tpigeon
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Posts posted by tpigeon
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Well the critics can rip it all they want. I'm looking forward to Speed Racer.
I recently watched Charlie Wilson's War and Before the Devil Knows You're Dead, both of which I expected a great deal more from. Still, neither were bad.
Ted
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I'll admit that I somewhat lost interest in the soundclips after listening to them each once or twice. There are a few I really like, but overall I'd say they were pretty good and not much more. As many have pointed out, this doesn't mean anything about the score itself. Sounds clips never tell a track's whole story. So we'll have to wait and see...
Ted
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Must be a freudian slip on you behalf, since I'm pretty certain that is the FIRST and ONLY time I've ever mentioned anything about the male genitalia on this board.
Is there something you want to get off your chest Big T?It's no slip. You've made remarks in the past, usually when you get mad and want to put someone in his place. It's not something I'd expect you to remember. But being on the receiving end of some of those comments, I do remember. Your assurances to the contrary are curious, though.
Ted
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Well lets not start sucking each others dicks just yet...
From what little I've just heard, it's pretty promising.
The snippet of Marion's theme in Finale made the hairs on my arms stand up.
What is your fixation with penises? You seem to mention them a bit in this forum.
Ted
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The Snake Pit sounds like Indy's Very First Adventure.
Ted
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Call of the Crystal is really chilling. I still can't get over the Raiders motif in Spell of the Skull. I love it, but I wonder why he went with it.
Ted
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Irina's theme is kind of odd. I expected something different, more march-like. Even it's use in the Jungle Chase is kind of slow.
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Finale.... wow.
Ted
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Holy crap. Anyone listen to Spell of the Skull yet?! Hello, Raiders motif!
Ted
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It will be.... It... will be.
Ted
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I actually enjoy the third Pirates score and movie a great deal.
Ted
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KM is not alone in wishing Anything Goes wasn't on the Doom soundtrack. Given the circumstances of that album, I would have excised that song for any one of the brilliant score cues not included.
Ted
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Sounds like a poll waiting to happen.
Ted
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Henry Buck: Your rebuttal, please.
Ted
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I wonder if we're even going to get soundclips. Amazon shows no sign of posting the tracklist again.
Ted
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I never got the hype about the score or the film, in the case of There Will Be Blood. That the film was even compared to No Country For Old Men is staggering to me. Then again, I've only seen it once.
Ted
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I would guess, based on the running time of the Raiders March, that it's going to be the same version as the concert piece, with Marion's theme sandwiched in the middle. I'm more curious about this "Finale" piece, especially after the French review. I can only imagine the possibilities of what Williams may do differently with the Raiders March to make a grand finale to the series!
Ted
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Indeed!
Ratatouille made me a believer in Giacchino, but I'm still not gungho about him. James Newton Howard, on the other hand, has quickly become my next go-to composer. More than any other current composer, I find myself ready to buy Howard's scores when they're released. I've come to expect great quality from him, except in cases such as RV or Freedomland.
Ted
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I'm seeing more and more wasted notes if you understand what I mean, with his recent scores.
Listen to something like Star Wars or hell even Monsignor. Not a single note in there is there for the sake of being there. Everything is there for a reason.
Now listen to Star Wars Revenge of the Sith, or Munich, or The Terminal, or even Sorcerer's Stone, and you find a surprising proportion of meaningless music that neither lifts or (generally) detracts from the scene.
Yes, but sometimes this more complex style results in a brilliant synthesis of thematic development and orchestrational harmony, e.g. "The Tide Turns," from The Phantom Menace, one of my very favorite Williams action cues, or "Rescuing Sarah" (complete). I'm dating myself here, but I think many forum members would place these films/cues in the "new" Williams style.
If Williams' style has indeed changed so drastically, then I'll be the first to admit that I think "contemporary" Williams is equally good as, if not better than "classic" Williams. His music now is much more subtle, even sublime. I don't think he could write something as brilliant as "The Search For the Blue Fairy" (film version) in the old days.
Still though, I think to draw these distinctions about his different stylistic periods says more about the person listening to the music than it does about Williams.
Ted
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Interesting observations, Alan. I don't want to simplify, but it does seem like Goldsmith's action sound became much more direct in the 90's. This would be the polar opposite of Williams, who has layered his action pieces with thick orchestration rather than streamlining melodies.
And great point about movies themselves changing. "The blockbuster" has changed enormously, and not just from an effects standpoint. Now, there is more editing, shorter shots, more close-ups, shorter scenes, and overall more activity. By comparison, KOTCS will probably contrast with these aesthetics very heavily. Spielberg has said outright that he only cut when he needed to during the film's action sequences. I wonder how that will impact Williams' writing, if it all.
Ted
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Character development is boring.
Ted
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Well said, Beowulf.
Ted
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Wow. You two really don't like each other, do you?
Ted
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George Lucas ain't much of a director, but Star Wars is a great movie. The point is, I'm not a huge Halle Berry fan, but her performance (along with Thornton's and Ledger's) were excellent in that film. I'm not even addressing the Oscar stuff here. It was simply a very good performance. I'd rather not get into whether she deserved it or not. Let's take these performances for what they are.
Ted
What is the last film you watched?
in General Discussion
Posted
And Network.