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  1. 13 points
    Not to mention that very significant milestone anniversary in 2021........ It's so obvious now! ........
  2. 10 points
  3. 9 points
    Arrived in France too with another gem! No scratches either
  4. 9 points
    I personally thought the OST was a bit "wall of sound" / "in your face"; It was hard to hear individual instruments at times, especially when the loud drums were playing. If the new mix allows us to hear the individual instruments better, that's an upgrade in my book!
  5. 9 points
    They decided to flip some channels around and muffle the sound to make this consistent with the other Star Wars rereleases.
  6. 9 points
    Got my set! Here are the theme explanations from the booklet: Booklet names on the left, previously known as names on right Relationship between Hiccup and Toothless/Flight/Main Theme = Friendship/Flying Theme/"Test Drive" Friendship Arpeggio = Friendship Ostinato Viking Fun theme = Berk Theme (This is Berk, New Tail, Astrid Goes for a Spin) Viking Warrior Theme = Viking Theme (This Is Berk (Original Opening Version), Dragon Training) Viking Aspirational Tune/Enlightenment/Winds of Change = Hiccup's Theme (This is Berk, War Room, Kill Ring, Over) Love Theme = Romantic Flight Dragon Theme = Dragon Theme (This Is Berk, Dragons Den, Over / Less Okay, Wings, Counter Attack.) Fate Theme/Hope for the Future = Training Theme/See You Tomorrow Theme (Training Out There, See You Tomorrow, Ready / Confront)
  7. 8 points
    https://thelegacyofjohnwilliams.com/2020/10/23/james-thatcher-podcast/ I hope you'll like it. It's a long episode!
  8. 7 points
    Because I need to go to bed, can some other JWFanners please ask any of the following questions during the event? How did this project come about and when are we getting the other Star Wars scores? When are we getting the other Star Wars scores? When are we getting the other Star Wars scores? When are we getting the other Star Wars scores? When are we getting the other Star Wars scores? When are we getting the other Star Wars scores? When are we getting the other Star Wars scores? When are we getting the other Star Wars scores? When are we getting the other Star Wars scores? When are we getting the other Star Wars scores? When are we getting the other Star Wars scores? When are we getting the other Star Wars scores? When are we getting the other Star Wars scores? When are we getting the other Star Wars scores? When are we getting the other Star Wars scores? When are we getting the other Star Wars scores? When are we getting the other Star Wars scores? And... yeah, I think that covers it.
  9. 7 points
    Jay

    Crystal Skull vs Force Awakens

    Always. I'll never understand why some people struggle with this. Nope. I love the Indy 4 score, I think it's great. But The Force Awakens is just better. In pretty much every way. Bigger, better themes, better action set pieces, better emotional arc. None of this has anything to do with the films themselves. The Force Awakens score is a modern masterpeice. The Indy 4 score is "just" a very good score.
  10. 7 points
    https://www.facebook.com/johnpowellmusic/photos/a.1690234244533204/2715459575343994/
  11. 7 points
    He was kidnapped by HanZ when he was still a youngling.
  12. 7 points
    https://www.fpa.es/en/princess-of-asturias-awards/laureates/2020-ennio-morricone-and-john-williams.html?texto=discurso&especifica=0
  13. 6 points
    There are plenty of cases of sound-alike cues whose similarities are overrated, but at least for the first 20 seconds, "The Face of Pan" & Agnes of God isn't one of them. I mean, the opening few measures of FoP are so clearly modeled on the Delerue -- right down to the voicing of chords -- that you could practically overlay them and it would still work. They're not carbon copies of course, but the churchy progression, upper-voice melody, orchestration, and texture is the same. The differences aren't enough to obscure the similarities, but they do exist: a slightly slower harmonic rhythm in Delerue; a more interesting harp part for Williams; a 2nd rather than 1st inversion EM chord in Williams; and the not-trivial fact that the phrase leads to C#m for JW vs. parallel minor of Em for Delerue. After that introductory musical paragraph, it's a more general orchestrational and affective similarity, like @Thor says, than a concrete melodic one. But, still, some pretty clear temp-trackitis throughout. I say this all while still holding "The Face of Pan" to be one of Williams's best lyrical set-pieces of his whole career. It's a masterpiece.The first concert arrangement, in particular, is practically perfect in my mind. This newer arrangement is an odd misfire to me. I don't like the sparser harp texture at 0:23, and think the new modulation at 1:49 is really ungainly. Worst, the sublime brass chorale from the original concert arr is inexplicably rewritten so as to lead less effectively to the resumption of the main theme at 2:25. In general, I think when Williams redoes a concert arrangement it's hit or miss; something like the new, positively transformative "Han Solo and the Princess" and "Across the Stars" is like rediscovering the theme anew, whereas the revised "Hymn to the Fallen" sounds almost like a violation of the original to me. All, of course, a matter of personal taste. (And overlearning the original too probably, I confess!)
