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Showing content with the highest reputation on 24/08/21 in all areas

  1. Nick1Ø66

    Villeneuve's DUNE

    Looks VERY cool. Best trailer for this film yet. I really want Dune to succeed, not just because it's Dune, but because I want big, epic, intelligent science fiction to have a place in cinema. And even though Dune is an established franchise (or at least the start of one), it's nice to have something this big on the screen that's not Marvel or Star Wars.
    5 points
  2. The orchestration alone may be the best of his entire career, which is saying something. He wields the orchestra like Mickey Mouse conducting the sea, new colors come in from all directions, and is that 6 flutes in "Blowing Dreams?" I'm not sure he's been this intent on color for color's sake since Close Encounters. Stylistically, it's in the same wheelhouse as Hook and Harry Potter, with a dash of E.T. and the lighter parts of Star Wars, and while it has no shortage of themes compared to those scores, it is more cohesive. The themes are more subtle, and easier to "lose" in a sense, but the orchestration and complex harmony make up the difference. The score is as harmonically complex as the orchestration, and while JW has always been a sponge when it comes to the Russian masters (Prokofiev and Tchaikovsky specifically) the harmonies on this score sound more personal and "true," if that makes any sense. He doesn't seem to be writing "in a style." It just sounds like John Williams. As always, his counterpoint and polyphonic writing separate him from almost every film composer in history. He has few equals, in this regard, in the last two centuries and it is on full display in the BFG. Music critic for the New York Times, Harold C. Schonberg wrote a review of Vaughn Williams's 9th Symphony, which I will quote here, but seems to fit The BFG nicely. "the symphony is packed with strong personal melody from beginning to end ... A mellow glow suffuses the work, as it does the work of many veteran composers who seem to gaze retrospectively over their careers ... the Ninth Symphony is a masterpiece" If this is John Williams looking back, well, what a view.
    5 points
  3. Haven’t read much of the rest of this thread, but think in an ideal world free of business concerns and contractual limitations, every release should be in print and available at all times. It would be very selfish to say otherwise.
    4 points
  4. I vividly remember the first time I consciously listened to the Stones (I'm sure I'd heard them in commercials or whatever before). My older brother was never much of an influence on my music listening, but one time in the car, when I was probably 11 or 12, he said "You'll love this song" and he put on "Paint it Black." That booming relentless drum beat made such a huge impression on me.
    4 points
  5. I think almost all JW scores display a high level of craft, and in that sense they are masterful in that master composer wrote them. Defining the term "masterpiece" is an exercise in naval-gazing, but I like to think of the Voyager Golden Record. What JW scores would be in the running to go on a new golden record? Like most composers, only a handful of pieces in their output, no matter well they are made. Beethoven's 4th is a great symphony, but it isn't going on in place of the 3rd, 5th, or 9th. There's only a few JW scores I consider a 'masterpiece" at that kind of level, and the most recent are The BFG and Schindler's List. That's not saying he didn't write some amazing scores in between, they just don't get to go to Pluto.
    3 points
  6. Where did you all listen to this piece?
    3 points
  7. I mean, the remaining quarter hour + of 13th Warrior is essentially “more of the same” (just as with the unreleased music from Rudy so many people seem to want!) But when it’s a score as good as The 13th Warrior, “more of the same” isn’t really a bad thing. It’s all very solid stuff! Hope they get to it some day. But first…Medicine Man! Yavar
    3 points
  8. So that they can play it when he wins for Indiana Jones 5. https://www.classicalwcrb.org/show/the-boston-symphony-orchestra/2021-08-13/film-night-with-the-pops-and-john-williams-2021
    2 points
  9. Nobuo Uematsu & Yasonori Mitsuda - Front Mission: Gun Hazard (OST) Great! Eric Serra - Goldeneye I don't care about the general consensus, I like this score! It's fun and interesting. Tan Dun - Crouching Tiger, Hidden Dragon The latest off my pile of physical CDs I needed to listen to. I believe this was my first time ever hearing this score (I received the OST as a gift, I believe). Well, I liked it! Not only fun ethnic percussive action, but nice sweeping epic tracks too. Will be listening again!
    2 points
  10. I only listened to the BFG OST once, probably over a year ago. It felt boring then. I am relistening to it now, and every track feels great, on par with tracks in E.T., The Last Crusade, Shore's LOTR, and other such. Classy flow and orchestration that sounds refreshingly elegant compared to the "Christmas Tree" fests of Rimsky-Korsakoff and Co., and yet is as accomplished. It would sure make for some catchy orchestration textbook examples #FreeTheScores
    2 points
  11. Would be nice to hear some nods to Horner and Zimmer too. Karol
    2 points
  12. I've just heard, on the BBC. Fucking hell, this is deep. He was the beating heart of the Stones, and, possibly, the greatest - and most modest - straight ahead backbeat man. Not an inovator like Ringo, not a star like Moon, not florid like Peart, and not aggressive like Bonzo, he was the solid rock, upon which the Stones built their entire catalogue. He will be missed...very, very much.
    2 points
  13. Oh, I'm usually in the same boat and try to just keep one version of a score unless there's a good reason not to. I guess when it comes to Star Trek expansions it's particularly important for me to have the full set of Jeff Bond liner notes for all of them (he did all of the original ten films' expansions, I believe), as sort of an updated supplement to his excellent (but in need of a second edition) book, The Music of Star Trek. Yavar
    2 points
  14. Smeltington

