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Everything posted by GoodMusician

  1. I dunno how familiar you are all to the Islands of Adventure music, but if you listen to "Call to the Adventure" and some of the other general park music (not that designed for the individual islands) it is almost literally a lift from hook from the flying sequence to the never feast. lol I wasn't aware Banning Back Home was inspired by something? I love that 90's frivolity piece!
  2. From film music preservation point of view you are completely right. It might be the only time and chance to preserve some of these scores and extend their life span by transferring them into digital form. Unfortunately harsh realities of cost and finance play a large part in this, especially in these economically uncertain times. I am sure that most agree that if there was unlimited funding for such things, most scores would see the light of day in complete form if legal minutiae etc. could be overcome.Alternate material by which I mean here something significantly different from the final material found in the film are fascinating, illuminating the scoring process and how the music evolves and how different things can be tried and scenes approached differently. I think that if there is a chance to preserve and present such material to the public by including it on the complete score releases then it should be done. But it should be noted that complete score releases are not raw material presented to the public but intended to form a whole and a product, artistically speaking as well as commercially. And what do you include on such releases? What is a significant alternate or something worth including? I would say that different takes, meaning a performance of same cue with minor modifications are rather redundant. They rarely illuminate anything but considerations of instrumentation and balancing of sound in the film. Sometimes even those could be included and have been. A truly different approach, a newly written piece to replace something written previously is surely more interesting and a more vital inclusion, also showing how the process of film making has changed the music and composer's approach to a scene. In themselves alternates are not so interesting as in the context of the whole score. They can be of course rip roaringly brilliant music on their own but orphaned without the surrounding music. Yea, I completely agree and understand... but as an avid preservationist, I get sooo antsy with this stuff! lol... as for what to preserve, that's a good question... All of it? :-p
  3. I think the worst part about scores not being fully released is that we've already had to wait...and waiting in and of itself isn't a bad thing,. I can handle that. Its the TIME that's the enemy. Look at Return of the Jedi... they couldn't even find those masters for the SE's... and that was maybe 10-15 years later? THat's obscene! Look at Towering Inferno how most of the score is missing or damaged. Look at a myriad of other scores that are COMPLETELY MIA. This to me is more than a travesty. Its a disgrace. Film is a part of history. Many films like Star Wars are a legacy...a part of our heritage. And to LOSE a part of them? To let the film stock degrade... these are all unforgiaveble crimes on the historical and artistic history of our generations. ... that tyraid over lol... I think that when they have the oppourtunity to release these complete scores, to NOT include alternates is disheartening. It may be the last time such an oppourtunity arises for them to do this. And when they chose not to, It makes me wonder if those recordings will simply be lost to time...will we ever see them? Will they ever be released? Its nit picky, but I worry about those things becuase to me, the most interesting things about scores are the alternates...what they didn't do...decided not to do or tried..and what didn't work. Those show more about what the score is envisioned to be than anything... At the same time, I do understand why they don't do it... I don't like that they don't...but I understand :-/ Maybe one day heh As far as HOOK goes, I know I'll be listening to it nonstop for weeks to come! heh
  4. Also, Williams instinctively uses the two sets of instruments in a brilliantly stereophonic way. For instance, in Jurassic Park, the harps will Glissando at different times or will glissando half up on one side and then transition to the other side of the stereo field. I love how in War of the Worlds the Timpani will play together the do-do do do-do and will switch sides too so you're surrounded by the sound. Another point of interest is how the Brass are recorded. There was an article I read once about how the brass would double the usual amount and the mic's focused more on them than the strings. This gives the score a very deep, surrounding depth with the strings filling in. Also, the Double Bass are positioned not just to the right, but all the way to the center of the orchestra so all the low heavy instruments take a strong presence in the field
  5. I think what you're all expecting is the same reason that the films don't work anymore and it's kinda humorous. You complain that it's "all been done" but at the same time you're painting the series into a box...which Universal then perceives as what Jurassic Park is, and they produce a film to fit in that box, and thus it's been done before and is bland... see this cycle? lol What are some of the things that make JP so great? To me, it's how much science it encompasses. Think about it... corporatism running genetic research? The implications there are endless... The need for man to control nature. The absolute ego that epitomizes some of the cutting edge science today.. these are the juicy story points... mix these with captivating characters and you can weild a great story. I wrote one that I'm still working on which draws a parallel between the "mishaps" and "mistakes" of jurassic park, and genetic tampering on say.. human DNA... other animal DNA... what have you. You could create another moral tale just like what JP was...
