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Showing content with the highest reputation on 25/03/21 in all areas

  1. (Note: The “Prelude” is what will be premiered; the “Scherzo for Piano and Orchestra” is a previously-existing work.)
    18 points
  2. Further evidence that this is the world's most slowly developing full piano concerto. Excellent news. I wouldn't be surprised if he tinkered with the scherzo as well.
    6 points
  3. I feel the opposite, I like the scherzo very much from start to finish, it sounds very fresh and energetic, and has a lot of Williams trademarks in it.
    4 points
  4. It's Like a Cat Walking on the Piano for Piano and Orchestra for Gloria Cheng and Lang Lang
    4 points
  5. 3 points
  6. A pretty ok couple of days No, I do not know why the forum turned the photos sideways
    3 points
  7. If anybody anywhere does say it out loud, probably the latter
    2 points
  8. The orchestral parts really are very typical of that era of JW action music. Parts sound straight out of Azkaban to me
    2 points
  9. 2 points
  10. I can't believe some of the stuff I'm reading about the Scherzo. I absolutely adore it. I love the piano parts but if you're looking for something more melodic there's a recurring theme that plays throughout the whole piece. It's one the best JW action pieces!
    2 points
  11. This is likely the closest we’ll ever get to a JW piano concerto! Really excited for this!
    2 points
  12. YES! Very interesting that it’s a work written expressly to be paired with the earlier Scherzo. Cant wait to hear it!
    2 points
  13. He does listen to them. Mike burns them to CDRs and hand delivers them to Jamie Richardson. Later, Jamie and JW will sit down together and listen to them at JW's house. JW will give Jamie notes that he delivers back to Mike.
    2 points
  14. I'm not even sure what he does to it exactly. It's not distorted or so heavily effected to where it's super obvious what he's done, but the nuance and life of an orchestra is just not there in these scores. I imagine some of it is the heavy compression, but it just sounds sampled, like everything is too perfectly on time, that quantized feel. It's really dry and close sounding as well. As far as GvK's score. I just got to "Tasman Sea" and this is...something. This doesn't sound like a Godzilla score, it doesn't really have much of an identity to me. Could be anything. It does sound a lot like it could've come out of Justice League but without any of the thematic material, like you said, or any modern action movie really. Nothing I've heard so far makes me go "Hell yeah! THAT'S a Godzilla score."
    1 point
  15. In many of Junkie's scores the orchestra sounds a little synth-y. His partnership with Conrad Pope in movies like Alita and Mortal Engines made their orchestras to sound like real orchestras, but apparently he returned to his more processed sound for ZSJL and GvK.
    1 point
  16. It's not a bad score, it's just run-of-the-mill after KOTM's. It certainly sounded better than the majority of his work on Dark Fate. I'm not sure if that's saying all that much, though. The first track was quite clearly an attempt at a riff on Ifukube, and it's very reminiscent of how KOTM's cover of the original theme starts. It's also pretty obvious that no orchestra was used in the production of this (likely due to COVID).
    1 point
  17. It's pretty odd to say Back to the Future: Part III, The Hateful Eight, Rango, and Brokeback Mountain all belong to the same genre too. Not sure if that proves or disproves your point, really. Especially lately, though, there are very few movies that aim to stay within any one genre, it's all about the hybrid. Doesn't mean "superhero" or "western" aren't among many valid qualifiers, they're either subverting or playing into those tropes and cliches. We could list tons of "comedy" or "drama" or "action" films that have nothing to do with each other as well. Animation is a creative medium so it's more like when people group "silent movies" or "black and white movies" together, I guess, especially once those stopped becoming historical necessities and more a style in themselves. Obviously animation is way less of a novelty than those now but still useful to categorize sometimes. Might argue "superhero" is a subgenre like a spy, mafia, or heist movie. It's a type of setup that can be done a lot of ways.
    1 point
  18. Martinez, actually. If it had been Artemiev, I'd have typed SOLYARIS. I can't choose. Each score fits the dreamlike qualities of their respective films. I love both scores; I love both films.