    RIP Charlie Watts

    I'm sad about this one. The more intimately familiar you get with the Stones' catalog, the more you realize Charlie's importance - which is otherwise less obvious from his stoic presence on stage. It was amazing to have so much of the core of the group intact for this long.
    2 points
  15. For me it may affect the timing of the purchase, especially if I know there aren't many left, but it doesn't affect the likelihood of me buying in the first place. And there are certainly releases that I didn't buy precisely because they were limited - not because their being limited made me lose interest, but because they'd already sold out by the time I became interested/aware/able to afford them.
    2 points
  16. It was years ago, so I don't remember who said it, but someone at one of the labels did mention this as a factor. That they sell more copies of releases if they announce that they're limited to X copies.
    2 points
  17. Well I heard from the start of the album through He Tasks Me this morning on the way to work. I swear it took me half my commute just to get the shrinkwrap off... What a fun ride home I'll have tonight listening to Surprise Attack to the end! Woo! The new sound quality is great. The new stereo field is wonderful. Just listen to "Spock" and hear the plucked strings in the left and sometimes in the right. Good stuff
    2 points
  18. If The Prisoner of Azkaban will ever get an expanded reissue, I want the shawm cue and "Discussing Black" to get that treatment.
    2 points
  19. Brundlefly

    Villeneuve's DUNE

    Well said. I also want the second film to be shot at all.
    2 points
  20. Nick1Ø66

