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Pelzter

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  1. Does anyone else find the main theme just as close to the first five notes of the Blue Fairy Theme from A.I. as is it to Angela's Ashes and Presumed Innocent? In terms of note progression, I think that theme is the closest to The Book Thief main melody. Overall, I find the score pleasing but relatively anonymous. And my guess is, it will swell predictably, and with too much schmaltz, in the film. We tend to bash Jablonsky and Zimmer for their lack of subtlety - but The Book Thief does not exactly thread lightly either.
  2. That is how I feel about WAR HORSE. A lovely, occasionally gorgeous listen on album - but very badly placed in the film. Grand, sweeping strings tell us how to feel within the first couple of minutes - before we've had a chance to get to know any of the characters. And if it was just landscape scoring, that would be fine, but the birth of the horse right at the beginning is so heavily scored, that it actually distracts from the narrative. That is a fundamental flaw, IMO.
  3. NIXON is awesome - a fantastic score, which somehow escapes the fundamental silliness that could have come from giving that character and that film such a overly operatic and hyper emotional musical treatment.
  4. I generally agree. Williams did this kind of writing gorgeously in Schindler's List, because the quality of that score and every single cue is so overwhelmingly superior to any other drama score he has ever written, in my opinion. Thus, the choral lament of "Immolation" or the stark violin of Auschwitz are so gut wrenching, because they are pure emotion; as a listener, one does not feel manipulated or forcefully "made to feel" a certain way - as The Death of Topthorn, and many other cues, like the funeral cue for Anakin's mother in Attack of the Clones does to a much larger extent. I have to s
  5. I love the 'syrupy sweep' of WAR HORSE too, although I wouldn't use that term, exactly. To me, much of that score falls in a more "English", pastoral mode (Vaughan Williams-style) with elements of Americana. But yeah, I get what you mean. I love the syrupy sweep of War Horse as well! And it is definitely Ralph Vaughan Williams inspired - but it feel it gets more syrupy because of the condensed format of the film score. "Dartmoor, 1912" runs three minutes, where as a piece like Vaughan Williams' Fantasia on a Theme by Thomas Tallis, runs 18 minutes - leaving a lot more room for subtlety and com
  6. Sounds quite lovely, sort of halfway between Jane Eyre and Presumed Innocent, with a lot of A.I. style writing in it as well. The running obstinato is certainly familiar, and the score does seem to a large degree to be a patchwork of familiar Williams ideas and techniques for light drama; quite different from the syrupy sweep of War Horse.
  7. I think the Crystal Skull theme is by far the most interesting thematic idea in Crystal Skull, and kicks Mutts Theme halfway across the world. I love it being crystal clear, it makes the electronic/synthesizer sound of it that much more compelling, as it reverberates through the sound stage with fantastic clarity. I also love the way it is used throughout the film, both in straight theme form, or just as synch/alien-like backing, like in Orellanas Cradle. And the horn rendition later in the same cue is absolutely breathtakingly scary, beautiful and mysterious, all at once. Bravo. -- Pelzter, w
  8. Williams' version of the theme seems more tragic and heartbreaking, where as the original Jewish folksong is more romantic and optimistic. But it definitely seems like a temp-cue situation; much like King's Row in Star Wars.
  9. That russian statement from the opening of the film is almost identical to one of the main themes from Blazing Angels II, for the next-gen game consoles. Released in the fall of 2007,the game theme seems to have been written just before Williams wrote his variant for Crystal Skull. So, compelling as the cue may be, it's not very original. --Pelzter.
  10. In that case, it's ironic, since the piece they used are significantly LESS forceful than the original cue.
  11. Why did I see that one coming? Come on people, don't respond if you don't have anything intelligent to say.
  12. The album version seemed to perfectly match the image in the film of Indy picking up the hat, and this edit is now actually the only thing which irritates me about the score in the movie, especially since it is one of if not the best Indy March statement on the album. The film version, tracked in from earlier, is far too slow and does not match the images at all. Anyone know why this was done? And don't just say "Because Lucas and Burtt are dumb-asses," something a little more constructive. PS: And would there be a way to, using some audio software, to reinstate this snippet into the films 5.1
  13. Exactly... The Sith Legends motif is arguably the most interesting musical idea in Revenge of the Sith, and the same could be said for both main and secondary skull theme I especially love when the theme is used at the door opening scene in the temple. It seems to exactly convey some of the otherwise cloudy backstory of Akator, the skulls and their fate. Like an elegy, but also with a sense of history and mystery.
  14. Ever since I heard the Crystal Skull theme, I've been fascinated with the solumn and gloomy B-section. Its tone and minor key harmonic progressions somehow seem to tell me something of what happened at Akator in the large time gab between the aliens teaching the tribe all these advanced technologies, and when the skull was taken by Orellana; a period of several thousand years. The music seems to suggest an almost elegiac somberness, of something going wrong or happening in that time. Maybe something happened to the aliens, killing them off? I don't know, I'm just relaying what that particular
  15. Interestingly, the fantastic, classic Williams motif in Entering the Base is very similar to the main theme from the 360/PS3 WWII game Blazing Angels. Incidentally, I've often thought that the score from that game was very much in Williams' style, not onlike Giacchino's earlier Medal of Honor scores. And while the album version of Jungle Chase was a very good cue, the complete version is absolutely fantastic, and a classic Williams action cue. Especially the blaring trumpets and militaristic action motif towards the end bring to mind the energy of Raiders. This is much much better than the vas
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