charlesk

Pearl Harbor! Great joke!

I'm salivating Getting all those libraries.... The most amazing that showed up in the cue where the SAM Horns and trombones.

It was done in computer, using samples of real musicians, in numerous playing styles. It is not easy at all to get this quality. You may want to check these sites: http://www.garritan.com/mp3.html http://www.nemesysmusic.com/ http://www.melomaniac.dk/ I hope Simon Ravn could explain which libraries he used.

Simon Ravn! I didn't know you were a member here. I've listened to your demos while investigating Gigastudio and Sonic Implants. Very good stuff. (This guy is a wizard with the Gigastudio. A menace for real orchestras out there )

I've been thinking about the use of some synthetized sounds in soundtracks. What I've found is that synth sounds have the tendency to age easily; what it sounded cool today, will sound cheap and old fashioned in 5 years. This is a reason why I would stay away from tech sounds, and if some new sound is needed I would do it with caution.

Most posts are against it, but the poll says otherwise. Let's face it: we need adventure movies, we need old Harrison Ford and his funny, down-to earth, simple man hero. We are curious about how Spielberg-Lucas-Ford-Williams will collaborate again after all these years. Spielberg, Ford and Williams are more mature, Lucas may have learned something in last years. Ford is 60, who cares? A good scriptwriter can use this as a plot device, to add drama and move the conflict into another level. For starters, I expect Spielberg and Lucas having more than one disagreement that could turn into some interesting stuff, Ford wanting to have better acting opportunities, Williams wanting to use a completeley different approach....man, this has to be a blast! LOL

I really don't think Williams can decide who can attend to a scoring session, since the music he produces belong also to the producers of the movie...soooo........ :cry:

Ok, 1) is funny because of the seriousness and the huge energy the kid puts to his Darth Maul character. 2) his video published on the net is an embarrasment for the kid. 3) I hope he keeps doing it anyway. He's got plenty of energy and he may achieve great moves. And the excercise is good. 4) I admire his great energy. I'm happy when I get half of that energy. 5) There is a wasted business opportunity... I've always said there should be martial art schools for Jedi-style fighting. I would be there.

About Schindler's List the movie: it not a documentary, is a fictional romantic story based on real characters. It's cinematically a materpiece, in all aspecs of cinema: script, direction, photography, editing, etc. It's a great movie, one of the best ever made, but because of the topic, it will always have the tendency to be overrated, because the topic itself has been abused and amplified. If you know history, you know that there were many other masacres, some of bigger magnitude, that have been quite conveniently 'forgotten'. About Williams' Score for Schindler's List: musically, it doesn't have the grandeur of Star Wars, but this is an erroneus comparison. The score was made to enhance the spirit of the movie. It is done so well, is a masterpiece, and is not overrated at all. In fact, although the themes are immensely beautiful, I don't hear the score so frequently because it's very emotional, not for the content of the movie, but for the music itself.

Thanks, Ted! I'll send it to all my friends LOTR fans.

May Lucas hear you, Strilo. The art of scriptwriting is solving these plot problems in a cinematically satisfactory way.

Thanks, guys. This doesn't help me with the image of Lucas, though. The memory loss resource to solve incongruencies is a method despised in good scriptwriting... it's cheap and unimaginative. I've got several ideas in the trash can because the only solution is 'memory loss'.

And "attention to detail" Strilo, how's this for continuity problems: 1) C3PO and R2D2 do not recognize Obi-Wan Kenobi. IN AOTC they all went to save Obi-Wan, they where in the same battlefield, General Obi-wan is famous, yet when R2D2 wants to deliver a message to him, C3PO says it's silly, says to Luke it must be a malfunction, there is not a hint of recognition of the name and the importance of the mission 2) R2D2 and C3PO fails to recognize the name Skywalker. When they meet a Luke Skywalker in Tatooine, the more talkative than a parrot C3PO does not show a hint of recognition of the name of his creator, nor R2D2 of the boy he battled with. C3PO doesn't seem to be familiar with the planet in which he was born. 3) R2D2 does not recognize Yoda in Empire. Yoda is the Master of Jedi, even thought they battled together and probably R2D2 never saw Yoda in all those years (unlikely), he has to know about him, and probably how he looks like. Yet in Empire, for R2D2, Yoda was a hideous creature that tried to steal stuff from Luke's bag. And wait, because the future will get us more. If they are going to put Chewbacca in EP3, it is very likely that C3PO and R2D2 will get to know him, and yet they will fail to recognize him in ANH. Pushing old characters into the prequels can lead to thousands of problems like this. But Lucas is still on time to fix the continuity problem by making the robots have a memory loss (yeah, the cheap old 'soap opera' trick). But already, Anakin's mother died 'soap opera' style, so what the heck. Charles