  6. I love that the website that's crosspromoting says his face is tatooed. If I'm not mistaken, that's how his people look and the more evil you get, the darker it becomes... and the bigger the horns... but thats ok I hate sony for releasing it again. and again. and again. It's utter lunacy. It reeks of Lucas though. Reissuing the same thing in a different packaging? Isn't that Lucas' call mark? I mean hello lol... But money is to be had... and advertising... it's inessence a reprint with a different cover booklet. Rather than continuing to reprint the old set to keep it on shelves, they're just changing the booklets. It's a small change and enough to get a few people to shell out $20 for what they already had. I love the Complete Score to Episode I btw. Do what you can to hear it. Do anything! It is by far the best modern score by Williams since the 90's.
  7. I added this too. I think it would need another shot to help explain the gray object
  8. I've always felt AI was a masterpiece. An unsung masterpiece, but a masterpiece. It's delicate and harsh, it's kind and cruel, light and dark... it's both sides in differing moments. One critique you made was about the home and I'd have to disagree. The prologue clearly states that there's a massive divide between those who have and those who don't. Monica doesn't work. So they are obviously well off in this society, at least to that extent. The house to me is brilliant. Sheer brilliance of design and setup. it uses the space the most wisely and creatively which is exactly how one would need to use the space. The only critique I had are the super-mecha's. I thought, and was certain, they are aliens studying Human's and emotions. The dialogue didn't make it COMPLETELY obvious but did almost state they weren't 'alive' but it still didn't get stuck in my mind until I heard the term "super-mecha's." I do have to admit the only issue I had was with David's love being real. I mean... he was programmed to love... but Love isn't something you could really program. The transition between the opening monologue by Professor Hobby and then the reveal of David was too quick. Something should have happened to explain that Love wasn't what they had programmed. He does say he want's to make something of a "qualitatively different order" but at the same time the stipulations about it imprinting and having to be destroyed if they dont' want it, although dramatic, I think hinders that idea because it makes it sound like David is PROGRAMMED to love her. Not that he does truly love her. But this is more of a nagging feeling than a true concern. If David had started to "love" Monica before he was programmed to, That would have fixed this. If he had started to act affectionately towards him... and if the act of "imprinting" had been more... like how you and I would say to eachother that we love eachother. Like... Monica sets a table with no food. And walks in to see David sitting at the table. He smiles and says "Hello Monica. You've set a lovely table. Shall we eat?" She smirks, and pulls a strage rounded gray shape from behind her back. "No, not yet David. I have something for you." "Is it a game? Is it my birthday--" "--David, I want you to listen Carefully to the words I say. They won't make any sense, but I need you to look at me, and listen to what I say." "Yes Monica." She hands him the gray shape and he takes it in his hands. They two make eye contact. "Sirius, Socrates, Particle, Decible, Gift, Tulip, David, Monica, Recieve, David, Monica." This would help build the idea that she is giving a gift to him and he is recieving. Similar to the idea that two people in love may be in love but dont' "act" it or do anything until they have that act where they say "I love you" and in a way this would be that act. It would be that gift. The gray shape would seem alien and confusing to an audience, but once they see how he acts once he recieves, it, like the empty dinner plates, I think it would make sense. Like, the object could in actuality be a small photo display case. And once she says the words. His hands begin to caress it. His concentration seems to shift to the object as he moves his hands along its edges. She doubts it worked and he says "What were those words mommy?" "What-- What did you say?" "Mommy. You are my mommy!" They embrace and he says "Thank you. Thank you so much. It's beautiful." Use the same sunny shot from the film, fade out and fade in with a shot of David's Shelf with the gray object with finger paint all over it, a photo of David and Monica Smiling covered in finger