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  1. 3 points
    Marian Schedenig

    John Williams reaction gifs

    I shot this in Brighton:
  2. 2 points
    I have been hearing from a lot of people about my lack of discussion about the commercial soundtrack releases. I bring up such things only if it feels like something historic happened with the soundtrack release. Other times, I do record something but take it out in the interest of time and flow of the episode. Besides, my plan since the beginning has been to focus mainly on the music as heard in the film, and the composition itself. But, I will take your comment into consideration going forward. That was the goal that Erik and I made for this episode. We knew there were lots of people who did not like this score, and we wanted to "convert" them. I'm glad you are enjoying the score now.
  3. 2 points
    Still better than Giacchino's kindergarten JW impersonations.
  4. 2 points
  5. 1 point

    Amazing Stories, 10 new episodes coming!!

    Fourth episode was kinda neat too -- a kind of cross between COCOON and INVASION OF THE BODY SNATCHERS. And directed by veteran Michael Dinner of HEAVEN HELP US, OFF BEAT and HOT TO TROT "fame" (first two with Horner scores, third with a fun Elfman score that has yet to be released -- outside a single track on the MFADT compilation). Plus a whole bunch of TV. The episode also had a nice, moody score by Harry Gregson-Williams -- a composer I used to dislike, but now have come to appreciate.
  6. 1 point
    Yeah, on Mustafar, the planet at the beginning of the film. I was thinking it was the SW theme when Lando shows up.
  7. 1 point
    Could Name That Tune be a funny Williams title for Reunion? EDIT: Hmm, nope. That appears to be 9M03 Bows. As Jay said, most of these cue titles sound like they belong to a totally different movie.
  8. 1 point
    Tunnel Monster, could be the snake if it is from TROS.
  9. 1 point
    No. They're likely just uses of the themes that were listed like in the table on the first page that happened to get entries in the repertoire due to them having timings to them, not actual cues. The use of the Emperor's theme in The Last Jedi got an entry even though it is simply a part of 7m60 Come Closer, Child.
  10. 1 point
    So many great performances, his smaller role as a man quietly in existential pain in Winter Light is a personal favorite I also particularly love his delivery of one of my favorite lines in Hannah and Her Sisters: "If Jesus came back, and saw what's going on in his name, he'd never stop throwing up."
  11. 1 point
  12. 1 point
  13. 1 point
    Homeward Bound over Call of the Wild, Call of the Wild over Balto.
  14. 1 point
    This is one of the best specialty label releases of the entire 2010s. Amazing score.
  15. 1 point