    1 point
  19. I think "super hero flick" is as much of a genre as "western flick". Both can have a ton of wiggle room of how the basic elements are presented, but with both descriptions you kinda know what you're in for before you start, for the most part
    1 point
  20. Bicentennial Man (OST) by James Horner A nice Horner's score as always. Lot of similarities with A Beautiful Mind though.
    1 point
  21. The first time I watched The Heiress I thought it was brilliant. So dark I couldn't believe it's a movie from 1949.
    1 point
  22. Where is Chen?! I think he would be all over this thread!
    1 point
  23. That shouldn't have mattered. He did tons of other shit in this movie that doesn't fit with the "canon" now. So, imo, they should've just let him do it
    1 point
  24. 1 point
  25. True, I just didn't see time fly... Waterworld by James Newton Howard A really good surprise from an enjoyable score. Never really like JNH until today...
    1 point
  26. Don't know if it exists on CD. http://www.jw-collection.de/classical/scherzo_piano.html
    1 point
  27. Genres are fleeting and dynamic categories, so you're often better off just labelling them yourself. There is lots of established genre theory, but even that problematizes these issues. It seems to me that IMDB uses the broader genres to be on the safe side, while Wikipedia is often more specific (going into sub genres). That's fine. "Southern Gothic" is a sub genre of thriller, so is "erotic thriller".
    1 point
  28. Thanks @WampaRat! We're so excited to see enthusiasm around the post-score releases - we're having fun putting them together, so we're glad you enjoy them too. Your appreciative words mean a lot to us! In terms of fan sites, we haven't shared it much besides here because of not wanting to get sued... but we did see that @Pieter Boelen mentioned it on youtube a couple months ago, and are thrilled to see it being discussed in a couple places! And finally, the end credits are here!! It almost broke my poor laptop, but it hopefully stands as a fitting wrap-up to the giant last half of the film. I also linked the audio file for the end credits in case anyone wants listen that way. We truly appreciate everyone's support and comments and are so happy to share this with you all today! Cue No. 38: End Credits MS
    1 point
  29. I have the "Tribute Film Classics Highlights" CD that has the best portions of the Hermann, Korngold and Steiner works TFC re-recorded. It is well worth the $5 if you don't want the full re-recordings and need shelf space. Most of the highlights are 3-4 tracks each from certain albums (like Adventures of Don Juan, Mysterious Island and Battle of Neretva), while a handful are just 1-2 (The Kentuckian, Fahrenheit 451).
    1 point
  30. I'm perfectly fine with another Spielberg as long as it's Hook.
    1 point
  31. I heard that in exactly 8 days from now, there will be an announcement of an 18 CD box set of the Complete SW scores.
    1 point
  32. I personally never believe it's real until @Jay changes his avatar. Then I know it's official.
    1 point
  33. It was cheap for four hours of music, and if I listen to something I pay for it. Haven’t seen either version of the movie.
    1 point
  34. It's not a film, it's a series of shorts for Disney+ https://mashable.com/article/marvel-disney-plus-series-secret-invasion-ironheart-groot/
    1 point
  35. Every time this thread gets bumped I think the title has been announced...
    1 point
  36. This is definitely an oddly specific question that perhaps only Mike can answer, but I'm curious how involved JW is with modern score expansions. During the approval process, does JW actually listen to Mike's expanded assemblies before approving them? Or does he simply review a tracklist - presumably with a cue breakdown of each track - and in his head he can recall the score and determine if the assembly works without listening to it? If the latter, does that mean JW can remember each cue from his scores, and what music it contained? Mike previously mentioned that JW requested mastering changes for E.T., specifically a reduction in brightness from Mike's prototype assembly. Clearly this shows that JW does listen to some expansions. But he also mentioned on WOTW that grouping multiple alternates in a row would be a red flag, implying JW approved that release simply reviewing the tracklist. For Jurassic Park he mentioned being asked to retain the OST edit for Incident at Isla Nublar, implying that JW remembers his OST assemblies. Although not a MM expansion, JW also requested OST edits be replicated for Desert Chase in the 2008 Raiders expansion (despite being 27 years after he assembled that OST!) And of course JW occasionally rejects source cues, meaning he either remembers those by their cue title or listens to a prototype assembly and requests their removal (Shawm being an interesting example; the only source cue rejected for Azkaban, meaning he remembered every other source cue and only wanted Shawm omitted). I guess this started as a basic question but it became more intriguing the more I thought about it. Despite public comments implying he rarely revisits older works, it seems to me that JW actually remembers his older soundtracks and scores in great detail. Obviously us fans could skim a cue breakdown of his most popular scores and play the score through in our heads, but can JW himself do this with his own music? Can he review a track/cue list for an expansion and determine if the assembly works musically without even listening to it? Based on his comments about never revisiting older scores, I just can't imagine JW sitting down for 2+ hours and listening to an expansion from start to finish... but it's fun to imagine!
