M1X Troll in the Dungeon and 4M6R It's Guarding Something. 7M6 [Fluffy's Harp Lullaby] - Recreated the fim edit. 7M7 In the Vinesnakes - Fits. 7M8 The Flying Keys - Fits. 8M1 The Chess Board - Had to extend some shots to bring it back to sync. 8M2 The Game Begins - Same here, but a chunk of the battle is still missing. 8M3 Checkmate - Only had to shorten the shot of Harry walking down the stairs. 8M4 The Mirror Scene - I lengthened the silence between the first and second part of the cue. I had to do something around the shot moving around Quirrell's head - if I removed it, I would have been left with only a small gap, but also a cut from Harry to... Harry. So I shortened the shot and both Harry shots around it instead. There are some weird gaps in the dialogue, had to slow down shots to cover them. The fight with Quirrell also has gaps, I also tried to cover them. 8M5 Love, Harry - Fits 9M1 Gryffindor Wins 9M2 Leaving Hogwarts - Thankfully these two both fit perfectly. 9M3 End Credits, Pt. 1 9M4 End Credits, Pt. 2 - Thought I'd add them in their full form instead of recreating the film butchery. Adjusted the credits as usual, of course, to sync the switch between single names and scrolling to a pleasing spot in the music. 1MAalt Logo (+ 1M1 The Prologue) - Added the opening of Privet Drive to show how they'd sound combined. I prefer the final one. 2M4 Diagon Alley - Final take without the insert, taken from the session leak. After years of living with the LLL version, this sounds really really weird 6M4 Owl's Flight - Still the best guess on how to sync it up. Hedwig's Theme [for Harp] - Thought I'd try it under Fluffy for fun. Trailer #2 - This one fits in length, but the final trailer doesn't use it in full. The one edit I had to make was at the end, one of the repeating BAMs was removed, so I added in a shot of the castle at night for it. I didn't try Television Commerical because it's a minute long, but all the Coke and other TV ads are 30 seconds, or Hogwarts Forever (vocal) because I don't think it's even a film cue written to picture.
    1 point
  12. 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
  13. 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
  14. 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
  15. Does he do " E.T AND ME" in concert? I agree it's a better choice than ADVENTURE
    1 point
  16. I don't remember the name of the stable (Foothill?), but it's south of the Lake Hylia bridge, near the Horse God shrine. Keep going west and you'll find a tiny campsite with two dudes, one of whom asks you to look for this giant horse. I won't say anymore except that the comedic setup is genius.
    1 point
  17. 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
  18. 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
  19. Hey mates, let's watch Night And Fog tonight! Who brings the popcorn?
    1 point
  20. Jumped ship at just the right time for the new hot thing (Denis).
    1 point
  21. Poulenc's piano music is perfect weekend morning music. I love the second improvisation here, in A-flat:
    1 point
  22. 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
  23. 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
  24. 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
  25. 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
  26. I hope BotW 2 has that sense of discovery that the first one did so well. Now can that be done in a world we already know so well? I'm sure Nintendo and the Zelda team can pull that off. I'll be more excited for it when it comes closer to releasing. But for now, I think BotW is the high watermark in the franchise, and I've never found a game world I like to revisit so much as I do with that one.
    1 point
  27. Yes giving Zelda an actual personality in BOTW was a very very good move. She had agency, an arc, quirks and charisma. That’s why I’d love to see more of her. Can’t say I care much for how serious she is in games like Twilight Princess. Tetra was excellent in WW... until she turned into the princess and became boring! I’ve also been thinking about the next original Zelda game and what that could be like. I’d personally love to see a futuristic version of Hyrule, building on the cool Sheikah technology that has been used more and more as the series progresses. I remember hearing that was a concept they’d explored years ago but abandoned (though elements of it survived, including the motorbike). If anyone could pull it off it’s Nintendo
    1 point
  28. So what is counter-culture these days, something like Alex Keaton?
    1 point
  29. So what’s everyone hoping for in BOTW2? I played 200+ hours of the original and can’t wait to return to the world with fresh eyes. I’d love to see playable Zelda (maybe as optional multiplayer, though I prefer single-player gameplay). I’m torn between wanting the same overworld or something completely new (like an expansive underworld which has been rumoured) It’d be great to see more towns, villages and cities in a post-Calamity world. I can imagine the ranches increasing in size and sprawling out a bit, and a huge castle town in the centre of Hyrule. They should definitely put the hookshot(s) in that were taken out during development of the original. I totally get why they were removed - the climbing mechanic is fantastic and every climb feels like an achievement for the first half of the game, but for the sequel it’d be a great upgrade. gah it’s been too long since we heard anything about this game! edit: expansive overworld, not expensive lol
    1 point
  30. 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
  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. Eventide is one of my favorite moments in the game! It's so cool how the game's base mechanics are so strong that they can literally strip away everything but the basics and it still be very fulfilling and work so well. I initially wished the game had more like this, so I was pumped that the Master Sword DLC featured a similar setup. I ended up doing the Kakariko shrine last night; you're right, Jay, that was a nice character moment Last night I took on a Lynel first time this playthrough...last time I played the game two years ago, I was able to take them out without losing a heart, flurry rushing, headshotting, mounting them, etc...yeah I don't know what kind of juju I was on then 'cause the Lynel kicked my ass hard, like ten times before I said screw it and snuck past him. Have any of y'all done the giant horse quest? One of the funniest in the game.
    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 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
  43. 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
  44. 1 point
  45. 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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