  14. 6 points
    OK with amazing help from @BrotherSound it's now clear what's in each OST and DE track for the end of the movie 6M34 Savareen Tent = 27 Savereen Tent 2:00 | 14A The Good Guy [0:00-1:51] 1:51 6M35 Emfy’s Standoff = 28 Enfys' Stand-Off 4:25 | 17 Savareen Stand-Off 4:26 6M37-38 Joining the Cause = 29 Qi'ra Knows A Bit More Than Han 2:14 | 14B The Good Guy [1:51-3:58] 2:07 6M39-40 Real Thing Double Cross = 30 Double-Double Cross 4:47 | 14B The Good Guy [3:58-end] 1:26 {OST version is only two portions of the whole cue} 6M41-42A Dryden Fight = 31 Dryden's Long, Long Fight 4:51 | 19 Testing Allegiance 4:21 {OST version edited down} 7M42B-43 Skype Showdown = 32A Maul's Call / Parting Ways | 18A Good Thing You Were Listening [0:00-1:03] {OST only contained second half of the cue} 7M44A-B Beckett Departs = 32B Maul's Call / Parting Ways | was not on OST 7M44B Qi’Ra Departs = 32C Maul's Call / Parting Ways | 18B [1:03-end] Good Thing You Were Listening 7M45 Parting Ways = 32D Maul's Call / Parting Ways | was not on OST Cue DE OST 6M34 Savareen Tent 27 Savareen Tent 2:00 14A [0:00-1:51] The Good Guy 1:51 6M35 Emfy’s Standoff 28 Enfys' Stand-Off 4:25 17 Savareen Stand-Off 4:26 6M37-38 Joining the Cause 29 Qi'ra Knows A Bit More Than Han 2:14 14B [1:51-3:58] The Good Guy 2:07 6M39-40 Real Thing Double Cross 30 Double-Double Cross 4:47 14C [3:58-end] The Good Guy 1:26 6M41-42A Dryden Fight 31 Dryden's Long, Long Fight 4:51 19 Testing Allegiance 4:21 7M42B-43 Skype Showdown 32 Maul's Call / Parting Ways 5:38 18A [0:00-1:03] Good Thing You Were Listening 1:03 7M44A-B Beckett Departs 7M44B Qi’Ra Departs 18B [1:03-end] Good Thing You Were Listening 1:05 7M45 Parting Ways
  15. 6 points
    1 Meet Han 2:21 2 Bunk / Proxima 3:10 3 Corellia Chase 3:34 4 Spaceport 4:09 5 Gonna Be A Pilot 0:30 6 Empire Recruitment 0:32 7 Mimban Battle 2:04 8 Blackmail 1:32 9 The Beast 2:37 10 Chewie Untamed 3:33 11 Surveying Conveyex 1:01 12 Deluxe Train Heist 10:21 13 Walk to Dryden 2:14 14 Chicken In The Pot feat. Baraka May & Reid Bruton 2:08 15 Han & Qi'ra Reunite 1:12 16 Stormtrooper JP-054 Karaoke feat. John Powell 2:08 17 Dryden's Patience Is Tested 5:30 18 Card Room 1:09 19 Sabacc Game 2:35 20 L3 & Millennium Falcon 3:17 21 Family Stories 1:59 22 Lando's Closet 2:10 23 Trust No One 1:17 24 Oksana Floren, Yadaa Yadaa Yadaa 4:28 25 Extra Deluxe Mine Mission 10:23 26 Kessel Run In Less Than 12 Parsecs 11:00 27 Savareen Tent 2:00 28 Enfys' Stand-Off 4:25 29 Qi'ra Knows A Bit More Than Han 2:14 30 Double-Double