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  1. 9 points
    The Phasma Fight especially is downright remarkable! I attempted to transcribe it to show just how precisely coordinated those brutal orchestral stabs are with the action.
  2. 8 points
    Just re watched TLJ. It’s amazing how many Mickey Mousing moments Williams achieve that are so great and have all the advantages of Mickey mousing without the drawbacks.
  3. 7 points
    Performed by "The President's Own" United States Marine Chamber Orchestra and the Cathedral Singers November 10, 2019 Washington National Cathedral (Washington, D.C.)
  4. 7 points
    Does the script state that all characters should just stand idly in frame? Does the script state that all characters need to be dressed in the same dull, grey, beige clothes? Does the script state that all the camerawork needs to be washed out and dull, with very little dynamic movement or visual interest? People just move from one black/grey/brown set to another. They either sit in a room or stand in a room. They move to another room and stand some more. These films are relentlessly dull and stale in their camera use, it's a huge part of the reason they aren't resonating with viewers (especially for a so-called "magical" universe; Yates direction feels like a Jane Austen film adaptation for the Hallmark channel). The problems with these films go far beyond the terrible screenwriting; stop using the script as an excuse for David Yates' total lack of inspiration as a director. A fresh set of eyes is perfectly capable of fixing most of these issues. We heard ad nauseum that the reason his Potter films looked and felt stale was because it reflected the Wizarding World having the life sucked out of it by Voldemort. So why on earth do these films look and feel the same as his Potter films from the beginning, before Grindelwald is even a factor?
  5. 5 points
    TownerFan

    The Last Jedi: Guess The Temptrack.

    Williams had to follow a temp track for Star Wars... well, since the very beginning in 1977. He's very accustomed to deal with such thing, and he has been very successful, in my opinion, to let the temp track be just a starting point, a jumping board from which he could dive into his musical creativity and speak with his own voice. The Sequel Trilogy is a beast of its own in terms of methodology and scoring process. It's definitely different than the way he used to work with George Lucas and he had to adapt to a very different kind of process (and also surrounded with a much larger pressure from the various stakeholders). But it's a fact he has successfully navigated through all this.
  6. 4 points
    I found something rather interesting. Not really important at all, but interesting. I've been going through my rip of Jedi: Fallen Order (I've only examined a handful of files thus far). There appears to be a little bit of prequel music, but I'm not sure how much, or if there's any unreleased material. What is interesting however is that, and Gordy talked a little bit about this a few months back, is that ALL of the in-game music, including the music from the films, has been mastered in 7.1 surround sound. According to one of the EA devs, it sounds like JFO is pretty much the first game to utilize a full 7.1 mix. For instance, I just loaded up the game master of "Lament" from ROTS, and it is indeed in true 7.1 surround sound. Unfortunately at this time I am unable to get the files on lossless quality using current tools, only compressed OGG files. Just thought that was interesting. I'll continue to sift through the files to see if I can find anything else.
  7. 4 points
    Edmilson

