Henry B

It's not like a musician all of a sudden wakes up one day, writes out a whole score and publishes it. Composing is something that takes practice in the same way that performing does. So I'm sure Williams did dozens of pieces as a student, if not hundreds. But I wonder if they're really worth hearing.

If I remember correctly, Luke's theme is stated heroically at the very moment that we see a Naboo soldier shot and killed. Now that's some lousy music editing.

He dies at the end of the comic just like he did in the original pilot. So...

"Where No Man Has Gone Before" is being redone in a comic to tie into the movie. So I doubt Gary Mitchell will also feature in the film. Which is good, of course... bring on an original villain.

For al we know, Plagueis is more likely. Yeah. It seems this was finally revealed in the Darth Plagueis novel. Plagueis and Sidious collaborated to create a dark side being, but the Force itself rejected them and retaliated by creating a being of pure good (well, sort of), Anakin. None of this is made clear by the prequel films, though. I think Lucas tossed around a lot of symbolism without really understanding it. The sloppy writing doesn't interest me.

It really depends how you define mistake. Orchestral playing is so much more complicated than just right note/wrong note. Many professional orchestras can play difficult, hour+ long pieces without completely flubbing any notes. Playing with the perfect intonation, articulation and energy is more elusive.

That's "Laser Fight March."

Nice. You're certainly absorbing Williams' action music style. A few suggestions. When writing for synthesized instruments, it's a good rule of thumb to write only real, playable parts - not because you expect it to actually be performed, but because it almost always sounds better. I'm thinking of that horn part right at the beginning, for example. Doesn't it go on a bit too long? Imagine actually playing that figure on the horn. By imposing this limit upon yourself you'll avoid falling into traps of repetition and monotony. The other suggestion is to reel in your tempo changes. Williams' action music, as complicated as it is, has remarkably little variation in tempo. Metrically it's all over the place; the quantity and subdivision of beats change constantly, but the pulse stays pretty steady. That's not to say that you can never introduce a tempo change, just that you should consider it carefully and build, rather than jump to it.

That is actually an alternate of "At the Court of Jabba the Hutt."

I don't think Williams travels internationally anymore.

I think ggctuk is saying that he did a new game rip that doesn't cut off any fraction of music. So you don't need those recordings I did. Right?

Medieval music is very little understood even among most professional musicians. As airmanjerm said, the stuff in PoA is closer to instrumental music of the Renaissance than of the Medieval. Between the Gregorian plainchant we've all heard and Renaissance madrigals there's about 400 years of nearly forgotten but fascinating music. Try or Landini.

Seems it is not remastered at all. http://www.sonymusic...track/P/1169630 Ok, the quality of the samples are not the best but it sounds like the same quality from the original OST.TPM is a modern, digital recording. What's to remaster? Sure, you can always remix and fiddle with the sound, but it doesn't matter much.

Hey, man, I can recognize themes if I want to.

Does criticizing Lord of the Rings change the fact that Red Tails looks fake?

There are post-processing effects like color grading, image softening, camera zooming/manipulation, whatever - I'm not too good with the technical details - that can make completely practical effects shots, or real footage, look computerized and fake. Lucas is obviously a fan of these.

Right, I'm working on that. Although to my ears the music from TOR isn't of any higher quality than the original KOTOR rips. And the material from Galaxies definitely sounds worse.

Unfortunately, that's just how KOTOR2 is written. I love it anyway. Griskey maximized the one minute length of area music (one piece is only 36 seconds - wow). Of course, the "stinger" cues aren't very good for listening.

One overlooked thing about this release is that, aside from the new prequel bits and the massive original soundtrack, there is also music from Knights of the Old Republic 1 and 2. KOTOR2 was already complete in its original game rip, but KOTOR1 had a large amount of pre-rendered cutscene score that couldn't be separated from sound effects and dialogue. A little bit of that music came out in Star Wars Galaxies. Now there's more, including some of the most exciting action pieces. I'm going to work on a new edit of KOTOR incorporating all this clean music. Yay for Jeremy Soule music!

Arrived today! What a wonderful score. Sound quality is great and it's nice to hear those awkward edits, like in "Main Title," smoothed over at last. I love the track "In San Francisco." Those short cues are classic TV sort of scoring.

Depends what you define as "marvellous adaptions" and whom you credit them for. I'm almost certain that a gigantic portion of the powerful lyrical side of these films can be credited to Walsh and Boyens. It is also suspicious that the ratio of silly moments rises steadily over the course of the three films, and is directly proportional to the rising amount of power Jackson got over the film's shape and content. Just remind yourself of the PJ commentary track on the ROTK extended version, where he argued with Walsh and Boyens over the fact that he didn't use ANY of the, apparently numerous, additional epilogue scenes because they didn't feel like "fun" to put them back in, and he only used scenes that were "fun to put in". Yeah, sure. Peter Jackson is the new George Lucas. Most artists are really clumsy when it comes to discussing their own work. Remember that he's recording a commentary track and tailoring his responses to his assumed audience, not revealing his innermost workings. You don't get to direct three wildly successful, universally beloved films by thinking, "duh, let's put fun stuff in the movies." As for Walsh and Boyens arguing with him and therefore improving the movie... great! Is collaboration such a bad thing?

Haha. My pleasure.

Yay! Seldom do we see unreleased Williams music so soon. Jay, thanks for buying this and good luck with your editing...

Wait, Faleel, how did I end up in your signature with a quote from a different forum?

Hmm. I really wanted to like this movie, but it left me pretty cold. It's so hard to explain: I felt like all the characters were space aliens, their actions unconvincing, their speech especially unconvincing. Maybe that's because there isn't much dialogue and the film is told from the horse's perspective. Fine, I like that. But then don't ask me to care so much about the human characters. I just don't buy Albert and his obsession to be reunited with Joey. Real people don't do things like that. Okay, but it's a fairytale, right? But... there are scenes of brutal violence. It's tonally schizophrenic and pulled me in so many directions that I ended up nowhere at all. All the reviewers, the critical ones at least, are saying that Spielberg layered on the sap and tugs at the heartstrings. For me, it's the opposite. War Horse was dull and lacked real emotion. Sadly, Williams' score, which sounded really good on CD, contributed mightily. It seemed so dim, restrained, and conventional. There's a really beautiful piano solo in the last scene of the film. But when it gave way to the usual full orchestra with plaintive trumpet theme, I actually got angry. Why did it have to go out on such a mediocre note?