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codanai

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  1. "Ah-luke-ah-lu--la lee du, da, Luke-ah-Luke-ah-Luke-ah-Luke-ah-" boom. BOOM boom. bobobobobobo boom.
  2. I think I've actually said this before, in a similar thread-- but when I'm in the doldrums, I tend to listen to either the A.I. soundtrack or else John Adams's Harmonielehre (mov. 3 in particular) and his Grand Pianola Music. In the car at night is the best place to listen to those pieces. And the music's phenomenally comforting.
  3. As for similarities with STAR WARS, that's absolutely true. In fact, I think it's intentional that Williams's music to the saga alludes to Dvorak. To my knowledge, Lucas had used Dvorak on the temp track of the original film and had even considered actually using the music (before he knew of Williams, of course). Lucas wanted a classical score, and that's exactly what Williams delivered. As for Williams stealing the beginning of the 4th movement for JAWS, that notion is absurd. It's 2 NOTES!!! All it is is a dramatic half-step introduction to Dvorak's heroic theme. It's only a coincidenc
  4. haha, that's all right. You're right, though, about it being underrated. The cartoon is never really talked about, but it's absolutely brilliant. It's not just a fun kid's film. It's actually extremely artful the way it's made. Definitely my favorite cartoon.
  5. Sorry, I know the thread has been going along the lines of Disney and Pixar, but I am a huge fan of 'The Secret of NIMH.' It's possibly the most atmospheric, beautifully animated, transfixing films I have ever seen. My other favorite would be Disney's 'Sleeping Beauty,' but I think that Don Bluth had a really unique vision for NIMH. And Goldsmith's score is one of his very best; the main melody is outstanding!
  6. SO...I'm going to Tanglewood, Open Rehearsal, on August 12th for Film Night at Tanglewood. Apparently there's also a pre-show (or opening talk or something) at 9:30. For whoever out there has some experience with this... What time would you suggest I be at the door in order to get the BEST SEATS POSSIBLE (I'm talking front row)? Thanks, Jacob
  7. But for the original Star Wars, didn't John Williams imitate a lot of the music used in the temp tracks? I've read somewhere that Lucas used Dvorak, Holst, and other composers' music as the original SW temp track, and you can definitely hear the influence in the score. But I'd say that that was GOOD thing (I also tend to think that Williams is an extremely cooperative, humble artist).
  8. Is "To Lenny, To Lenny" the variations on "On the Town," with a little bit of "America" and "Happy Birthday" thrown in? Or am I thinking of something else?
  9. 1) Prokofiev's 5th Symphony, Movement 3 2) "Death to the Blasphemer" and "Field of the Dead" from Prokofiev's score to ALEXANDER NEVSKY 3) Mozart's Reqiuem Mass, No. 6, Lacrimosa 4) Mahler's 5th Symphony, Movement 2 (though, for some reason, people like to tell me that this piece is "happy," but they're all full of crap) 5) Holst's "Saturn, the Bringer of Old Age" from The Planets Suite And there's SO MUCH MORE!
  10. Oh come on! "Not that good"?? You have heard his concertos, haven't you? Take the Cello Concerto for instance--it is absolutely modern, with Williams's most skillful, transfixing uses of atonality and chromaticism--yet, paradoxically, you can still hear that the music is based on the kind of unrequited passion of the Wagnerian operatic idiom (give your ears to the 4th movement, "Song"--hear how the cello just keeps reaching for something which always eludes its grasp--and you'll understand what I'm saying). And not to mention the absolutely impeccable orchestration, with a dialogue between
  11. If it has the old 'Transformers' jingle, then I'll go see it. ("Transformers: Robots in Disguise!")
  12. Harry Mudd: "There's only one kind of woman ..." Kirk: "Or man, for that matter. You either believe in yourself or you don't." LOL
  13. Can anyone tell me the name of the song played during the End Credits of NIXON? (after The Farewell Scene)
  14. Concerning AMADEUS--I remember an interview in which Milos Forman commented that, in the process of writing the screenplay with Peter Shaffer, the Mozart music actually became to them like a character in the story. I thought that was neat.
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