C-3PO knows R2-D2. I am not sure when he ever gives the impression that he does not know Artoo. As for Obi-Wan not recognizing C-3PO, he HAS NOT MET C-3PO in the new films so far. What on earth makes you think that Obi-Wan has known C-3PO for a long time?? As for R2-D2, he interacts with Obi-Wan on a very limited basis in TPM and looks identical to thousands of other R2 units. In AOTC they are in the transport together for like 5 minutes when Anakin and Padme are leaving for Naboo. Why 30 years later would Obi-Wan remember this ONE household appliance over the thousand others based on his interaction with Artoo in the new films? And even if he DID remember both R2-D2 and C-3PO in ANH, what good would it do to tell Luke "Hey I remember these doids, they used to belong to your parents!" He is trying to protect Luke and keep him from knowing the truth about them until Luke is ready. Do not be so eager to deal out judgement on Lucas making supposed continuity errors when you don't even pay attention to the details. Hey, calm down, Strilo, are you taking over the heat of the thread? In ANH, when R2D2 says to C3PO he has to deliver this message to Obi-Wan, C3PO doesn't show any recognition to the name of such important person. I see it unlikely. And this appliance, like you called R2D2, saved the ship where Obi-Wan was.

Really? I never would have thought that. Neil Well, we know that C3PO, R2D2 and Obi-Wan knew each other for a long, long time. Yet in ANH, C3PO doesn't seem to know Obi-Wan, nor R2D2, and Obi-Wan doesn't recognize them at all either. About Chewbacca, Obi-Wan get's to meet Solo thanks to him, they may or may not know each other. But the point is that Lucas doesn't care much about these continuity problems, does he?

:roll: Dictionary definition: Star Wars Topic (lat. Stelle, fr. werre, lat. topica): noun Definition: A 20th-21st Century Internet discussion board about a series of motion pictures written and produced by American filmmaker George Lucas, which main characteristic is exponential and uncontrollable grow of heated, emotional and ultimately pointless arguments about the differences of perception between the so called "Original Trilogy" (1977-1983) and the "Prequel Trilogy" (1999-2005). 1. longer than a Star Wars Topic: extremely long 2. less useless than a Star Wars Topic: pointless, trash, waste of time. 3. Having a Star Wars Topic: having an endless, emotional argument among members of a group that are essencially lovers of the same thing, but in different times. Calm down guys, we are all Star Wars fans 8O

Sorry guys, I woke up in a sad mood. It is probably a reflexion of my own career, which has not advanced in a while :cry: I need a change, a challenge... please forget about this post, forgive me and wish me luck... :oops:

Hearing news like Williams being "too busy" to comment Korngold's music in a DVD, and knowing how much Williams cares for the Oscars, and resents his losts, is it possible that Williams is at this point disappointed about his career? We all see him as a man that has nothing to worry about, he is very wealthy and has the highest fee for a film composer in Hollywood. We think that if we had this success we had nothing to worry about. But when you get to become the highest paid composer in Hollywood, money is a non-issue for you, and you find that it only solves your financial concerns, but you now your mind still worries the same, at another level. This level can be trouble in personal relationships, fear of aging, need for recognition, fear of losing his "touch". If I attempt to put myself in the shoes of John Williams, the man, and look at my career at this moment, the sight is quite disappointing: In the last eight years, Williams has produced tons of top quality work like "Amistad", "Seven Years in Tibet", "Saving Private Ryan", "Angela's Ashes", "AI", two Star Wars movies, two Harry Potter movies, "Minority Report", "Catch me if you can"... Williams has done different genres (drama, sci-fi, comedy, independent, fantasy), different music styles (ethnic, patriotic, heroic, avant garde, jazzy), but besides the customary respectful nomination, Williams has not received any Academy Award, and has lost to (honestly) some lower quality works. Williams broke the mold several times, with the highly complex and original EP1, fantastic concepts like AI and MR, mix of genres like CMIYC... why do I bother continuing? Which of the scores Williams did doesn't show a deep and profound work investigating new approaches, new sounds, new styles? If we see in the direction of the future, the prospect is less than optimistic: two more sequels (one, assuming that we won't score HP), another Spielberg sci-fi, another Spielberg comedy, and possible another Indy sequel. Knowing the quite cold reception of Spielberg's last eight years works, the future at the Oscars in uncertain. Williams position is like the one from a person who has being working for the same company for many years, but now the company is not performing as before and the future is uncertain. You can move and explore other options, but now you are older, you now fear taking risks with other people, you fear failure, you fear change. Maybe that's why Williams refuges himself in the concerts, in the concert works. Maybe the mentioning of Korngold reminds him that so good and inspirational this composer was for Williams, very few remember and listen to Korngold nowadays, and there it comes the fear of being forgotten in just a few years. Is possible that Williams is living a hopeless momentof his life? What would you do?