    STAR WARS Custom Covers thread

    The Signature Collection: Shadows of the Empire was made for request as a joint venture with Dave Williams from the FSM forum.
  16. 1 point
    He writes, “Why were they ever called ‘star destroyers’ before if they couldn’t destroy a star?” Because they’re destroyers … in space.
  17. 1 point
    I'm not a fan of the colour palette of The Half-Blood Prince, its often too murky and parchment-like. But there's so much more to cinematography and to directing than colour palette. The Half-Blood Prince has some of the best framing of all of these films, and Yates pulls some great performances from his cast, and he just knows how to let a sequence play out. I think he is a very good director: its some of the scripts he's directed (especially of Fantastic Beasts 2) which are subpar. Regardless, I think that - with five of these films under his belt and at least one more to go - the series could stand to bring-in a new director.
  18. 1 point
    Which was nominated for best cinematography.
  19. 1 point
    Anyone?^ But also, can't get over 1:48-2:02 in this track from SABRINA: Easily some of my favorite Williams woodwind writing; that last little figure at 2:01 that kind of awkwardly/quirkily ends on a G (when it feels like it should be an Ab) is the sort of thing only Williams could pull off—yet it somehow works great. This is one of those sections that is fun to listen to at half speed, to really hone in on what he's doing with the orchestration.
  20. 1 point
    Given how it seems to piss everyone off these days? Probably a wise person. Karol
  21. 1 point
    For one, I think the simple answer is the right one. The various reshoot and schedule changes made it impossible for him to do R1 AND Valerian.
  22. 1 point
    But he wasn't, Rogue One's production schedule was so complicated that he couldn't arrange the proper time to watch, write and record the score, which is a shame. I would've been potentially more interesting than anything Gia came up, even if he, Gia, had more time.
  23. 1 point
    It's a new theme derived from another theme. Like Anakin's theme. Funny thing about Rey's Theme is that, whether Williams intended any of this as such, every single musical connection and/or theory that appeared over the past four years in regards to this theme is valid. All the connections to Dies Irae, the devil's tritone, Force theme, Kylo Ren, Palpatine... all of these hold water. This is either the biggest set of coincidences in the history of film scoring or an absolute stroke of genius. Karol
  24. 1 point
    What if...? No, no, surely it won't. Well, let's check anyway. ... Holy shit
  25. 1 point
    Mostly it just sounds fuller, larger, with a more balanced mix of instruments. The brass also sounds less "tight" if that makes sense, especially on the opening note. Just comparing the first 2 seconds of both versions gives a pretty good indication of the difference, the TROS version clearly "breathes" more and the recording sounds like a much bigger space, while the TFA recording sounds small and constrained. The microphones were incredibly close to the instruments on TFA's recording, which contributed to this sound. It's a shame we don't have a clear version of TLJ's opening note to compare further, considering that score's wetter mix (we do have the tail end of the crawl in pristine quality and it sounds great). David Collins did an excellent analysis of the TFA recording back during the Rebel Force Radio podcasts and analysed why he thought that version sounded so off.
  26. 1 point
    I can confirm the theater your in makes a HUGE difference First 2 viewings I saw it in "Super AVX" and the sound was so-so .A lot of the music came out of the side speakers and sounded tinny and harsh like it was just mids and highs .That was immediately apparent in the Main Title Crawl and all the string pieces that didn't sound lush (like Farewell theme) I saw it a third time in IMAX and the sound system was spectacular .All the music sounded full range and had bass frequencies and had a better presence in the mix
  27. 1 point
    He's got his headphones on the wrong way.
  28. 1 point
    It'll be hard to know for sure until we are able to watch this in HD, but I think that there might perhaps actually be a little more to this cameo? Specifically, looking at the shelf behind him, it looks like maybe the objects on it reference some of the scores Williams has worked on? I can't really make any of them out but one does appear to be a little pirate's hook in obvious reference to Hook. Would be anxious to try and figure out what the others are.
  29. 1 point
    I tried so hard to like this film. I held out until the very end hoping that something might happen to salvage what a mess this "final" entry was in my eyes, but nothing happened. In what was possibly a product of the film mix, the quality of my theater's speakers, or both, I could hardly hear the score throughout 85% of the film despite my best efforts. The film ended and the credits rolled and I felt immensely disappointed. I'd spent 2+ hours feeling numb to what was happening and both frustrated and surprised at myself for not feeling more when significant events were occurring with characters I had invested sizable time with. But then those end credits swung into that Rise of Skywalker theme and our theater was filled with that old Williams magic. Suddenly I was back to being a little kid again, discovering and in awe of all Williams had to offer for the first time, eagerly trying