    John Powell kicks ass

    Powell's doggo seems to be really inspiring him, lol. Also: 10 themes, secondary tunes, riffs and motifs? Can't wait!
  8. 4 points
    In Jeff's latest episode of "The Baton", I joined him as a co-host to discuss one of JW's most underrated scores, The Fury https://thebatonpodcast.podbean.com/e/episode-48-the-fury/ It was lovely to be a guest of Jeff's show, he's very dedicated to this thorough job. I look forward to join him in other episodes in the future!
  9. 4 points
    Rian Johnson would direct a far more dynamic movie than anything David Yates can achieve.
  10. 4 points
    Ironically that's exactly what this series needs right now to inject some energy into proceedings. A TLJ-esque sequel that throws out the tired direction they're heading and heads in a fresh direction. The convoluted mess they've painfully established thus far is, frankly, atrocious. Only the most diehard Potter fans would care about this series after COG; a franchise killing sequel, so far as interest from the general audience is concerned.
  11. 4 points
  12. 4 points
    I'm sure their haste to lock Johnson down had to do with not only their opinion of the movie, but also their very painless process behind the scenes (in fact, TLJ is thus far the only modern Star Wars movie to come together as planned).
  13. 4 points
    A Prussian Requiem isn't just your average requiem though. It transcends the boundaries of traditional operatic and orchestral styles while being coherent and relevant to today's listener by "shaking up" what we've come to expect from the typical grave, remorseful missa pro defunctis via a few modern touches and Powell's delightful style. Essentially, Powell hits every possible emotion in one grand and utterly beautiful in memoriam.
  14. 4 points
  15. 4 points
    It's that time of year again- time for another John Powell Palooza! Rio by John Powell Very pleasant, albeit one of his lesser works. It can be subdued at times, at least in comparison to other scores, but it's a solid album and fun to listen to. How To Train Your Dragon 2 by John Powell One of Powell's many home runs, building upon it's predecessor to great effect. His theme-crafting abilities are at their heights in this trilogy. It's amazing how consistently awesome he remains over the course of three films (and the movies are some of the best animated films of this decade). Ferdinand by John Powell Another out-of-the-park hit. There's not a single disagreeable note in Madrid Finale, for starters. The entire score is just mindbogglingly good. Powell is one of those composers who gives it his all for these casual animated projects, and that is immensely admirable. Hubris: Choral Works by John Powell Somebody stop me. Now 10 times in the last four days I've listened to this album. I had tried to start it when it first came out but couldn't get into it. I now realize that I should've tried again much sooner- it's one of my biggest muses since Solo: A Star Wars Story (also Powell- coincidence? I think not). There's so much I could say, but I'd like to take time to culminate my thoughts. I'll probably post something in the review forum. Across the Stars by Anne-Sophie Mutter and John Williams Gorgeous. It's a lot of violin on one album, but @Bespin has a great playlist for spacing things out with the Dudamel album as well. Loving Rey's Theme, Sayuri's Theme, Theme from Sabrina, and the title piece, naturally. Wonderful interpretations.
  16. 4 points
    I've said it before and I'll say it again- the iron scene is one of Williams most loveable little play-alongs, between the Death Star motif and the youthful main theme that follows. And scenes like the throne room fight and Finn v. Phasma are some of my favourites from that score as well. A New Alliance becomes more and more ridiculously good with each listen.
  17. 4 points
    I consider that one of his specialties! Punching up the physical action in a way that isn’t eye-rolling. In a way that sounds relatively natural, musically.
  18. 4 points
    What a dismal thing to say on a John Williams fan-board of all places. So you'd prefer we not have these brand new Star Wars scores by the maestro?
  19. 4 points
    The stuff going on at 0:24 is the type of stuff I can’t get enough of. I love how Williams uses gestures like this in his writing, in the abscence of a traditional melody that you can follow along. To me it’s really exciting listening to music like this, not knowing exactly where it will go, and being surprised.
  20. 3 points
    Marc

    The Phantom Menace is 20 years old.

    The 8-horn section on this score was phenomenal !! Here's my transcription and cover of 6m3 "Take to your ships"
  21. 3 points
    Updated to include Minority Report and Monsignor. Hopefully we can tick a few more off before the end of the year
  22. 3 points
    I am sure RCP will present the board with a more economically advantageous option. A smart film scoring app that will render composers obsolete. A transfered consciousness of Lorne Balfe.
  23. 3 points
    The Illustrious Jerry

    the mstrox thread

    Bush With Snow (2019 - Jerry, The Illustrious) To boldly go where no Jerry has gone since last year...through the snow!
  24. 3 points
    Easy, it must be near my age or more.
  25. 3 points
  26. 3 points
    KK

