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Everything posted by Jack

  1. We do have the sketches, and that's what I'm looking at partially to make my assumptions. I'm simply talking in terms of a good listening experience for this as a standalone thing. For me, there's no point in editing those two together because they don't need it, and doesn't feel right to me. How close the two cues come together in the film is sort of irrelevant.
  2. I don't see why they would need to be layered. They're two independent cues that stand on their own. Just because the final pizz. in 1M5 is marked as optional doesn't mean anything. Maybe Williams knew the end of 1M5 would be very close to the beginning of 2M1 so decided to mark it as such to make the editing job a bit easier (maybe). It doesn't seem musical for them to segue, anyway. The tempi are different (2M1 is slower), and 2M1's horns start with a leading note into the melody that, to me, means it makes even less sense for the two cues to segue.
  3. Are you trying to edit these recording sessions to conform to the film's edits? Why on earth would you bother with such a pointless task?
  4. It is a beautiful little passage. Great string writing across the harmonies. Shame we don't have it.. but, we've already got so much! I've been listening to this all day long. Over and over. The children's suite is fantastic!
  5. Have I missed something? Where's this 3 note loop and all these CoS cues being mentioned:?! Edit: for clarity - HP:SS Recording sessions have leaked. Ambiguity not required..!
  6. The CoS music in that YouTube vid quite clearly originates from studio source.
  7. I'm really looking forward to this, and looking forward to seeing Brand's performance as Trinculo.
  8. I still don't know the story behind that, but as I've probably mentioned before, the arrangement sounds completely Williams to me.
  9. I'm not a member there, but I'd definitely be up for giving it a go!
  10. I have a copy of the complete score. Well, 46 cues - missing some source cues and logos, but apart from that it's complete. If anyone wants to study it just drop me a PM. Maybe I should take the time to mock up some unheard music. Perhaps the Diagon Alley cue...
  11. I was referring to the score as art, for the record, not necessarily the film. I have to keep reminding myself what site I'm on. When we can't even accept one of Williams' greater scores as art, what the f**k is going on?
  12. That's your opinion, but in my opinion, it's a shit one. Those are brilliant scores - some of my favs in fact, but I don't think they'd come anywhere near in capturing the overall sleuthing, mysterious and propulsive essence of Minority Report. Within their own settings, they are, however, of course brilliant scores. Since you were so gauche as to make those personal assumptions about other readers here, might I also be so gauche as to put forth my opinion that you are ignorant, or you have some sort of negative emotional attachment to that score/film that is affecting your judgement of it as a piece of art.
  13. LOL. Don't worry. I think we'll come back to good, interesting film music, eventually. Conrad Pope seemed to think it was pretty much inevitable. I'd give it a couple of decades, though..
  14. ... and this is part of the genius of John Williams - his imagination! Not sure if you meant that in a negative or positive way, mind you... but I think most viewers are just going to absorb music as intellectual and defined as Williams' and adopt it emotionally whatever may be happening in the film, generally speaking..
  15. I agree the tiniest bit. I watched it again also the other day, and particularly with the first half of Andterton's Great Escape, there's something about the orchestration that seems a little Nutcracker... glockenspiel and flourishing winds, etc. BUT, I'm sure Williams' approach there was a slightly tongue in cheek approach given the fact that Anderton's sort of jovially pwning his ex team mates in funny sorts of ways. I think the main point is that RCP music is starting to have a sort of indoctrinating effect on us all. It's becoming too familiar, and standard... as if that's what it takes for a Hollywood film to feel expensive and genuine. Minority Report is still one of my favourite Williams scores, and it certainly has an absolute array of BRILLIANT and semi-contemporary (semi-pastiche) moments that enhance the film massively, so I'm going to have to disagree with the overall general point of the original post. Oh, you point out the xylophone (the way Williams uses it), as if that's some golden age technique, but I don't think it is. It's contemporary Williams to my ear. I suppose Williams should have learnt by now - percussion used in a rhythmically innovative way is WAY too interesting! He should've just put some jarring massive brass blast in there instead, doubled by some saw-y brassy synth with too much in the high end that crackles through your speakers like clipping.. o_O
  16. Your first paragraph actually describes Williams' Chase Through Courscant perfectly. Like most of the music in an already dreary film, it feels completely out of place in the Star Wars universe. Perhaps if Williams had used the music in another film I might feel differently about the piece. That being said I think the OOP is just trying to have some fun but I don't think his choices work better than the originals. Poppycock! That's just your nostalgia towards the OT affecting your judgement.
  17. OK. Whoever said that the Chase Through Courscant rescored sounded good needs to watch it again. The narrative is completely f**ked with that music. You're already tired and feel like the music has reached a climax in what is a long drawn out scene before it even really begins... Not to mention it gives the scene a whole comedic feel that seems blatant and feels out of place. Is the general consensus around here still that the original Chase Through Courscant cue is not good? Because it's quite frankly, in my very humble opinion probably the best action cue of the century so far. Do Williams fans really listen to the music any more? On an slightly unrelated note, and general community analysis, it seems like all we have is a whole load of cynicism, nostalgia, and commercial/materialistic obsession.
  18. I can hear the oboe concerto already. Lots of writing based around the octatonic scale, interesting rhythms and unexpected acciaccaturas at the most unimaginable places! Let's see..
  19. Ahhhh..... if only Williams had scored this one. Imagine that kind of emotion with his Potter themes!
  20. The problem is he's arrogant and lazy!
  21. Serra's a decent composer. Goldeneye may be a bit... weird, but at least it's reasonably suitable music for the film. More so than this Sherlock Holmes score is, anyway.
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