    1 point
  37. Lucky Jamie Richardson. Sounds like he has the coolest job in the world! Very cool piece of insight, thanks @Jay! I wasn't sure if JW would sit down and listen to his scores from start to finish; he always gives the impression he doesn't like revisiting older works. It's nice to hear that he does. Wonder if JW has a studio in his house where he can review music?
    1 point
  38. Gosh I haven't been here in awhile but glancing through this thread there seems to be alot of criticism over this release. Oh well, everybody's got different tastes, but I enjoyed this score for what it is. The film itself is pretty "boutique" IMHO, in that it is overlong and indulgent as a piece of cinema, but if you are a Zack Snyder fan, you will be very happy. For this reason, the score also has a very "lumbering" nature. There's probably a solid 30 minutes of slo-mo in this film, and thus you will hear lots of synth-pad swells and slow fades. The guy did this whole thing from his bedroom in 8 months so it's actually more or less what I'd expect. Having said that, I think it fits very well with the aesthetic established in the 2 previous films. I'm an Elfman fan but I was disappointed in his score to the theatrical release for the most part. I do miss his Flash theme tho. I don't think the new score tops that bit. Anyways, I took the trouble to try to match music to film narrative (an old hobby well documented on my old blog http://cuebycue.blogspot.com/ ) and this is what I came up with. Not a bad way to spend an afternoon during a pandemic! This was all from a single pass so I'm sure there will be corrections...anyways, I thought I'd share here in case someone may find this useful. The release is pretty much chronological aside from track 1. The last tracks are suites. There's repetition to be sure, but no more than I'd expect from a superhero score coming out of the Zimmer school. 1: Song to the Siren (Rose Betts) (Barry Saves Iris From Truck) (After trk 12) 2: A Hunter Gathers (Superman’s Death, Motherboxes Awaken 1:51, Themyscira Motherbox 3:46, Bruce in Iceland Mountains 5:20) 3: Migratory (Martha Leaves Smallville House) 4: Things Fall Apart (Bruce and Alfred at the Airfield) 5: Wonder Woman Defending / And What Rough Beast (Terrorists Take Hostages, WW Investigates 1:54, WW Rescue (alt) 3:24) 6: World Ending Fire (Hippolyta Visits MB, Steppenwolf attacks/Fall of the Tomb 3:13, Chase Across the Plains 5:30) 7: Middle Mass (Steppenwolf Arrives in Russia) 8: Long Division (Bruce Searches for Allies on Plane) 9: No Paradise, No Fall (Janitor Meets Parademons, Artemis’ Arrow 2:07) 10: The Center Will Not Hold, Twenty Centuries of Stony Sleep (Kryptonian Ship, Vic Speaks w Silas 0:53, Diana Reads Temple Mural 1:41, Arthur Saves Fisherman 4:30, Arthur & Vulko Undersea 5:23) 11: As Above, So Below (Steppenwolf and DeSaad) 12: No Dog, No Master (Legend of Old Gods Amassing Against Darkseid, Attack Begins 2:33, Hiding the Motherboxes 5:12) 13: Take This Kingdom by Force (Steppenwolf Interrogates Atlanteans w Spider) 14: A Splinter from the Thorn That Pricked You (Lois and Superman’s Cloak) 15: Cyborg Becoming / Human All Too Human (Vic’s Football Memories, Accident 2:57, Silas Gives Vic Tape (Powers & Good Deeds) 4:25) 16: The Path Chooses You (Bruce Confronts Barry) 17: Aquaman Returning / Carry Your Own Water (Mera at the Motherbox, Steppenwolf Attacks 1:59, Arthur Arrives 3:27, Arthur & Mera 4:40, Vic