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Showing content with the highest reputation on 21/01/23 in Posts

  1. JW: “So when scoring Attack Of The Clones, I realized that Star Wars never had a love theme before. And now, Across The Stars is the first love theme to appear in the Star Wars Universe. Narrator: “It wasn't.”
    6 points
  2. JW: And so you know, when Anne-Sophie asked me to write something for her, I really thought that she would be a woman that I could say no to. Narrator: She wasn't
    5 points
  3. I managed to isolate the choral overlay that was used in the "The Capture (Alternate)" (which is the same edit as the OST track): GO.mp3 This overlay is used in several tracks: "The Ship Remembers", "The Capture Of Cinqué", "The Crossing". I wonder if there are official lyrics for this?
    4 points
  4. Get Back, but make it JW. I'd lose my $#@&.
    4 points
  5. JW: So I played Steven the Jaws theme on piano with two fingers, and went *ba dum, ba dum* Spielberg: I thought he was kidding! Narrator: He wasn't
    4 points
  6. Why does pitch-corrected John Williams sound like @BLUMENKOHL?
    3 points
  7. It looks like we'll need to do pitch corrections on the documentary when it is released!
    3 points
  8. Sure I am but a couple more cues wouldn’t hurt. In this age of digital downloads wouldn’t be hard. Think Simon knows there’s def demand for more.
    3 points
  9. For context, here's the article Bespin is referencing, by John Mauceri. This is pretty much all material covered in Mauceri's 2022 book The War on Music, which I read and enjoyed last Summer. https://airmail.news/issues/2023-1-21/the-view-from-here
    3 points
  10. My ideal documentary would be exclusively about pre-JAWS Williams, but I realize that is for the specially interested, so I take whatever I can get. I doubt this documentary -- whatever form it takes, or whoever makes it -- will provide us hardcore Williams fans with much new information, but hopefully with some new footage, or some stretches of sheer observation. That will be the takeaway here, since Spielberg is (sadly) not directing it (and hence I don't think we should be expecting a documentary on the level of Tornatore's ENNIO: THE MAESTRO).
    3 points
  11. Great post, @BrotherSoundand it captures a lot of how I felt as I listened through the score a few times now. Wow, that's nuts. I had no idea! Is this the first Williams expansion to include tracked music? It makes sense why it's there, but I can't think of another example like that off the top of my head. ----------------- Some of my thoughts as I listened to the score. I've listened to it 4 times so far. Twice on headphones, twice sitting in front of speakers. What I found interesting is that on my first listen, I enjoyed the Adams theme and the Americana writing far more than I did the various treatments of Cinque's theme or the other tranquil theme. But during the 2nd or 3rd, things shifted for me and I became more connected to Cinque's theme, and from then on it's been popping into my head and I'll start humming it randomly. I like how the choirs in some cases are used as overlays, and that is a cool and versatile idea; recording choir bits separately and then having freedom to overlay, fade them in/ out during different cues. I really love the children's choir in The Capture. In July 4, 1839, something about the harmonic language around 2:10-2:25 or so and the angular string part, reminds me of something else. Possibly the intro cue after the Main Title in TPM oddly enough. Maybe it's in the same mode or using similar harmonies/ chords...I didn't take the time to analyze it. Steering East has one of my favorite moments of Cinque's theme, on solo English horn. Starting around the 1 minute mark into The Capture, I love the raspy low brass part that repeats for a while, and when the children's choir comes in, something about it is really moving, beautiful to me. The Ship Remembers has some great woodwind writing in the first 3rd of this track, and in Visiting Adams, I love the horn solo and then hearing the Adams theme on flute. I like the use of dual harps in the last minute of Tale of the Lion's Tooth (easier to hear in headphones). One of the top highlights of the score for me is Discovering the Bible. I love Cinque's theme on solo flute, then hearing the English horn take over, then a beautiful cello part, and then solo horn. I like the warmth of the Dry Your Tears theme in Adams' Summation, and then the winds/horns on the theme in The Verdict. I've always loved the section from 0:40-1:00 of The Long Road Ahead and Tim Morrison's playing (of course). This is a great release and it has been fun to get to know this score more. The OST didn't really get played a lot for me, and most of what I recalled was Dry Your Tears, Afrika and The Long Road Ahead, so it felt like an almost completely new score for me. I will add some thoughts about the Additional Music later....