Cross 4:47 31 Dryden's Long, Long Fight 4:51 32 Maul's Call / Parting Ways 5:38 33 Lando's Jungle Room 1:02 34 Sabacc Rematch / To Tatooine 1:53 35 Super Extra Deluxe End Credits Suite 9:57 Total time: 2:03:41 1 Meet Han 2:21 2 Bunk / Proxima 3:10 3 Corellia Chase 3:34 4 Spaceport 4:09 5 Gonna Be A Pilot 0:30 6 Empire Recruitment 0:32 7 Mimban Battle 2:04 8 Blackmail 1:32 9 The Beast 2:37 10 Chewie Untamed 3:33 11 Surveying Conveyex 1:01 12 Deluxe Train Heist 10:21 13 Walk to Dryden 2:14 14 Chicken In The Pot 2:08 15 Han & Qi'ra Reunite 1:12 16 Stormtrooper JP-054 Karaoke 2:08 17 Dryden's Patience Is Tested 5:30 18 Card Room 1:09 19 Sabacc Game 2:35 20 L3 & Millennium Falcon 3:17 21 Family Stories 1:59 22 Lando's Closet 2:10 23 Trust No One 1:17 24 Oksana Floren, Yadaa Yadaa Yadaa 4:28 25 Extra Deluxe Mine Mission 10:23 26 Kessel Run In Less Than 12 Parsecs 11:00 27 Savareen Tent 2:00 28 Enfys' Stand-Off 4:25 29 Qi'ra Knows A Bit More Than Han 2:14 30 Double-Double Cross 4:47 31 Dryden's Long, Long Fight 4:51 32 Maul's Call / Parting Ways 5:38 33 Lando's Jungle Room 1:02 34 Sabacc Rematch / To Tatooine 1:53 35 Super Extra Deluxe End Credits Suite 9:57
  16. 6 points
    Hiccup and Toothless: 0:22 of "Test Drive" Friendship Arpeggio: 0:04 of "Test Drive" Viking Fun: 0:28 of "This Is Berk (Original Opening Version)", 2:01 of "New Tail", 0:00 of "Astrid Goes for a Spin" Viking Warrior: 0:03, 1:28 etc. of "This is Berk (Original Opening Version)", 0:00 of "Dragon Training" Viking Aspirational Tune/Winds of Change: 3:18 of "This Is Berk (Original Opening Version)", 0:05 of "War Room", 0:48 of "Training Out There", 0:06 of "Kill Ring", 1:37 of "Over". Love Theme: 3:01 of "This Is Berk (Original Opening Version)", 0:00 of "Romantic Flight" Dragon Theme: 4:22 etc. of "This is Berk (Original Opening Version)", 0:26 etc., 2:15 of "Dragon's Den", 0:13 etc. "Over / Less Okay", 0:06 etc. of "Wings", 0:41 etc. of "Counter Attack" Fate Theme: 1:04 of "Training Out There", 0:13 of "New Tail", 0:30 etc. of "See You Tomorrow", 1:33 of "Ready / Confront".
  17. 6 points
    Arpy

    The JWfan Arpy Art Thread

    It's been a while! Here's some things I've been working on: I started a sculpt of Gandalf last week and have spent most of my time working on it. Initially it was much stylised and cartoony, but now I'm pushing for more realism. I've pretty much finished the Tree/Deer creature from earlier in the year, and the girl riding the rabbit droid is part of a project I've been developing for a while now.