    The Photography Thread

    Spent the last two days in Iceland. Some clicks:
  27. 3 points
    crocodile

    Marvel Cinematic Universe Thread

    Sweet Jesus, are we still talking about it? 😂 Karol
  28. 3 points
    mstrox

    the mstrox thread

    thank u friend - ive never once been one to consider birthdays happy, which is something i need to work on, but i do appreciate the kind words! my spouse and kid know i dont like my birthday and have kindly accommodated for that (they gave me my gift a month or two ago), and my employees are treating me to lunch - ive learned to be grateful that people are being kind, even though im reminded most this day of slowly dying in life
  29. 3 points
    And then you could write a book about such journey, with the finale of seeing the concert. It would be a bestseller.
  30. 3 points
    The main problem here is that Rowling is just repeating the same story already told in the Harry Potter series. A dictator's rise to power, mirroring fascist leaders from our own history, in the magic world. The key difference being that audiences actually cared about the cast of characters in the Harry Potter universe, care of some excellent writing and directing in the earlier films that established why we should relate to these kids in this otherwise foreign universe (peaking in the superbly directed Prisoner of Azkaban). Nobody gives a shit about Bland Scarblandington, the most uninteresting one-note protagonist one could possibly conceive for a so-called "magical" universe brimming with "fantastic beasts." Surrounded by a cohort of equally beige, monotonous, personality-challenged statues pervading the frame, stilted objects David Yates considers "characters." You might as well fill the screen with mannequins because they have about as much range once Yates has finished sucking out any presence these otherwise talented performers have in the hands of capable directors.
  31. 3 points
    Gonna split my "musical ideal" into two paths, but both basically have similar ends of getting at a feeling of transcendence/being transported, spiritually. The final movement of the Escapades (Catch Me If You Can) suite which has this incredible rhythmic vitality, imaginative orchestration, a sense of grandiosity, and its own internal dramatic logic where it feels like every note/section must follow the previous one to tell the musical narrative (aka la grande ligne) "The Peterson House and Finale" which has a simple but not simplistic sense of reverential awe and existential contemplation. That Lincoln inspired combination of both homespun and classical. Also especially for this being an end credits suite, it like the above track achieves its own internal musical narrative in a way that goes beyond just summarizing themes featured in the score.
  32. 3 points
    So, so many but probably the one that always connected the most with me viscerally was Clash of the Sabers (aka The Duel) from ESB. First the high clusters opening which is VERY JW. It's one of those things that in two seconds, I know it's JW. Then probably the most sinister version ever of the Empire. I feel this cue is so full of desperate loss, crushing defeat, mixed with hope and yearning plus superb playing by LSO! Struggle, hope, and villainy in extremes. The absolute precision of the brass section is stunning. I told David Cripps this and after a pause he responded with a childish smile, "Damn, we were good." But musically it is so freaking sophisticated, chorals, fugato, atonality, clusters, harmony, bold lyricism, etc. JW was firing on all cylinders. It just builds and builds in emotion and intensity and is probably the cue I've always compared his very best moments to. It ends desperately distorting the lyrical melodies almost to their breaking point but the goal is out of our hero's reach and the music so perfectly captures this. But I remember hearing it in the theater for the first time in 1980 as a kid and it is permanently etched in my memories so it's very possible part of my adoration of this is the special memories. I think what also makes it so effective is before and after we get such great dramatic music with the Carbon Freeze and Losing the Hand. Though you only asked for one, I'll cheat and say Asteroid Belt is honorable mention. Maybe E.T. flying - the first time "the Theme" comes in big. There are so many examples but those were some special call outs.
  33. 3 points
    Yes, I have it. I am still doing my usual clean up on the audio and breaking it into tracks (removing long pauses, promotional spots etc, adjusting volume). I did listen live as well, and then I listened to the raw capture (and most of the concert) on my long run today. Overall, I really enjoyed the performance of the Williams' concerto as well as the others (Barber's Adagio, Saint-Saëns Organ Symphony + 2 encores from soloist James Ehnes). I want to go through the concerto again and really focus on the violin playing and how the orchestra is working with (and at times purposefully in counterpoint). A nice treat of the concert broadcast was that the intermission featured interviews with Stéphane Denève (conductor), Beth Guterman Chu (principal viola) and Ehnes. They all shared some insights of working on the piece (which Ehnes has only played with Denève conducting) and that John Williams came to the entire rehearsal of the piece. He however did not seem to be in the audience last night, so this was even more gracious given he was not going to be present to hear the final output. He spent time together with Ehnes as well 1:1. Multiple people mentioned the timing of the concerto's composition with Williams' late wife, Barbara Ruick, and her tragic passing in 1974. Here is a link to the program notes for those interested. https://www.stlpublicradio.org/programs/symphony/docs/20191102 - Saint Saens Organ Symphony.pdf
  34. 3 points
    Though not my favourite by a long shot, i'd choose the suite from 'Close Encounters', the Gerhardt version.
  35. 3 points
    Somewhere in my memory and Star of Bethlehem, OST concert versions. Because I love celesta, flute, violin and optimistic and emotional music.
  36. 3 points
    https://www.vanityfair.com/hollywood/2019/10/kathleen-kennedy-star-wars-royal-honor-cbe/amp Caption: A 'Raiders' reunion: Producer Frank Marshall; Lucasfilm president Kathleen Kennedy; Samantha Winslow, wife of composer John Williams; and screenwriter Lawrence Kasdan. Also I noted that Rian Johnson was invited to this shindig... in case anyone doubts that he is still in her good graces...
  37. 3 points
    Can confirm, front row is the best by far. You’ll be able to hear orchestras do these pieces for years to come, but seeing the man himself conduct them two or three feet in front of you is an experience like no other. It’s how I’ve seen him at the majority of the concerts I’ve been to, and it’s truly jaw dropping, not to mention the little interactions you get as mentioned above. I’ve exchanged head nods, little eyebrow raises, and smiles with Williams himself after hearing my favorite pieces live conducted by him, and it’s surreal. This past year at Tanglewood, after one of the Star Wars pieces, he even gave me a big smile and raised both his arms in a kind of “huzzah” in response to my excited clapping!
  38. 3 points
    Just finished listening to my copy, which arrived today. It's a revelation, the sound is spectacular. I've been waiting almost twenty years for this and it does not disappoint one bit.
  39. 3 points
    It'll be: Track 01:
  40. 3 points
    Horner. It has this magical and whimsical "we're at the movies" (as Terry Gilliam once pit it) vibe. Goldsmith's is great but it feels like it could be used for anything - sport event, coronation ceremony. Doesn't feel specific enough. Karol
  41. 2 points
    Actually, Jaws has a slow-paced build-up. It really takes its time and seems more interested in the characters (and their interaction) than in spectacle, action or monsters. And I don't think its style or tone are very 'today', but very akin to the filmmaking of the first part of the '70s, when filmmakers didn't think in terms of formulas or reaching the broadest possible audience. I actually feel respected not being treated as a juvenile when I watch Jaws, something I can't say of the average 'modern' blockbuster. So, no, not a modern-feeling movie to me. If they did a Jaws remake today, you would definitely see a different kind of movie.
  42. 2 points
    It's an issue that has baffled me for years, the idea of charging labels such high fees that no one can actually afford to release anything and the union members make no money. And yes, especially when you consider the session leaks which give no money to the players or the composer. I've no doubt that the union would make a passionate argument for why they operate like this, but as of yet I don't know what that argument is.
  43. 2 points
    I considered myself a book fan too and really enjoyed FB1.
  44. 2 points
    The 1997 Star Wars SE's Harry Potter box set Indiana Jones Box set
  45. 2 points
    Blumenkohl