paint and the words "I love you mommy!" under the picture Also, the fact that he's seeming to NATURALLY start to love her would be like how humans do it. We start to have a crush or interest in a person, and not until that moment we declare it, do we truly fully express it, but there are inklings before hand. The movie did try this I think with certain moments but they came off as creepy rather than affectionate which I guess kids trying to be affectionate could be minconstrued as creepy but eh lol Giggalo Joe is another charater I wish had been fleshed out (ba dum bum) more. I really liked Jude Law as him but I would have liked to have seen him explore a bit more of who he was. Weren't there some deleted scenes with the lady who'd play the mother in Minority Report with him? Makes me wonder what all those scenes were like. (PS: Love Paula Malcolmson as the lady who's afraid to be with him heh)
  9. I'm at work, but if my memory serves I can give at least a close idea based on the cue list on the 2 disc set but without any sheet music, there's no true 100% way to know Disc 1 01. [5m8 and 6m3 If I recall] The Mecha World / To Manhattan 02. [1mA and 1m2] Cybertronics / Cryogenics 03. [1m6] Hide and Seek 04. [7m4] Stored Memories and Monica’s Theme 05. [3m7 (without extended ending) edited with 5m5]Abandoned in the Woods and Rouge City 06. [7m4 alt not on cue list but this is what it would be] Stored Memories (Alternate Cue) 07. [7M1+2] The Search for the Blue Fairy 08. [2m3] Perfume / “Will You Die?” / Teddy 09. [6m5] Replicas 10. [4m5 and 4m7 if I recall] The Moon Rising (Film Version) 11. [8m2] The Reunion (Film Version) Disc 2 01. [3m7 with full ending (New?)] Abandoned in the Woods (Alternate Cue) 02. [Credits obviously] Where Dreams Are Born (End Credits, Pt. 1) 03. [1M3+4] Arrival of David 04. [1m5] A Few Simple Procedures 05. [2m4] Martin Returns 06. [2m1 not sure which version] Imprinting David 07. [3m3?] Unused Cue #1 / The Jealous Son 08. [2m5] A Bird / David and Martin 09. [3m1] Reading Stories 10. [3m1 (3m2 typo?) and 3m3? if I recall] “Does He Eat?” / David’s Dilemma 11. [5m4?? (not listed but happens in this space)] Neither Flesh Nor Blood / Joe’s Prophecy 12. [3m4] A Haircut/ The Game 13. [3m5] The Pool Sequence / Pool Party 14. [3m6] A Drive 15. [5m? again not listed] “We Found Him” 16. [5m4? Again not listed but belongs here] Unused Cue #2 / David and Gigolo Joe 17. [Possibly 6m4 but there is a large middle section missing] Unused Cue #3 / David and Professor Hobby 18. [The Specialist Visits] David and the Supermecha
  10. If I recall, 1m2 is partially unused and is connected to 1m1... 1m7 is used (I wanna say it's when David is looking at the pictures) and 3m3 is mostly unused. I think only the final part is dialed in near the end of that scene or just the opening. It was one end of the cue I recall
  11. I had synced up "Attack on the Car" for that sequence and it works really well... I included the omitted music which fixed any tracking errors but damn, this is my favourite score of Williams after 2000. Brilliant score. I love that most of the unreleased stuff can be heard in the making of featurettes heh I;m glad to finally have the titles. cool stuff!
  12. hmm... so these are the titles for the cues from the CD releases?... I guess I misunderstood the purpose of the site... drat
  13. I dunno if this helps, but BMI' site has the legal names for a ton of Episode I cues. Here's all I could find and there's obviously a character limit as you'll see:
  14. I've been wondering about that recording! Jason...all the more reason you should turn this sites wealth of knowledge into a database instead of a loosely understood knowledge base on the forum ;-) Also, the theme that Stefancos is talking about is Hook's theme... not the songs you were talking about. The two songs you were talking about are, yes, from an aborted musical that Williams and Leslie Briccuse were working on along with Tink's theme if I recall right. But again, what he means is the actual theme for Hook himself. I hear Paddy-Cake, Paddy-Cake every time I hear it lol... and yes, Sorry Derrick for destroying that for you lol PS: Couldn't they have found someone else to sing it and mix that aborted song better lol... it's so ear splitting. I had to remix it just so I could listen to it lol Although the editing is top notch. I never noticed until I was remixing it that there was a middle section slowed down slightly to even out the tempo. I couldn't find the ending used so I had to mix the original recording with something to mock the ending.