Sees Batsignal/Steppenwolf Adds 2nd MB 6:28) 18: The Provenance of Something Gathered (Batman and Friends Meet Gordon) 19: We Do This Together (Arrival in Tunnel, Battle & Flood Escape 3:24) 20: The Will to Power (Steppenwolf’s Antilife Vision, Talk on Stryker’s Island 1:35, DeSaad & Darkseid 2:13) 21: Smoke Become Fire (JL Arrival at Batcave (alt)) 22: I Teach You, the Overman (Vic Explains MB and his Origin (alt), Superman Resurrection Idea/Martha Visits Lois 3:00) 23: A Glimmer at the Door of the Living (Manhunter Leaves Lois) 24: How We Achieve Ourselves (Debate Bringing Superman Back) 25: The Sun Forever Rising (Midnight Digging Talk) 26: Underworld (Sneak Into STAR Labs Compound, Silas Sees Vic/Kryptonian ship 3:53) 27: Superman Rising, Pt. 1 / A Book of Hours (Lois In Bed, Clark Goes Into Pool 1:28) 28: Beyond Good and Evil (Barry’s Idea/Lois’ Last Visit, Vic’s Vision of Darkseid’s Future 2:20, Barry Runs 2:54) 29: Monument Builder (Clark Rises and Flies to Monument Site) 30: Monument Destroyer (Clark Feels Threatened, Vs Flash 2:26, Vs Army & Fights Towards Bruce 3:26) 31: Urgrund (Lois Appears) 32: So Begins the End (Steppenwolf vs Silas, After Steppenwolf’s Escape 2:41) 33: The House of Belonging (Clark at Smallville House) 34: Earthling (Cornfield Talk and Reunion with Martha) 35: Flight Is Our Nature (Bruce: “Something Darker”, Troop Carrier Launch 0:41) 36: Indivisible (Motherboxes Unite and Tremors Around the World) 37: And the Lion-Earth Did Roar, Pt. 1 (JL Prep for Battle, Batmobile vs Parademons 1:21) 38: And the Lion-Earth Did Roar, Pt. 2 (JL Vs Parademons, JL Confronts Steppenwolf 1:44) 39: Superman Rising, Pt. 2 / Immovable (Clark Arrives and Kicks Ass) 40: At the Speed of Force (Barry Injured, Darkseid’s Boom Tube, Barry Runs To the Past 1:30) 41: My Broken Boy (Vic Inside Motherbox Vision, MB Separation) 42: That Terrible Strength (Steppenwolf Killed, Darkseid Warned, Darkseid Plans) 43: An Eternal Reoccurrence of Change (JL Emerges Into Dawn) 44: We Slay Ourselves (Silas Tape, Arthur Leaves, Epilogues) 45: Your Own House Turned to Ashes (Arkham Missing Lex, Meeting with Deathstroke) 46: All of You Undisturbed Cities (Knightmare Dream with Joker) 47: The Art of Preserving Fire (Manhunter Leaves Bruce (alt)) 48: The Crew at Warpower (Main Theme Suite) 49: The Foundation Theme (from Zack Snyder's Justice League) (Main Theme Suite 2) 50: Batman, a Duty to Fight / To See (Batman Suite) 51: Batman, an Invocation to Heal / To Be Seen (Batman Suite 2) 52: Wonder Woman, a Call to Stand / A World Awakened (WW Suite) 53: Flash, the Space to Win / Our Legacy Is Now (Flash, JL Suite) 54: Hallelujah (Allison Crowe, End Credits)
    1 point
  39. Looking at the BSO archive site, I was surprised to find that Williams has only conducted the full BSO in concert once actually in Symphony Hall. He's conducted them many times at Tanglewood since the late 80s, but only once in their home venue.
    1 point
  40. Is that yet another Pink Panther sequel?
    1 point
  41. Perhaps understandable too. There was no pressure like there was with LotR. No unknown. They knew people wanted more Middle-Earth. Hard to be at your peak when you’ve got that safety net there. I don’t hate the Hobbit films. But they get rewatched a LOT less than the Lord of the Rings. Starting to worry that the Amazon series will be beneath the Hobbit though 👀
    1 point
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