  18. 6 points
    Some pics from the WAR OF THE WORLDS set at Universal, which I visited in 2010
  19. 5 points
    What's incredible to me is that Williams wrote the score to ANH thinking this was going to be just a one-off adventure movie, and nevertheless was able to write not one but TWO themes that would become musical symbols of the saga as a whole - Luke's theme and the Force theme. In that sense, these themes became bigger than themselves. And even in the first film, this happens with Luke's theme pretty much immediately with its effectiveness as a bold, brassy main theme, and the Force theme through its malleability to take on a host of different, though related, meanings. And along the same lines, I think the mythology of Star Wars was able to take hold and grow over the decades in large part because of the strength of these themes both as musical shorthands for the saga and as the leitmotifs that, through their prominence and familiarity, led the multitude of other themes in each film, new or old. And all this with the understanding that the original film was a stand-alone film, not one that would form part of three trilogies, all of which he would score. This is why for me ANH is in a league of its own among the scores for the trilogy-starting films.
  20. 5 points
    Here it is! What do you think of this arrangement? The album this is taken from can be purchased on physical CD here: https://shop.filmfestival.be/collections/cd or here: https://smile.amazon.com/dp/B08JKYK685 The album cam be purchased or streamed digitally at all the usual sites: https://music.apple.com/us/album/world-soundtrack-awards-tribute-to-the-film-composer/1536002535 https://www.qobuz.com/us-en/album/world-soundtrack-awards-tribute-to-the-film-composer-brussells-philharmonic-dirk-brosse/t8vgufc0r5m1b https://www.hdtracks.com/#/album/5f8de240fda45f2dc995dff3 https://open.spotify.com/album/4tVlGlYqnquSa1kwR0pcL7?si=ASo_l1r8TLO9zdOqKUUUzw etc
  21. 5 points
    I 100% disagree. After an uneven second installment, the third film brought so much warmth and heart to the table that I reevaluated the whole trilogy. It’s a great ending and Powell’s incredible score reflects that.
  22. 5 points
    Guys, they're holding outso they can announce:
  23. 5 points
    Unfortunately, these next two posts were a bit of a longer time coming than I would have hoped. Fortunately, I now have them ready to go, and just before Season 2 drops next Friday no less! I will mention that I did not spend a great deal of time sifting through the episodes for unreleased music, as I am swamped as is. If I have time to go back later I may add to both these and all my reviews before collecting them in PDF form for anyone to access at any time, all in one place. I will also be updating the timestamp catalogue with some revisions to specific names, most notably the chime motif to rhodes motif, as per a behind the scenes video, and the Western motif to be further labeled as the title card theme. I also started to work on an isolated score for a certain episode (hint: the only one I haven't posted about yet ). I will be sharing that at a later date! That being said, let's get a move on into Chapter 7! Man of Honour opens this episode of reckoning with the child's guitar, playing overtop some uncertain strings that foreshadow the forthcoming trials for Mando and company. Synth and orchestra plastering moves in and around before releasing into a big statement of the intro motif, complete with badbrass (see badass brass) and an especially pronounced triangle (?) hit. Three short cues, one being a cantina source (Country Pub), follow. I'm In features string clusters and metallic clangs, whereas Return to Agnot reprises ideas from Chapter 2's Trashed Crest edited together differently. Reprogram offers the first taste of a theme for IG, marking his new role as a nurse droid in a very sweet and well-measured montage. A particularly ethnic sounding wind instrument takes the helm, surrounded by steady percussive hits. The theme as presented here is taking its first steps, mirroring IG's shaky legs with the slightest edges, before being joined by more members and gathering strength. As a setpiece, the development is quite good, although it is merely the first part of a fantastic thematic journey, and not the last one to take the stage in this chapter either. The pizzicato version of the skeletal main theme that bridges the two big statements is a particularly intriguing excerpt from a sonic perspective. Kuiil, sweetly misspelt as Quill in the original cue title, riffs on the organic, soulful recorder (at this point I'm assuming its one of the ones Goransson got in his set) that was present in Chapter 1' s You Are a Mandalorian, which leads into the rhodes and a rousing but ultimately brief shout of the fanfare, pumping synth hopping below. Skill of Hands, unreleased, comes before The Standoff, which opens with sets of the western motif and timpani rolls, plays around with some unique sounds, but only really gets interesting when Mando and company