A kid? I wouldn't say a person in his twenties is 'a kid'. :spiny:

No, in the small avatar I always thought it was a transvestite :spiny:

Williams has been very lucky. He was an insider in Fox, and was there in the right place, at the right time for Jaws and SW. Everything else came after these hits. What I believe has kept Williams on top after all these years is: a) Establishing strong alliances with talented top class influential directors/producers like Spielbergs and non so top class but still hugely weathy like Lucas :spiny: B) The alliances above, guaranteed a constant flow of good movies to score, so we could venture in other not so good, not so blockbuster ventures and diversify his style, without losing visibility, or getting his reputation lowered because of bad movies. c) He kept exploring as a musician new things, but unlike others, Williams has a strong sense of what the audience is prepared to listen to. He tries new modern musical concepts, but doesn't force the audience with what is really going on in his mind, which is (I guess) advanced atonalism, expressionism, etc. Williams knows what the audience of a movie is able to understand, and he gives that, inserting little by little other advanced concepts. I guess Williams is over all a great teacher. I also think that his job at the Boston Pops has given him the wizardry over the audience, know what they feel, what they expect. Other composers do not conduct so much. And yes, if I was a movie Studio, and if I had the money, I would get Williams, because he is like a AAA class insurance, expensive, but secure.

Vader revealing himself to Luke was a mind blowing experience. Remember that at this point we've been living years after SW, and playing with toys of Luke and Vader in imaginary stories, and Vader was always THE BAD GUY THAT KILLED LUKE'S FATHER. So after all this time, Lucas puts this amazing turning point, and now we learn at the same moment that a) Luke's father is alive, B) Luke was the son of evil Vader, c) Vader cut Luke's hand even when he is his father, and d)Old bitch Kenobi lied. It was impossible to conceive, and yet impossible to reject. What I heard is the silence of an audience that wasn't even breathing. When the movie finished, shortly after, without conclusion, it was like a tragedy, too soon. It was a torture to wait for Return of the Jedi. Cruel Lucas :spiny: It was in this movie when Lucas genius reached its highest point, only to fade shortly after.

What source do you have for this comment? This sounds like pure 100% specualtion on your part, yet you present it as a fact. You make Goldsmith out to be less than professional, which I really don't think is the case. Your post is almost to the point of being slanderous. Besides, Goldsmith has written alternates before (just check out Star Trek - The Motion Picture. Neil Yes, my post is pure 100% high quality speculation, Neil. I am speculating, we all speculate, presidents of nations speculate. We are all speculating about this issue, and if the topic is speculate, I wanted to do my best, to present the worst possible reason. Please notice I used the word "probably", and in the part you don't quote I also said it could be the director's failure as well. What I did told as fact because I believe it is, is that this has to be a kind of communication problem between composer and director/producers. They either chose to collaborate with Goldsmith when his wasn't the style they were looking for, or didn't express the vision of what they wanted, or they did and Goldsmith didn't get it right, whatever, but firing the composer is the last resource. You probably don't like one cue, two cues... but the whole thing? Something went awry, a short circuit of some sort. Rejecting a full score is like having the stage department build a huge, expensive set, and when it is finished, the director and producers come and say: "We don't like it, any of it, tear it down and you are all fired" It's ridiculous, you don't let things get build if you don't like the concept in the first place, and then you supervise the building process as it goes. Again, communicacion. Rules of business management. I really like Goldsmith, but I know he has made some trash in the past, and replacing a film composer can't be an easy issue in the production of a movie. Also is common knowledge that Goldsmith can have a huge ego sometimes. Calm down. Why don't you speculate in favor of Goldsmith? This is not a news agency. If you want to read the truth, go to CNN.com (haha...the 'truth') Charles - The World bombars us with speculation; we make our own judgement.

Yeah, I've seen the New York one seems interesting. New York Philharmonic...a tribute to Spielberg...I have free accomodations with family members....uhmmmm.....uhmmm........

With all due respect, but Williams is not the only composer that can come up with THE theme for a certain movie. Danny Elfman gave a very recognized theme to Batman (although the wasted the opportunity with Spiderman ), Goldsmith did it several times for Star Trek, Hermann for Psycho, etc. The fact that kids don't play with action figures of Norman Bates and hum Herrmann's music while they simulate bloody murders doesn't mean the theme is not THE theme.