    Plagiarism or Inspiration?

    Plagiarism and drawing upon your great peers: Original Thinking and shitting on everything around you: I'll take plagiarism in my music, thanks!
  46. 2 points
    Interesting question, and an all-too-easy answer for me. At times I've been so inclined as to say that Seven Years in Tibet is my favourite Williams score, and it very much is on most days. The suite, which acts as the bookends for the OST, is one of those golden nugget cues for me, encapsulating everything I love about John Williams and his music in a way that escapes words.
  47. 2 points
    Good score.
  48. 2 points
    Midsommar. Finally managed to muster some courage to finish it after the first unfortunate incident some months ago. It does hit a never for some reasons that are personal and it somehow manages to combine many things that really scare me into a one neat package. It's not really a horror in a jump scare kind of way but if you feel bit vulnerable in your life it will have a tendency to really grab you. It's not the plot or story that got me. It's the mood that it evokes. And that might not be pleasant. The last time I managed to watch about half of it so the fact I want to revisit it made me really nervous. But, against all, common sense, this time I decided to carry on. And, to my surprise, it ended being more cathartic. In the context of the story on screen, it might be actually the most disturbing thing to say. But hey, life's funny this way. The film itself is very well made and might be one of the most striking movies to come out this year. It's beautifully shot, edited, scored etc. Definitely something pretty to look at. And this might be the scariest thing of all. Karol
  49. 2 points
    Yet nobody noticed the missing teeth in the cover art. Fixed
  50. 2 points
    The whole opening is breathtaking, but this statement at 1:08… jeez. You can almost see the USCSS Nostromo gliding through space. Which brings me to: At 2:23. So sad and bleak. Perfect score for a perfect movie. And, since we're here: From 0:43 onwards. Those scattered high piano notes get me every time.
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