walk through the lava plains. A catchy percussive beat takes over, punctuated by echo-y wind sounds. To me this is one of the coolest sounding stretches in the episode. Interestingly enough, the entire standoff cue is about a minute longer in episode, beginning with the utility motifs as opposed to the sudden da-dum. Black Skies rips right through the silence of the fading ending of the previous cue, blasting synth and tribal drums for a surprise attack at the campfire. Around 0:17 specifically you can hear a cluster of aleatoric strings and woodwinds likely touched up in the mixing process, a very neat nugget of an effect that may go unnoticed, but ultimately adds to the freneticism of the moment. The brass joins the electronics for a few outbursts before the cue settles. We hear a short wind idea potentially denoting the injured Greef Karga, as it also plays over his attempt to reason with Mando in Chapter 3, despite appearing nowhere else in the show. The child's guitar and strings get an especially rousing turn, hinting at future sweeping statements to come. As Kuiil speaks, his whistling resumes, and the gang walks along to a dynamic go at the recorder riff, dressed with familiar beats and patches. At 3:13 a really fun, bumping bunch of notes are played by muted horns, another short athematic moment that plays out really well to the ears. A distant vocalized synth (some futuristic Vangelis nod?) and the well-known tweeting synth from Chapter 2's The Egg round out the track. I think it's safe to say that Black Skies covers the most ground of any cue in the show in terms of range of moods, sounds, volume and style. Putting all the elements together in mind, it's really quite something! Verbatim recorder riff opens This Is It, and as the gang sets out on the mission the strings confidently usher in the fanfare for a triumphant but not necessarily victorious variation. Elements of the main set of themes intermix in quick succession before the cue dies down. The Arrival is without a doubt a fantastic introduction cue for any villain, and in the case of Moff Gideon, I'm really excited to talk about the inner workings of his multi-faceted theme as we continue. For one, this track is yet another example of a proper score cue sort of doubling as a suite of sorts. The progression to the biggest statement is clearly marked and every individual aspect takes the spotlight at one time or another. I especially love how the space clears at 0:08 for the bass note and strings, symbolic of the way the character enters into the story. The drum machine adds an unrelenting quality to what *might* otherwise be a fairly standard villain theme, and Goransson's later development of the material further proves that this is no pastiche. The hip-hop qualities that enter at 0:30 are shaped to the Moff's confidence and comfort: this is a character who knows he has the upper hand, and it is apparent through the music. At 0:41, the second part of his theme plays, a dangerous little string line often used to represent the uneasiness and growing panic of our trapped heroes. The lower strings play a counter melody which is a reshaping of the A section, before rejoining full orchestra for part B. The bass note clears the freneticism before a repeating string swirl accompanies the A section for a strong running. The little repeat of those strings at 1:33 accompanied by the changing of the beat is a REALLY cool moment, in my opinion. Deep strings reprise their role at the beginning of the track before electronics and effects take us to the acoustic guitar outro. Those final shots (some of the best in a well-directed episode) are forever linked to those last few strums heard here: it's a spot-on moment all around. An orchestral version of the end credits, sans the recorder theme, closes the album, providing an opportunity for a closer listen at the orchestrations and layered writing. It works really well as an overture for a highlights playlist, with the original version easily taking the final slot as a reprise (good call, Holko!). As always thank you for reading and I anticipate wrapping it all up with Chapter 8 very soon! Of course, Season 2 is just around the corner, so you can bet there will be no shortage of new discussion and a continuation of the thematic analysis in the coming weeks. I'm looking forward, and I hope you are too! I encourage your participation in these upcoming conversations, as there is no opinion, perspective, realization, tidbit or random thought that hasn't proved useful and/or constructive thus far! Cheers!
  24. 5 points
    Nobody will need re-recordings of any Star Wars score once Mike works his magic on them.
  25. 5 points
    Roger Feigelson of Intrada Records says This looks great. I'm twisting arms for CDs on these, so who knows! https://filmscoremonthly.com/board/posts.cfm?threadID=141620&forumID=1&archive=0
  26. 5 points
    Now let's get Horner's score to the film out in a complete edition!
  27. 5 points
    Yes, we know, you hate fun and liking things and being passionate.