to get my hands on anything he had written. There is a seriously transportive nature to that theme that almost, to me, seems to perfectly embody the love and appreciation we have for this man and the impact he has had in our lives more than anything. It's more befitting of being representative of Williams saying goodbye to Star Wars and reflecting back on the stupendous nature of his incredible career than a closing theme for the Skywalker saga (as I'm sure others have noted). For a solid minute, I sat in that mostly empty theater and felt all these intense waves of varying emotions alongside the sinking realization that Williams was here to send us off with one final glorious farewell. Williams was able to conjure up more feelings from me and with more depth in that single minute than the entire film had in 2 hours. As much as I loved the new sequel scores, after the Last Jedi I was content with saying that Williams had said pretty much everything he had to say on this franchise but then this theme comes along and proves me dead wrong. It was like the last piece had finally clicked into place. It feels so deliberate and purposeful to me, almost as if Williams knew back when he was asked if he wanted to score these new films that he had this one last thing to say on them. Or as if he had written this theme in the late 90s/early 2000s and had just forgotten to use it in anything and discovered it stashed away in a drawer somewhere shortly before scoring this film. The man turns 88 in 2 months and still knows how to make me feel certain emotions better than anyone. I'm speechless and in total awe at how beautiful this theme is. This is a defining theme.
  30. 1 point
    Ya know, this has got to be one of the best scores to a bad film that I've heard in some time. So much so that the movie almost hurts the score, hahahah. Almost! And I know I'm DEFINITELY in the minority on this one...but I didn't like the theme of the Speeder Chase track. I was initially glad that wasn't in the movie, but given the end result, it didn't really matter. Still, it felt like there was A LOT of material missing and I look forward to listening to it!
  31. 1 point
    Journalitht. Bloo chekk mahhhk
  32. 1 point
    Just love this little part of the Catamaran Race from Jaws 2: 1:20 - 2:00. Honestly Jaws 2 is such a fantastic score. I guess I'd be remiss not to mention this too: Gorgeous fanfare and I love the way it resolves.
  33. 1 point
    :00-:20 Absolute chills every time.
  34. 1 point
    No differences in the actual music present, that I'm aware of. Of course the OST featured "Orion" in its own track, while on the DE it's combined with the not-on-the-OST cue "Translation". And the OST featured "The Seventh Symbol" in its own track, while on the DE it's combined with the not-on-the-OST cue "The Kiss". But I can't even remember now if those tracks have crossfades or a short silence; Doesn't matter regardless, since the LLL includes both OST tracks.
  35. 1 point
    Road To Perdition, Thomas Newman Probably one of my favorites TN scores. Gorgeous themes and atmospheres for an impeccable movie. This scene still sends shivers down my spine:
  36. 1 point
    The reception was phenomenal. It was quite interesting as a musician to perform while the audience reacts to the on screen action. A lot of fun. The screen was above and behind the orchestra, and only used on the 2nd rehearsal. It’s a well oiled machine for sure. Everything went super smoothly. the film and music tracks were both mixed and sent through speakers. From what I’ve heard, it seemed it was well balanced and the sound quality was good. It was in a big hockey arena. Overall it was a lot of fun, the conductor was great, he was very precise and knew the score incredibly well. I would have liked just one more rehearsal....playing Quidditch only once through before the performance was a little nerve wracking... Hopefully we get to do more in the future.
  37. 1 point
    JWFan is like an intricately choreographed dance. We all have our parts to play out.
  38. 1 point
    Stargate was an independent film distributed theatrically by MGM. The DVD was released by Universal in Australia.
  39. 1 point
    I think it works very well with the themes of the film. The cold and geometric Chicago landscape is invaded by the figure of chaos that is the Joker. It's a rather clever visual solution, I thought. I think people get too caught up in the mechanics/logic of the plot. Yes, Joker's plan doesn't really make a whole lot of sense. But this is sort of the point. He's an almost supernatural entity in this mostly very mundane and almost realistic place. I always assumed this was purely intentional. He's a not a character in the strictest sense. As Nolan himself pointed out once, he's the shark in Jaws -- a force of nature. Who he is and what he wants doesn't really matter. This film is not about him at all. Yes, Nolan has a tendency to spell out a lot of things. But I bet this is a requirement if you want to make a film this dense for 200 million dollars. You don't get to be too sophisticated. Hence, the compromise. It's not ideal but... Karol
  40. 1 point
    Obviously also regardless of any musical quality.
  41. 1 point
  42. 1 point