  15. I think the complaint comes from the fact that the chances of there being a proper release for a film score are so few and far between... and each year that passes is a nother year that masters can be damaged, destroyed, lost to time... and thus... things that are left off...abandoned... are relegated to that place where they may never see the light of day. I mean, look how fast Return of the Jedi was lost... 1986 to 1993? 7 years is all that one took... we're talking 20...20+ with some of these...and now that they're out there... released... if they forget something...leave something off...who knows the next time some label will come along and try...will they find everything? or will this be it? It's disgusting and disturbing to me that we don't preserve our history. Film says so much about our mindset...our beliefs...our fears and hopes and wants... and music is just a big a part of that as any... we've lost so many priceless relics already... It disheartens me when they don't/can't release it all... especially if the composer requests that. Granted, not many of these are gems of film history...but still... they shouldn't be treated lightly ...except the horner. You can burn them all for all I care :-p
  16. That was me. I had made the JP/TLW/JP3 pages on wiki. But I think they've seen been redone by others. I haven't kept up.
  17. I had to buy The Lost World twice. The original disc exploded in my CDRom drive. like... shattered...dust.. lol ...kinda had to at that point lol
  18. Here are some interesting notes: 1) The 'whoomps!' choir glissando's are a women's choir singing up as a sort of 'shreik' to help humanize the vaporizing deaths 2) The bass vocalists during some of the basement sequences are singing nearly as low as the human voice can produce. 3) The editing for the final film is unlike most William's edits in that certain cues are heavily modified or actually pitch-shifted to produce a different 'version.' 4) A perhaps unintentional Bernard Herman reference (cutting string glissando's) is made in the cue "Captured By the Tripods" but is omitted in the final film and album. 5) The tune to 'Hushaby Mountain' is sung by Tom Cruise and Dakota Fanning with the name of the song mentioned as well. 6) Extra brass and bass were utilized to add density and heavyness to the score 7) The Strings take a back-seat to brass in the mixing 8) One scene had music that was created in editing but was a decision made by Williams and Spielberg (Crash Site) These aren't official track listings, but its what we KNOW exists...so if he doesn't answer or DOES answer, we should compare to this... Track list: 01) Prologue - [02:53] * On the Album # Aphasia - Flatline (Robby Source) - [3:00] 02) After the Storm - [02:09] *All but the opening sustained note is on the album 03) The Intersection Scene - [04:26] *On the album but lacks the choir glissandos 04) Ashes - Intro To (Film) - [03:35] *On the Album 05) Ashes (Alternate) - [01:12] *On the Album 06) Intro To (Alternate) - [00:32] *On The Album 07) Escape from the City - [03:39] *Presented on Album with micro edits and the opening omited # Crash Site (Planned Tracked Music) - [01:28] *Contains unreleased music from an alternate to "Floating Corpses" and the "Epilogue" 08) Tripod Footage - [00:50] (Unreleased) 09) Floating Corpses (Film) - [00:43] *On the Album 10) Floating Corpses (Alt) - ???? at least [00:44] Unreleased/ Unused 11) Refugee Status (Film) - [01:38] *Additional material not on album 12) Refugee Status (Album) - [03:49] *On Album 13) Refugees (Alternate) - [02:41] *On Album 14) Attack on the Car (Unused) - [02:48] *On the album excluding some micro edits 15) Taking Shelter in the Diner - [01:05] (Unreleased) # If I Ruled the World - Tony Bennett - [02:59] 16) The Ferry Scene - [05:50] *On the Album 17) Climbing Up Hill - [01:53] (Unreleased) 18) Separation of the Family - [03:22] *On the Album 19) Comforting Rachel - [01:58] (Unreleased) 20) Ogilvy's Advice - [02:05] (Unreleased) 21) Probing the Basement - [04:19] *On the Album except small micro edit 22) Aliens Search the Basement - [03:00] (Unreleased) 23) The Death of Ogilvy - [01:41] (Unreleased) 24) Caught - [00:43] *On the Album 25) Captured by the Tripods - [03:14] *On the Album except small microedits 26) Escape in the Basket - [3:13] *On the album 27) Return to Boston - [01:18] *On the Album 28) Taking Down the Tripod (Film Fanfare) - [03:20] *On the album excepting fanfare and small insert 29) Taking Down the Tripod (Album Fanfare) - [03:18] *On the album except small insert 30) The Alien Emerges - [00:38] *On Album 31) Reunion - [02:10] *On Album (Only opening used in Film) 32) Reunion (Alternate) - [01:56] *On Album (pitch shifted and partially used in film) 33) Reunion (Alternate #2) - [01:54] (Unreleased/Unused) 34) Finale (Film Synth) - [01:16] *On Album with monologue 35) Finale (Instrumental) - [01:26] (Unreleased/Unused) Two Concert Suites are available Escape from the City - [03:50] War of the Worlds (Concert Suite) - [07:28]