    3 points
  12. I wish more of this score would get released… a couple juicy bonus cues would be nice. Come on Simon!
    3 points
  13. JW: I'm retiring from film scoring. Narrator: He isn't.
    3 points
  14. Steven Spielberg: Yeah I got a better composer who could do this instead Narrator: He didn't
    3 points
  15. I don't understand how the world got trained to hold their phone vertically when filming video
    3 points
  16. Amistad. My first listen of the expanded album. I never quite realised how much music was missing from the original album. While the Americana material isn't quite my favourite (it's fine), I always loved the more subdued percussive and vocal portions of the score. And there's quite a lot of that on this new album. It's interesting listening to this score in the context of Williams' larger body of work. Not only his other 1997 scores, with which Amistad shares quite a few similarities, but also stuff anticipating Memoirs of a Geisha (oddly) and Lincoln. I have to say it is quite a revelation to discover the whole second half of the score which creates a more intricate, if more introspective, listening experience. Karol
    2 points
  17. I just saw the movie a third time in 3D and I noticed this as well! The movie is just amazing. I’ve now seen it three times and it’s just as captivating each time. Even if I know exactly what happens, the final hour is just so intense. Payakan remains the best character of 2022 and Franglen nailed his theme! My friend who I saw the movie with saw the movie for the first time and it was fun seeing his reaction and being visibly blown away after the movie ended. The cinema was pretty full and just like at my first 2 viewings in December, the audience clapped when the end credits started. I noticed some new things in the score and there’s sadly so much great music missing from the OSTs. The variation of Destruction of Hometree in the scene where the first village is burned is so good and should definitively have been on the OST, maybe at the end of the tulkun hunt cue, replacing the re recorded tracking. There’s quite some action music missing as well as many RDA cues. I also think that most of the Horner music is re arranged or at the very least re recorded, except in a few moments, like the flute cue where they arrive in the cave after the train attack. The moment when the big RDA ship crashes is so well scored. Franglen arranging the RDA theme for choir while the ship lifts into the air and then crashes is so cinematic. Cameron really chose the right composer for these Avatar sequels! I saw that his Spotify listener count crossed 10 million a few weeks ago which is really impressive and he really deserves all the praise for his work!
    2 points
  18. 2 points
  19. Came back from my annual and these two were waiting for me (Amistad was missing from my initial BF delivery): Karol
    2 points
  20. 2 points
  21. Black Sunday recreates the film credits in a bonus track, an edit of some cues from the finale. CE3K again recreates the film credits as a bonus track, which replace the ending with an edit of other cues. Superman recreates the film swap of the Main Title and again credits as bonus tracks.
    2 points
  22. The truth of this observation points to the overall absurdity of the ESPN video.
    2 points
  23. JW: "When producing the albums, I only micro edit out the most boring and least interesting parts of a cue". Narrator: "He doesn't".
    2 points
  24. No it's from Amazon, choose other sellers.
    2 points
  25. Do: show JW working on Schindler's List, writing it and recording it with Itzhak Pearlman and the orchestra. Don't: the same tired "but they're all dead" anecdote from Schindler's List for the upteenth time.
    2 points
  26. JW: “After he had shown me the first cut of Schindler’s List, I said to Steven, 'You need a better composer than I am for this film.” Narrator: “He didn’t.”
    2 points
  27. Just seen it a 4th time and was listening to the score specifically. I heard a lovely choral, maybe solo voice multiplied, of the Family theme as Jake is giving himself up to Quaritch before Payakan's boss moment. It's not on the score. Also I focused on the lovely call-backs to Horner's material. Gorgeous moments where there are beautifully long and sweeping statements of the love theme (I see you). Especially as the film opens, then with Jake's date night with Neytiri, then Tuk, Tsireya and Kiri riding the Ilu underwater, and finally Kiri bonding with the Spirit Tree. Also a great reprisal of Jake's theme at the end, which isn't on the score, when he says "a son for a son" and he is hugging Spider. There is a nod to Jake's theme at 2:15 here - But it isn't what's in the film - What's in the film is a Jake's theme statement that mirrors the statement from Horner as Jake sends the humans home heard at 9:50 here -
    2 points
  28. On that note, they should let Ke Huy Quan introduce and narrate it. Why? Because his revival came too late for Indy 5 Everyone loves him and he’s not an obvious choice. He has had a theme written for him. He loves film music. (He told me so and his favorite score is Morricone’s Cinema Paradisio.)
    2 points
  29. Another Instagram reel, showing some parts not heard before: 10000000_521723326725509_8042354972702817529_n_1.mp4
    2 points
  30. It’s the ultimate “What If?” Scenario. Another artist’s interpretation of the material is absolutely fascinating.
    2 points
  31. I'd tell a better joke But they're all dead
    2 points
  32. 2 points
  33. The only albums of his that could possibly qualify as better than Ziggy are Diamond Dogs, Low, Scary Monsters and Blackstar.
