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Showing content with the highest reputation on 09/05/21 in all areas

  1. That is a great point. The sequel trilogy offered much less opportunities for pure, unobstructed musical expression. This is particularly evident in the movies directed by JJ Abrams, where only the Jedi Steps sequence stands out as as scene shot and edited with the purpose of the music doing most of the heavy lifting. I would say The Last Jedi is a much more musical friendly movie than the other two, though. In particular, a scene like the Spark is obviously designed, in an almost Spielbergian way, for the music to give it the bulk of dramatic grandeur, to the point where the scene would feel half finished without it. Lesson One, The Supremacy, The Last Jedi and Holdo's Sacrifice are other examples of this. It's also curious that among the greatest strengths of the music in The Sequel Trilogy are the character themes , and not so much the set pieces, whereas in the Prequel trilogy you have the exact opposite.
    9 points
  2. For anyone curious, here’s a scan of Doug’s dupe tape from the sessions which gave us the two new cues... and also confirms what we already knew from the written sketches in the Academy’s Margaret Herrick Library: that “The Castle” was written and intended as the Main Title (and first cue), despite it appearing (in truncated form) in the final cut of the film after “The Ceremony” (in truncated form) and an edit of Jerry’s End Credits cue being used as the main title music instead...
    5 points
  3. To me quotas are a no-no. Somebody's best score might not be worth another composer's 50th and that's just life.
    4 points
  4. I guess it's a list of personal preferences, not a list of the greatest film composers.
    4 points
  5. Honest question -- doesn't that defeat the purpose of making a list of your top 100 scores? Seems more like you're trying to make quotas. I mean, if I had to list my top 5 favourite film scores and I couldn't split E.T. and Raiders, I wouldn't just choose one and omit the other purely to avoid multiple Williams scores.
    3 points
  6. Inception gets all the points over Tenet by virtue of actually feeling cinematic. Like it or not, it understood how to communicate memorable images and set-pieces within the heist genre it operates in, and it does it well. Tenet gets so lost up the ass of its own puzzle that it forgets to be a movie.
    3 points
  7. Yeah, if I had to list my top 100 favourite film scores, it would mostly be populated with contemporary composer's scores because I haven't had a chance to explore the Golden Hollywood scores yet.
    3 points
  8. On a Qatsi listening streaks this week… now onto Powaqqatsi. Probably my favourite of the three of Glass’ scores from an enjoyment perspective. The fusion of minimalism and world music is absolutely terrific here. The well known (three part) Anthem will be familiar from the Truman Show but the rest of the score is well worth exploring.
    3 points
  9. I thought I was the only person who had this opinion! Totally agree, both TPM and TFA are pretty great, but the other two don't seem to muster up quite the same level of enthusiasm, especially in the sequel trilogy. AOTC and ROTS are pretty decent, especially ROTS, but they don't match the variety and enthusiasm of TPM. Although for me, TLJ and ROS feel more like going through the motions. Professionally done of course, but it doesn't sound like a composer excited by the material (yes, I know age plays a part, but I think better material would have interested him more). I really missed the fanfares and travelling music in the sequel scores, they just aren't edited with those kinds of transitions in mind most of the time. You really miss those imperious music and images sections from the original movies and the prequels. George Lucas may have been an uneven director, but he did at least space for music, from the arrival of Vader at the start of Jedi (or the Emperor later on) to the various fanfares from the prequels detailed above, I really miss the lack of such moments in the sequels. It's all just a bit too efficiently edited.
    3 points
  10. A moment I don't see shared very often is the beautiful choir-less version of Anakin's Betrayal that plays on Mustafar. JW brings all the melodrama that the actors didn't. It's truly tragic music. https://youtu.be/lTxjxcoFepY
    3 points
  11. A concert of film music by the Cincinnati Pops is premiering right now on Youtube. According to the description it will be up on YouTube for only 24 hours after it premieres. I’m not sure of the full program but in terms of Williams, I see from the description that Schindler and Lincoln will be performed.
    3 points
  12. I know that some don't enjoy this small Williams score that much but I have to say that each time I played it back I get more into it. The piano melodies are truly wonderful and it real blessing to have that score before the less intimist SW sequels.