  19. wow...really? we're resorted to calling people "dick heads"... They did Home Alone II before Home Alone I, so perhaps there is some precedent for TLW over JP seeing as JP fits nicely on one CD and a good portion of the score was released already where as TLW is the opposite. But, conversely, JP's 20 years is almost here where as TLW still has a few to go. Once that time span is up, my understanding is that licencing becomes a lot easier to get and cheaper. So JP may still be first. I imagine the release would be Hook... and if another Williams, something less well known and probably not a Spielberg collaboration. Perhaps another 70's score. Maybe a complete Jane Eyre or Heidi or something. Not that they're top of my list (although I LOVE Heidi). I'd like either JP, TLW, Hook, AI, Minority Report... but I don't expect them anytime soon (except Hook)
  20. The bigger issue is that one of the underlying story lines in Episode II, Anakin being "Annie back on Tatooine" to Padme was kinda dropped. There was meant to be a lot more development of that idea but it didn't and I think a lot of great oppourtunities to have Anakin's theme were lost. Anakin's theme is used when he first see's Padme again in Episode II but I think it's tracked lol
  21. They also say on IMDB that they filmed some scenes from Jurassic Park in the Dominican Republic which is a complete lie lol
  22. There are several possibilities. One is quite simply that there is a way into the paddock through a secure passage way located in the tunnel. That's right. The tunnel that is dug through the mountain. The tunnel the vehicles exit when they first arrive at the rex paddock and it almost completely off screen during the Attack sequence but is still present. Again, this entire area is engineered. A Wall with a drainage pipe and a ravine? An underground area is implied as well by the feeding method of the Goat. It came from a holding pen underneath the paddock. So not only is an underground area implied, plausible, but it is almost directly required.
  23. We know that the ravine is a false one. There is some evidence to suggest that there may be some maintainence stairwell that leads down to that area seeing as the entire area had been constructed for this purpose. They direction they came from was where the bathroom was. Perhaps, like the Maintenance Shed, there would be another shed behind there that leads into the paddock. Also, all the maintenance roads had back access to the paddocks via those gates that you see nedry drive through.
  24. Well, look at the difference between Star Wars and the following OT films. The first was, as we've all discussed, based heavily on the idea of trying to make an updated similar sounding classical piece to those Lucas picked out. If I recall, Williams spoke about this before saying that if that's what the director wants, that's what he gets and that's how you keep your job lol... So he wrote them with that mindset. Then Empire was handed over to Kurshner who I bet did NOT tell Williams anything about the score as far as Classical pieces. I've seen that making of documentary and there was no temp music in any of the scenes they showed and Lucas was there too but didn't say a whole lot. It seems that Williams in essence proved himself in the first one and then was allowed to kinda do his thing for the next two with no other influences musically. At least, that we know of.
  25. I did say earlier that the last I read, there were some that did have teeth, but if I'm not mistaken, this reclassification of the flying reptiles didn't happen until the mid 80's where they all but split them based on size and teeth. Small ones with rudders and teeth, large ones with crests and no teeth (mostly). This was also done because the sexually dimorphic specimens were considered different species rather than male/female. But none of this matters in regards to this excepting my original point: the pterosaurs in JP3 are mutants... which was my whole point...we never see, past them and perhaps spino to a degree, any "mistakes"
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