Thor
-
Posts
19,935 -
Joined
-
Last visited
-
Days Won
49
Posts posted by Thor
-
-
No, I think we interpret the word 'curate' differently. I've always taken it to mean both a selection of material, as well as manners in which said material is presented. Like curators at an art exhibition. So sequencing plays a role too.
-
2 hours ago, Jay said:
Actually, you're completely wrong about that. The OST is not curated, it's the opposite. It's LONGER than the amount of music that got recorded, because there are two 6+ minute stretches of music that he put on the score album twice (in identical performance and mix each time).
How does that negate the fact that it's curated? As far as I know, a selection and order of music have been made? It's not the entire score in film order? Just because it plays the same theme twice, doesn't mean it's not curated. In fact, that's another part of a curated presentation. Personally, I like the two iterations of the theme -- makes for perfect album bookends.
-
44 minutes ago, Mr. Who said:
I’ve always had an issue with JW’s Heidi (not because it is bad musically) but rather because the score is not appropriate for the story which is very Swiss. The american sound of JW’s score just doesn’t fit with the story, culture and the setting as someone who read the book as a kid.
Yeah, it could perhaps do with a little more Euro-centric sound, but it's fine as a musical album, and it does hit the right notes of the story throughout. I think Williams "missed the mark" more clearly, geographically, with THE BFG. LINCOLN-style Americana for such a quintessentially British story.
-
The film is most certainly a masterpiece, one of the best war movies ever.
The score bored the hell out of me when it came out. That kind of slow, solemn Americana was not what I was looking for as a restless young man of barely 20. Of course, tastes change a bit, and now I'm far more receptive to that kind of music. I mean, not for an infinite amount of time - the OST is perfectly curated - but enough to get engrossed by. The film is also brilliantly spotted, allowing many scenes to play out more effectively without music.
-
Another interesting one comes to mind. THE TOWERING INFERNO was called INFERNO IN FLAMES over here. As in, are there any non-flame infernos out there?
-
- Popular Post
- Popular Post
Some of the main criticisms at the time related to the film's darker tone, its violence and its happy-go-lucky comic book pace and structure (Looney Tunes maestro Chuck Jones had been involved on storyboard level). However, over time these aspects have turned into strenghts. It's a great film; I still remember seeing it for the first time, on VHS, in the late 80s while visiting some friends of my parents in Denmark. Good times.
- Nick1Ø66, Edmilson and Jurassic Shark
-
3
-
9 hours ago, Naïve Old Fart said:
Who are the other two people?
Actually, scratch that! It's up to JW to know who they are, not me.
Sorry I asked.
Gorfaine & Schwartz, his agents.
-
-
3 hours ago, crocodile said:
Fantastic score, really rich and enchanting. Interesting to see Elfman's use of gamelan, especially coupled with strings. He will echo that kind of writing in the opening movement of Rabbit & Rogue ballet many years later (my favouritebit from that work). Great liner notes, too. It was definitely worth the long wait. I am really interested in seeing the movie now.
Karol
Elfman fooled around with many NIGHTBREED elements in the 70s already, like the famous gamelan piece in the Mystic Knights days. It's a great score, but - as you would expect - the OST is more than enough for my use. The country version of "Skin" is delightful.
-
8 hours ago, Naïve Old Fart said:
I got up early, this morning (as you do) and I turned on BBC Radio 3 (as you do), and I heard something called O MAGNUM MYSTERIUM, by someone called Morten Lauridsen.
It reminded me of music by Gavin Bryars - JESUS' BLOOD NEVER FAILED ME YET; THE SINKING OF THE TITANIC - which I love, by the way.
Has anyone else heard of this composer?
Not familiar with him, but I've heard the name. I think he's either Danish or of Danish origins (and I'm too lazy to google).
-
Not really film music, not really classical music, but event music. Didn't know where to put it. Glennie-Smith's approximations of classical tropes are perhaps a bit too on-the-nose and homophonic, but they're very entertaining.
-
Can't wait. There were some similar sequences in FURY ROAD, and they were awesome.
-
I remember sampling this score when it came out, and it didn't do much for me. It was Silvestri doing his best Herrmann schtick (which he's good at, I'll give him that).
Still hoping for premiere releases of more pre-ROMANCING THE STONE scores. Or stuff like SHE'S OUT OF CONTROL. Or PAR OÙ T'ES RENTRÉ? ON T'A PAS VU SORTIR. Or OUTRAGEOUS FORTUNE. That kind of stuff.
-
I've seen the whole US version, but it never connected with me much. It's okay. Meanwhile, I've probably seen the original Gervais version 5 times all the way through. And thanks to this bump, I might give it another go!
-
30 minutes ago, filmmusic said:
Just listening. It's quite good, yeah, but I don't hear any "Americana".
Although to be fair, I have connected the term with Copland and Williams.
Americana can take many forms and shapes. It doesn't only have to be jubilant "western music". I love how Talmi deconstructs some of those wide open intervals leaps usually associated with the style.
-
"Round". I giggled.
-
9 minutes ago, crocodile said:
I love it dearly but for me The Agony and the Ecstasy takes that title. 😀
Definitely does! One of my top 50 scores even.
I've tried multiple times to get into CLEOPATRA, but I can't.
-
1 hour ago, GerateWohl said:
My grandmother reached 104.
That's crazy. Lucky you, with those genes.
-
I hated Pearl Jam, Nirvana, Soundgarden, Alice in Chains, you name it, with a passion in the 90s. Grunge was the Antichrist of music when I was a teen, and I still can't appreciate it, all these years later. But I like some things that the respective members have done since. Like Eddie Vedder's "Man of the Hour", as featured on the BIG FISH soundtrack. I'm far more inclusive these days, as far as musical taste is concerned, so maybe I'll give it another shot.
-
20 minutes ago, Jurassic Shark said:
C'mon, you're not that old.
But it's something to think about. We don't get old in my family. My maternal grandmother was an exception. She passed away in 2022, 93 years old. But by then she was institutionalized and suffered from dementia. And now Williams is planning another Euro trip at that exact age, maybe combined with other places and dates. I find it hard to wrap my head around.
-
Sightseeing is pretty stressful too, when you're 92 (93 then). But yeah, crossing fingers that it will be part of a "Euro tour". I've always dreamt of him coming to Oslo. The Oslo Philharmonic is quite world reknowned, last time I checked, so that should be an attraction.
-
If you're a sucker for mournful Americana (which I am), then this 2009 score is for you. Beautiful, slow and poetic. Not quite on the level of Talmi's SAVANNAH, but a solid second place.
-
Yes, it was a great concert regardless. But obviously coloured by the situation.
-
9 minutes ago, Naïve Old Fart said:
Berlin? Twice in... what... two years?
And when was the last time you were in London, Mr. Williams?
I'll tell you: July 4th, 1998 (!). I know, I was there!
Yes, damn that illness in 2018! Soooooo close. I would have preferred another go at London rather than Berlin again, but having him come back to Europe was way, way beyond what I expected anyway.
Do you think Saving Private Ryan is a masterpiece?
in JOHN WILLIAMS
Posted
I've always found tracks 1-3 to be movement 1, 4-6 movement 2, 7-9 movement 3 and then the repeat of the theme is a fine epilogue. Beautiful presentation.