    Villeneuve's DUNE

    Mate, this is a straw man. No one (at least here) "begrudges" Dune based on the format it was shot on. No one said there was something "wrong" with Dune being shot digitally. No one. The only issue is a personal preference on how the film looks. And that's inarguable. And even if someone doesn't like the way the film looks, that doesn't mean they "begrudge" it. In any event, none of us has seen enough of Dune to make any informed opinion on it, all we can do is comment on what we've seen in the trailers. People who are named Christopher Nolan and Steve Yeldin, or hold stock in Eastman Kodak or RED have a stake in this little film vs. digital thing. The rest of us just care about what we see on the screen. I think the vast majority of movies, no matter the genre, are shot on digital these days. Being against it as a format is tilting at windmills.
    2 points
  21. Aloft...To the Royal Masthead! The UKs Prince Phillip visited Boston in 1992, and who else to herald the royal arrival but John Williams with a short fanfare that some have noted shares a bit of similarity with material in Jurassic Park. It is more celebratory and brilliant than stately and reverent. I like it.
    2 points
  22. I think it's pretty clear what these two releases will be. Still super pumped though!
    2 points
  23. This is a real dang good release, even if it does use the album master! All I knew about this score and movie were the S/W piece and the basic premise, until crumbs' iso score came along and the score didn't manage to impress me that much in that strictly film C&C form. Here, on the other hand, I'm taken away completely! A great main program really fills the score out, and this kind of score lends itself to the slight chrono cheats employed by Mike. The less conspicuous thematic material weaves its way until the climax brings the big guns, the two main twinkly cues provide some break time but even the 6+ minute one changes enough to not be dull, Follow Me is such a well-earned break (and what a great little cue, so much better than the alternate! Despite its short length you really feel it went somewhere and explored its material satisfyingly), and then the alternates are all either very much or interestingly subtly different! I switched the Old Timer's Shacks and End Creditses for my main program, the one fault I feel the CD has is that the "film" End Credits reprises Dorinda Solo Flight too closely, right after Dorinda Solo Flight. But listening through as one big program, the two final tracks are a fantastic finale. Booklet's good too! Cover's great too! I'm really happy with this set.
    2 points
  24. Couldn't help myself. Here's a transcription of the soaring main theme, as it appears after the Jovian/Galaxy's-Edgesque opening. I left out some of the trumpet countermelody stuff around m. 14-16 for clarity's sake, and a few of the chordal inversions are speculative on my part, given the low audio quality at present. Really classic 1980s-sounding Williams, not-so-distant cousin of "The Mission" and a few other occasional pieces. Some of the harmonies and progressions are particularly characteristic -- oddly enough, most similar to the music when Willie is lifted from the lava pit in TOD!
    2 points
  25. In other words, "am I a selfish asshole" vs. "do I want art to be presented properly and accessibly". LLL should get on the digital train after Varese and Intrada, and convince JW too, including the booklets digitally too, THEN limited physical releases would be acceptable. I was insanely lucky to find this site just when all I wanted (or was about to find out I wanted) was about to come out or still available.
    2 points
  26. And risk losing the opportunity for a composer to- wait, that actually would apply to both Gia and Elfman in this case. No matter who did it, it'd be their third time scoring the character. I wouldn't mind the switch (even if I'd personally rather Gia actually get to finish his trilogy, with how good FFH was). I'm a bit conflicted on the project as a whole, given I would've much rather they actually given MCU Spidey one more proper solo outing so that he further fleshes out his character before doing any multiverse shenanigans. Not to mention that I'm not too crazy about the set up, even if there is great potential character/story work that can be done here. Especially given that with how much Strange was so dependent on the variables being just correct for IW/Endgame, this seems like a weirdly irresponsible thing to do for someone who's supposedly come very far along in his training. In any case, I hope it does more to service Holland, rather than have him get lost in what should be his movie. The music was always going to be disappointing to me callback wise, given I often fantasize about how they could merge the different sounds together. With Giacchino in particular, I don't expect much more than a few brief quotes (which actually would help more in developing his own sound for the MCU, given both Spidey and Strange are involved). (Also, where the hell do people keep hearing Elfman was disappointed with the use of his material in Spidey 3? I swear the lack of an official word from him really doesn't help in terms of figuring out why the score is in release limbo.)
    1 point
  27. Chewy

    RIP Charlie Watts

    So sad about this, this is the end of an era. Hopefully they don't cancel their upcoming tour, especially since it was already planned to replace Charlie temporarily.
    1 point
  28. Yup. And for me no biggie since I order now stuff regularly from them and very understandable since they would lose quite a bit of money sending these separate discs to all those who ordered these releases from them.
    1 point
  29. I really want this now, but I'm going to wait until A.I. is back in stock/fixed, and order both. Glad this release (like pretty much all the Treks) has so many copies.
    1 point
  30. The BFG film contains 88 minutes of John Williams score. The OST album is 64 minutes, but a bunch of material on it is not in the film, and a surprising amount of what you hear in the film is repeated tracked material, so much more than 24 minutes remains unreleased! Some of what's unreleased are definite highlights of what he recorded, such as Bedtime Story and The Queen's Helicopters.
    1 point
  31. Yes I think so! E - rechts which looks nice - to the right of the orchestra?
    1 point
  32. badbu

    Villeneuve's DUNE

    japanese trailer with a lot of new footage
    1 point
  33. I like the BfG OST. Mainly, because it concentrates on the music written by Williams. The actual score in the film contained a lot of classical source music if I remember correctly. So, in this case I am not necessarily looking forward to an expansion. But of course it would be a different experience.
    1 point
  34. Beato does a lot of song analysis too, Richard.
    1 point
  35. AC1