    1 point
  34. Haha, Spielberg sounds like Buffalo Bill from Silence of the Lambs.
    1 point
  35. I don't have much to compare it to, but it sounds good to me. Riders on the Storm is an obvious sound highlight (and has always been a Botnick job).
    1 point
  36. The Man With The Golden Gun and A View To A Kill have some great unreleased cues too. But Moonraker and Licence to Kill would be amazing. Great to see that classic Bond is on LLL's roadmap.
    1 point
  37. 1973 1. David Bowie - Aladdin Sane 2. Bruce Springsteen - The Wild, The Innocent, & The E Street Shuffle 3. Todd Rundgren - A Wizard, A True Star 4. Pink Floyd - Dark Side of the Moon 5. Steely Dan - Countdown to Ecstasy 6. Lynyrd Skynyrd - Pronounced Leh-Nerd Skin-Nerd 7. The Stooges - Raw Power 8. Led Zeppelin - Houses of the Holy 9. Roxy Music - For Your Pleasure 10. The Allman Brothers Band - Brothers and Sisters 11. Blue Oyster Cult - Tyranny and Mutation 12. Paul Simon - There Goes Rhymin' Simon 13. Neil Young - Time Fades Away 14. The Doobie Brothers - The Captain and Me 15. Electric Light Orchestra - On the Third Day 16. ZZ Top - Tres Hombres 17. The Beach Boys - Holland 18. Can - Future Days 19. Grand Funk Railroad - We're An American Band 20. Rick Wakeman - The Six Wives of Henry VIII 21. Bachman-Turner Overdrive - I / II 22. Emerson, Lake, and Palmer - Brain Salad Surgery 23. The Who - Quadrophenia 24. Faces - Ooh La La 25. Black Sabbath - Sabbath Bloody Sabbath For anyone who could possibly care about my classic rock taste (nobody), these 70s lists are actually full of spicy takes Brain Salad Surgery is way overrated (maybe ELP's 5th best album), Quadrophenia is just ok, Wild/Innocent/E Street Shuffle is actually Springsteen's single best album, Aladdin Sane is better than Ziggy, etc.
    1 point
  38. The fact of the matter is the music is what it is. Howard set-out to create a score in a certain style - the style of The Ring - and out of that working premise, the music of The Lord of the Rings unfolds. The technique is intentional: the results of its working-out may or may not be intentional, but it doesn't matter. The whole idea is that we hear the music, and it conjures up associations for us with things we've seen before. If we hear a piece of music and it fires-up certain associations for us, that's what matters. To be told otherwise is the equivalent of being told: "Don't think of blue!" The use Ring examples again, there's a figure in The Ring which seems to depict shimmering sunlight. When Siegfried first speaks to the forest bird, we hear what's ostensibly the same figure, just much faster. Its such a basic idea - two notes alternating - that it does beg the question: did Wagner think of that? Honestly, who knows! But the fact of the matter is that it is there. An even more extraordinary example: the very same chord progression we talk about is used in the Ring to symbolize the Tarnhelm and eventually with the magic potion. As we were just saying, its a very simple building block, and very much a Wagnerian fingerprint, running from Lohengrin through to Parsifal. Still, when later on Waltraute tells about the gods sitting waiting for the end, we hear the same chords underneath Valhalla's music, even though there's no possible connection to the Helm, the potion or even to magic in general, particularly. Before that, too, when Brunnhilde first wakes, we hear what's basically the Tarnhelm in slow-motion. Is it intentional? Who knows! But it is there.
    1 point
  39. The Lost World had a bonus track that combined two tracks just as in the movie.
    1 point
  40. This is the epitome of why it's stressful to be a John Williams fan Here we have a regal sounding celebratory fanfare that could possibly be one of his best, yet we have no idea if a recording will ever be released
    1 point
  41. Okay, probably not a full alternate, but it's not a demo. Seems the guitar solo was just edited out in the show, but this does have a different ending. Other than that the waveforms match.
    1 point
  42. Yeah I was going to make the same remark as Andy, but then noticed Amazon has their own listing. Very strange indeed...
    1 point
  43. Okay but hear me out, what about Lorne Balfe?
    1 point
  44. in that last clip you can hear the last section of the piece and he goes full Summon the Heroes there
    1 point
  45. So, when will we be able to listen to this piece? Was there a broadcast? I'm pretty angry right now, we premiered 2 fanfares by John Williams (!!!) this month and neither are published properly? What is this, please?
    1 point
  46. If Steven Spielberg made a documentary about John Williams, would John Williams score it? If so, John could write a theme for HIMSELF.
    1 point
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