  28. 5 points
  29. 5 points
    You guys are ridiculous. It's currently 5am in Powell's local time and you were expecting a tracklist to be up by now? Let the main wake up and have his coffee first!
  30. 5 points
  31. 5 points
    @Holko@A. A. Ron This Is Berk v5d This is the unreleased demo version using the Winds of Change theme over the Dreamworks logo https://drive.google.com/file/d/1gMCCtBo-EsVWa81aT4aaGqifdduQimSL/view?usp=sharing This Is Berk (With Original Opening Version) This is track 2 of the Varese deluxe edition, no edits required. https://drive.google.com/file/d/1o2qESzDPLFOP-It236wO2P7D-egOjHlO/view?usp=sharing Did Anybody See That? 1m6v3d Demo version of the film cue, some orchestrational differences (most notable is an extra trumpet for the cut to Hiccup running from the dragon on the hill.) https://drive.google.com/file/d/1MEjUkbzNpqEYeTsompetYngbCmTDQz4i/view?usp=sharing Training Out There The opening was dropped in the film, the film starts with the Winds of Change theme https://drive.google.com/file/d/1D69WOvzjxAqbCSPRKVaCmo0Q6uqj6L-i/view?usp=sharing
  32. 5 points
    In terms of re-recording entire scores, this may sound like blasphemy but I wouldn't mind the original Star wars slightly re-orchestrated for a 100 piece orchestra instead of the 70 piece they used (or whatever the numbers are) and re-recording it with the current LSO
  33. 5 points
  34. 5 points
    File > New > Auto-Generate Then someone added an extra 0 by mistake.
  35. 5 points
  36. 5 points
    There’s not enough detail to really discern anything other than just the general lengths of the words. But the look of these is consistent with the only glimpse I’ve ever seen of the bound sketches: Based on that, I’d say it’s more likely to be: STAR WARS THE RISE OF SKYWALKER MUSICAL SCORE And based on the size of those Black Sunday and Star Wars volumes, I’d venture all three of those pictured may be for TROS, given its length relative to the original (226 minutes recorded vs. 92).
  37. 5 points
    From the moment the CDs arrived, were played, ripped onto our harddrives, they were doomed. They were undone, destroyed, after all of man's optical drives and devices had failed, by the tiniest scratches that plant workers in their wisdom put upon disc surfaces. Karol
  38. 4 points
    http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=8575
  39. 4 points
    How could anyone not pick A New Hope? The one that started it all with its utter brilliance and immediacy.
  40. 4 points
    Jay

    Crystal Skull vs Force Awakens

    What are you talking about? Your reply is the same as everyone else's we all picked TFA over Indy 4. ??
  41. 4 points
    I didn't think about it until now, but is my fake title from the other day "The Great Winning of the Millennium Falcon on Numidian Prime and End Credits" really all that worse than "Super Extra Deluxe End Credits Suite"?
  42. 4 points
    I’m watching the movie in anticipation of the CD. Never really did that kind of thing before, I must be getting old. 😂 I’ve previously only seen it the once in its theatrical release... and it’s not one of my fondest memories. Maybe I was too young, but it was all so bleak. And it was scene after scene, with nothing going the protagonist’s way. Seeing it now, again, it really is a one-of-a-kind-movie. It’s relentless. The first reveal and the disappearing bodies. The way his kids hate their dad. The bodies in the river. The mob mentality. They way way the ferry leaves and how the aliens suck people up. The way the son keeps fighting with his father... and so on, and so on. As a viewer, I think there are very few, blockbuster movies at least, that give you this kind of experience. The sound design is equally horrifying. It’s loud and uncomforting. And what do I think now, after seeing it today, my second viewing after 15 years? It’s good. Spielberg surely knew he was “breaking the mold”, and - though I can’t say I’m enjoying it - I can’t take my eyes off of it. Characters are unlikable and the movie is brutal, too brutal. I kind of hate everyone in the movie and at the same time everything that happens to them. It bogs you down, scene after scene. It’s too brutal, too relentless, too unforgiving, too sad. It’s perhaps one of the most well made and interesting blockbusters you’ll ever see. If you can take it. I can’t wait for my CD to arrive.