    Villeneuve's DUNE

    Isn't every big sci-fi movie shot on digital these days? Surely this can't be a surprise? A large percentage of what it shows is digital anyway.
    1 point
  36. Honestly I'm shocked everyone is so excited for this. Like, yeah, I think it'll be cool to see all these world's collide and to see some of these actors / characters back, but the set-up for how this happens is bland and awful to me. It's gonna have to be really cool after the spell for me to get over how dumb that set-up is. Also, why to we keep feeling the need to overstuff the third Spider-Man movies. I'm extremely skeptical that this won't feel like I mess. I sure hope I'm wrong, because I'm very disappointed how not into this I am. Wasn't expecting this.
    1 point
  37. I love it! The main theme strikes me as one of the longest-lined melodies in any Williams overture. It just goes and goes and goes. The theme would certainly be catchier if it were shorter, but if you ask me, that's one of the characteristics that marks it as a more "mature" entry in his oeuvre: it's more concerned with doing musically interesting things than with giving us an earworm to latch onto—although thankfully, it's not fixated on virtuosity like many of his brass pieces. The full orchestra is on display here. The textures are fantastic, really evoking an idealized vision of Hollywood. (This would have been a perfect piece for the entrance plaza loop at the Disney-MGM Studios back in the late '80s/early '90s.) Overall, I wouldn't class this with the very best of his Olympic music and other fanfares, but it's up there, especially among his recent concert works. What a joy to have this land in our laps!
    1 point
  38. They coulda made a whole other Bond movie while this one has been in limbo!
    1 point
  39. I am looking forward to hearing this. I like the return of the 80s sound in various recent pieces--but I really like that it is not copy and paste but infused with elements of his contemporary writing. Running list of pieces that sound a bit throwback (to me anyways): Great Performances Theme Rose's Theme Galaxy's Edge Speeder Chase (well, sort of anyway)
    1 point
  40. Are you referring to Overture to the Oscars? We'll all get to hear it on Sunday.
    1 point
  41. I’m fairly certain each Spatial Audio track has been specifically mixed for Dolby Atmos. There is only a handful of tracks and albums available that is slowly increasing. If they were using an automated spatial algorithm I would expect a larger selection. Also, you can hear the individual tracks/stems being placed in the 3D space, especially for songs. With orchestral recordings the effect is more subtle as you don’t have instruments spread across the entire sound stage, and they aren’t moving around. To my ears they seem to be replicating a concert hall setup, so it sounds like the orchestra is just in front of the TV. The effect is not that different from listening in stereo which already spreads the instruments from left to right, but instead of it being left to right around you (when listening through stereo headphones), it is left to right in front of you. I think they are placing the reverb mics at the back of the Atmos stage so you can occasionally hear the reflections behind you. The highlight track for me was ‘Anthem of Evil’ - the choir sounded great in Atmos although it’s hard to pinpoint exactly why. It sounds like they placed the choir in the same space as the orchestra, rather than placing them above the orchestra as you may have at a concert hall. There are now a couple of tracks from Hans Zimmer’s Dune in Dolby Atmos which I’ll be sure to check out. I’m hoping these types of score get the more exciting spatial mixes you get with the pop/rock songs. I’d highly recommend anyone with a Dolby Atmos setup to check out songs in Spatial Audio. The Bohemian Rhapsody mix sounds phenomenal.
    1 point
  42. Logically, digital release is the ONLY possible way to release music in an unlimited way. EVERY physical release is limited naturally. And if I just have the choice between a limited physical release and an unlimited digital I would always prefer the limited physical.
    1 point
  43. Everybody has a right to own this...? So you had to act illegally...? O-kay. Not sure I agree with this at all.
    1 point
  44. Well it's not like they have a choice. And that's got nothing to do with "feeling a sense of exclusivity and like sitting on more cash", that's the selfish asshole part. YOU get to be in a little exclusive club, others who were born later or didn't find out about these in time can go to hell or buy them from you at their increased value, right?
    1 point
  45. I couldn't find the Dukakis piece on Youtube, but instead stumbled over this impressive/cringeworthy performance of JW's Olympic Fanfare and Theme:
    1 point
  46. Well, it's a matter of definitions. The word "masterpieces" is sometimes used to denote an author's best works within his oeuvre, or in other cases to denote the best works in a certain medium, independently of the author. In this second case, I would maybe say that his most recent masterpieces are "War Horse" and "The BFG".
    1 point
  47. My favorite score of 2005 is certainly Giacchino's work on LOST seasons 1 and 2 Restricted to films only, probably Revenge of the Sith Restricted to what you put on the poll, Memoirs of a Geisha
    1 point
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