    2 points
  13. Yeah, but they're all dead.
    2 points
  14. Very illuminating, and accurate, observation. It actually reflects the difference between the Lucas films vs the Disney films. The former was heavily focused on setpieces and VFX spectacle, while the latter pulled back on the spectacle and refocused heavily on the characterization.
    2 points
  15. Last Black Man in San Francisco - fantastic!
    2 points
  16. I didn't know that MoTK was considered bad by any metric of measurement. From what I remember it's a solid fighter, but I do agree that it is outside the range of what I think of when I think of what a Star Wars video game is supposed to be. ... And the Holiday Special has Harvey Korman crossdressing as an alient tv host chef and I'm not sure what I'm supposed to dislike about that.
    2 points
  17. A really nice score from Goldsmith with a terrific main title and some nice scarry cues.
    2 points
  18. You were in both movies?!
    2 points
  19. Inception is a much more intimate story. It is not about WWIII. It is not about arms dealer or anonymous protagonists. It is a heist movie about a bunch of people trying to pull off the impossible revolving around the concept of time, love, lost, and family. The final scene with DiCaprio holding the kids and the spinning top has more meaning than the entire Tenet movie. Because it combines summer spectacle with cleverness of a indie film. It is a film that you have no idea what is going to happen next and how it is going to end. And even after it is over, people still debate about the ending. It is an absolutely masterpiece with an original and unique concept that translated to great execution. Tenet on the other end also has a great concept but far less successful with the execution. But then I also think Interstellar is a great film, and most people think that as well based on IMDB ratings, but it is extremely polarizing here. Sort of sideways to this discussion, over the years, I learned that film music fans have this weird obsession with movies that has a lot of spectacle and doesn't take itself seriously (although Tenet takes itself very seriously). Maybe because those movies have orchestral scores that they like. I remember arguing on FSM forum on who should be directing Dune and a bunch of people think Roland Emmerich is the right guy. Like seriously, that guy has one good film: Independence Day, and that aged terribly. Emmerich is a bush league director. And yet, I live in a world where Inception is a bad film, and Villeneuve is too self-indulgent, and Emmerich is some great director. I bet a bunch of people here also think Batman & Robin is a much better film than The Dark Knight because it is more fun. Everyone is entitled to their own opinions and there is nothing wrong with having a difference of opinion. But I noticed that a lot of times, campy spectacle movies get defended a lot with film music fans. Just a side note.
    2 points
  20. I can't believe I have to wait until the middle of June for mine! I ordered Looney Tunes and Along Came A Spider at the same time, so I gotta wait for all 3 Surely 7 more Goldsmiths will be announced by then!
    2 points
  21. Justice League Star Gal Gadot Confirms Joss Whedon Threatened to Make Her Career Miserable
    1 point
  22. No one cares.
    1 point
  23. I love plenty but not everything like Thor does.
    1 point
  24. I've rewatched WandaVision on my new TV the other week. Once you know where it is going the finale becomes more coherent and enjoyable. What becomes obvious it is primarily a character piece and as such it is one of the most satisfying stories in the MCU. Yes, the finale isn't all that exciting in terms of plotting and stuff but on an emotional level it just works for me. Even the Quicksilver thing didn't bother me as it is quite clear he's not the real one anyway. And it works thematically with the main story too. Karol
    1 point
  25. Prisoner of Azkaban at #25 is so awesome. The man has taste!
    1 point
  26. Just for the sake of argument/discussion: I think innovative just means that they introduced new ideas. Does that necessarily have to mean that they are also the ones who perfected, expanded and used those ideas and elements and fused them with others on a "Top 100 scores" level?
    1 point
  27. Again, tricky to find a proper cover online, but this will do. JNH's rare 1983 solo album that is - in effect - more like an instrumental Toto album, really. Lots of fusion styles going on over the course of a breezy 27 minutes.
    1 point
  28. It's a substantial improvement. Not only does it contain more material but it also is sourced from first generation source. Karol
    1 point
  29. Back in 2014, Romão and I flew to New York, where we stayed for a few days. We took a bus to Lenox and stayed at a motel nearby (it was the same place were the Tanglewood fellows were staying and one of the piano fellows even gave us a ride on one of the days). We used https://peterpanbus.com/ that offered reasonable fees for the travel between New York and Lenox, though it was a 3-hours bus ride. Probably faster if we had rented a car. The motel we stayed it was, if memory serves, the Econolodge. I think a two bed room went for about $100 a night.