    As a relative outsider (and less frequent poster) looking in, there is something very interesting going in this thread. Koray really seems to be personally, emotionally involved in what people say, and how people feel, about the director McQuarrie and composer Balfe, as much, or even more than, the movie itself. It seems like anyone who makes a negative comment about the film or its score gets treated as if they've personally insulted not only the director and composer, but also Koray himself, to a degree. I honestly, and with the utmost respect, wonder why that is.... I think it's funny that Dan Goldwasser (Scoringsessions.com) got all annoyed when Drew asked about the "Pirates" score on Twitter, too. A funny commonality between the two (as many here may know) is that Koray's brother runs FILM.MUSIC.MEDIA and Dan runs SCORING SESSIONS. Both of these websites rely on positive personal relationships with composers, in the latter case, to get permission to come photograph recording sessions, and in the prior case, to get inside access to composers for their in-depth video interviews. Not that anyone asked, but personally, I think the current trend in film music tends to favor scores that sound more like recordings/sound design and less like live orchestral performances. I liken it to the trend in the 90's when MTV-style quick-cutting was all the rage in filmmaking, or when digital color-grading came in and made everything look super saturated (like Oh Brother Where Art Though or Ultraviolet) or when Bullet-time was everywhere. I think Drew asked a relevant question when he asked about samples vs. live. Does anyone here really think that RCP scores sound the same as JW scores? Honestly, I think we all agree RCP has a sound that is not really anything like JW's. There are people on this board who dismiss the current sound (myself included, if I'm honest), and there are people who like it. The people who seem to like it, such as Mr. Who, seem to take any criticism of it as a pointless exercise in "bashing" music they like. Some even seem to feel like certain people here take JW too seriously, which strikes me as funny considering this IS a John Williams fan site. One thing that has emerged seems to be that the community here could be sorted into two very general camps - 1 camp likes to listen to film music primarily for it's musical value and the other camp likes to listen to film music primarily because of its association with a film. Camp 1 has been critical of the score to Fallout, while camp 2 has argued that camp 1 is disregarding what it's association to the film adds to it. For what it's worth, I fall into camp 1, again, not that anybody asked. thoughts?
  43. 1 point
    Whoever tagged Balfe is an asshole but Balfe himself comes across as a bit indignant at the fact that somebody doesn't like his score (yes, that type of score is what Balfe was asked to do but that doesn't make the score or general approach above criticism)
  44. 1 point
    I would say that Balfe was the initial aggressor in the conversation. His first reply showed that he misread the poll question (what the listeners heard even though we all knew it was a real orchestra). He then dodged my points by claiming that my headphones were not sufficient and that some listeners had wax in our ears. You guys are misinterpreting me as being nasty, but he evidently kept not understanding my questions, and thus I kept having to rephrase them repeatedly... Also, 36.4 people is not the same as 36.4 percent... 😛 Then, I tested the waters with another score that surely wouldn't still make people go crazy (and legitimately sounds like it is performed on dated samples)... And look who brought Balfe back for another round: I'm just trying to have a conversation about the way these scores are mixed and everyone is losing their minds.
  45. 1 point
    Yeah, I wondered about that. I was listening to Black Sunday the other day (a personal favourite) and for the fun of it, decided to pop up a few clips of Rogue One, mute the sound and sync them with cues from BS. With the exception of the groovy Fender bass/hi-hat stuff, it worked perfectly. Now THAT is what Death Troopers should've sounded like. Not Spaceballs 2: Electric Boogalo.
  46. 1 point
    2:00-2:13 just gets me so pumped up! I wonder if a complete ToD release will have a footstep-less version, and whether that would be more or less powerful.
  47. 1 point
    While skimming the article and got excited when I saw... all remastered, complete but then... with new artwork and a collectible mini-poster. Does this mean ROTJ will sound good now?
  48. 1 point
  49. 1 point

    John Williams reaction gifs

    There you go: And the autographed version:
  50. 1 point

    The influence of Herrmann on John Williams

    No need for Amazon. I pulled out my disc of North by Northwest and listened to the cue. Furthermore, I pulled up my pdf scores of "Car Crash" from North by Northwest, the "Main Titles" from Jaws, and the "End Titles" from Jaws. In addition to the punctuations in "Car Crash", Herrmman's orchestration (all the woodwinds, violas, celli, and contrabasses) of the E-F is thicker than Williams (bassoons, celli, and contrabasses). Although a bit more subtle, Herrmann's cue is in 3/4 whereas Williams is in a duple meter (technically 4/4, but since the rhythm of the motif changes from quarter notes to eighths, duple meter describes it better). Finally, I think Williams treats the motif in a totally different way (e.g. the diminution of rhythm and addition of a lower D to the motif). You've the right to your opinion, but I think saying the "Jaws motiv in it's complete form (orchestration, tonality) has been lifted directly from Herrmann's 'Car Crash' from North By Northwest" is not true. To each their own.
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