  43. 4 points
    Duncan's Toy Store nah this is great
  44. 4 points
    I'd love to see A.I. Artificial Intelligence re-configured and re-structured into a hour long symphony of love, loss, and technology, recorded by not-Shawn-Murphy
  45. 4 points
    i thought that Intrada released this? 😂
  46. 4 points
    I love when MM references the intertextual in JW's scores, e.g. the above in context with Lost World (I think?) I was watching Jaws with one of my kids within a day of listening to the podcast, and this made me think about how music was used there too. There are many great unscored moments, the human to human dramas but also the death of Quint, which in a way might reflect his own pathetic human struggle and pulls away the myth around Quint's Tale, the Sea Hawk-like music, "Spanish Ladies," etc. My set arrived a few days ago and I've listened to the score presentation. Sound is as fantastic as I'd expected, if maybe slightly less of a revelation than MR. Listening now, AI, MR and WotW really feel like a musical and sonic trilogy. In some places, WW also feels like a continuation of the darker parts of RotS [EDIT: yes, @lemoncurd, I hear PoA too], and some of that quasi-operatic minor-mode and elegiac writing undermines the more abstract, brutalist content that potentially makes the score unique in this period of JW's work (or any period). There's a lot of Dies Irae bleeding out here and there. Blatant Rite of Spring/Jaws in the Intersection Scene, nice balance including the woodwinds but again it doesn't feel brutalist rather than a shot of a well-known syrup. The latter parts of Prologue/Closing Montage have a starry night flavour which references SW in a less overt way. I haven't seen the film since 2005 but do plan to revisit it. I appreciate having both the Freeman and no-Freeman options. I do like where JW stretches in tiny ways, e.g. in the last 23 seconds of Red Planet, the rising string glissandi from CE3K (referencing composer Iannis Xenakis) juxtaposed with the hammered two-note chord that opens John Adams's Harmonielehre (which Adams also brings back in Doctor Atomic, coincidentally in 2005). Truly spooky, and the improved sonics make it pop. Epilogue is still my favourite cue, for several reasons, including that it focuses on three trumpets played quietly which is a kind of a twist for JW in a blockbuster. It's really all about the tuning of that opening minor chord that is a drama of its own (that we aren't necessarily aware of on a conscious level); it's straining against the human convention of the equal temperament tuning system in a way that could suggest the breakdown of society after its destruction. On top of that, towards the end JW lets the three trumpets' lines drift in different directions and land on other unrelated minor chords (so JW) and interesting dissonances before returning to the original chord again. And in the last 90 seconds, after playing an elegy that is somewhere between the Epilogue from the re-recording of The Fury and Cybertronics from AI, there are the strings in the background, hanging on the two-note chord! JW at his best. There are lots of other great bits more in that "trilogy" vein, as well. But returning to this score, I was struck that (as with MR) it's not nearly as monochromatic and modernist out of context as I remembered.
  47. 3 points
    The Hidden World Theme is ace! I often revisit that score and marvel at how Powell was able to bring the trilogy together and consistently deliver such brilliant music. It's a great musical tapestry that I don't think most animated films are afforded.
  48. 3 points
  49. 3 points
    The cue up to the Imperial March is approximately 30 seconds, which is the same length as the track on this album. With the Imperial March opening, it's over 50 seconds. So it looks like it'll just be the first 30 seconds of Gonna Be A Pilot (up to the transition), then the recruitment music, and then Mimban Battle starting off with the Imperial March opening. So it will be at least mostly chronological.
  50. 3 points
    crocodile

    The Official La-La Land Records Thread

    Regarding the remaining 2020 releases (and some 2021 ones): Certainly there will be that just don't expect anything jaw dropping. We had at least 4 jaw dropping projects (IMO) planned and all of them are delayed for one reason or another and will not be making Black Friday. That being said, our 1st qrt 2021 may prove to be pretty awesome. There won't be anything released in November so basically anything that is done and approved (and in house) will be made available for our Black Friday batch. As of right now 2 titles with 2 more titles close to final approval and possibly 3 more after that. Karol
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