    1 point
  30. I find it to be the weakest score of the Planet of the Apes. Not much of a fan of what Tom Scott wrote for that one, it feels like a poor version of the Goldsmith score
    1 point
  31. I bought this and have listened through it and this is a real slog, but there’s a decent hourlong album in there I think (one that uses the suites at the end as its bones).
    1 point
  32. Heh, that's a funny mistake to make with the artwork. This is why asking for more people to proofread is always a good idea! The 6 week day is illogical to me. All they really had to do was quickly print up fixed back tray cards and just throw one in with every order; no need to open up and swap the already shrink rapped sets. Weird.
    1 point
  33. The Voyage Home is my favorite so that's nice. But Into Darkness is the worst.
    1 point
  34. Well, let's be honest: Morricone was a genuine innovator. Film scores for 'western films' were turned upside down by Ennio and he was way ahead of his time, including his haunting themes with wordless voices. I don't think anyone did that before him for this particular genre, so I totally understand your point.
    1 point
  35. Elmer Bernstein (!) talks about Herrmann's repeating opening motif from Cape Fear. .
    1 point
  36. The message on the website states. EDIT: Think this explains it. 😂 I kind of like it... Jerry Lionheart... James Braveheart... John Heartbeeps. Karol
    1 point
  37. Thanos' theme from Infinity War is pretty evil, I think. It's less flashy and overtly big, but it is more understated and sinister.
    1 point
  38. I stop carrying about the movie just after the talk with Clémence Poésy... The rest of the movie is just action scenes without any stake nor real visual interest
    1 point
  39. The plane scene was overhyped garbage. The ending fight was terrible. The car chase sequence was very good.
    1 point
  40. Cocoons reunited, now they can copulate.
    1 point
  41. Oh please. I highly doubt that every single film cue you like grabs your attention in the first 20 seconds. It's not a marketing piece. It's music. This isn't even about the Justice League score, just an in general thing. I agree that many of these cues are a bit boring, but I also think you're holding this to higher standards for no reason. If you do hold every piece of music to that though then I don't know how you enjoy things.
    1 point
  42. IMAX doesn't make a bad movie good though.
    1 point
  43. I would want to hear things that aren't necessarily concert versions... or maybe things that are assembled into new concert versions. I would want a concert that surprises me, so no Harry Potter, Jurassic Park, or Adventure on Earth... but I would rather hear other gems. I wouldn't exclude big franchise films, but I would swap out Adventure on Earth for E.T. and Me. And if you gotta have Jurassic, for God sakes, include the Journey to the Island and the ride to the lab sections. I don't have a full program, but... Heartbeeps End Title, done with no synth. Would open many eyes. Towering Inferno (Either Main Title or Architect's Dream) Johnathan Begins to Draw from Amazing Stories. Holds up as well as any film piece. Maggie Shoots Pool from Cinderella Liberty. Versatility Nocturnal Pursuit arrangement from Close Encounters... it worked for a record single. The Pony Ride (from the River) End Titles from Indiana Jones and the Temple of Doom... perhaps his best ever. Jaws 2 medley: Divers Ballet, Brody Misunderstood, End Title Love Theme from Missouri Breaks 1960s Turbulent Years from Nixon Helicopter Rescue from Superman Fist Fight/Flying Wing from Raiders White Sands from SpaceCamp Some assembly from War Horse that emphasizes the friendship theme from the trailer. 1941 To Hollywood and Glory Stanley & Iris and The Land Race from Far and Away - Can't believe this isn't on everyone's list.
    1 point
  44. Every single JWFan should listen to the soundtrack for The Last Black Man in San Francisco by Emile Mosseri. Instantly on first listen it became one of my favorite scores of 2019 (which is a short list, but still this is pretty fantastic). Very few modern directors would ask for a score like this. The compositions themselves aren't overly complex but a real musical personality comes through nevertheless, which is so rare. I mean, what other scores these days would have a cue that's just an oboe with piano accompaniment?
    1 point
  45. Stu

    The Official Alan Menken Thread

    Mr. Horner? Is it you?
    1 point
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