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Posts posted by BLUMENKOHL
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Thank you all for contributing to a 60% decline in Oscars viewership!
Let’s keep it going next year!
On 1/15/2020 at 5:26 PM, BLUMENKOHL said:I think the pandemonium is dying. Over a 20 year period viewership has plummeted -50%.
1998: 55 million viewers
2018: 27 million viewers
2019: (the first up year in a long time) 29 million viewers.
Most people know BS when they see it.
2020: 23.6 million2021: 9.8 million 🤣
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Is this officially OOP?
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On 12/22/2020 at 10:26 PM, The Big Man said:
Some Chinese company will probably buy it.
So....Apple?
Or [Insert Multinational Company Doing Bidness in China]?
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14 hours ago, KK said:
When trends end, we tend to mine from the past to find solutions to communicate and express in the future. I can't tell you what film music will sound like in 10 or 20 years. It probably won't sound like Star Wars, but it will sound different from what we're hearing now.
If you had said this in 2008 I think you’d be wrong on the 10 year horizon at least. -
8 minutes ago, Datameister said:
Some of the most interesting visual evolution has happened with animated features. I'm thinking of things like Into the Spider-Verse or Klaus - films that really stretch to try something new, and succeed in a big way.
As far as live action goes, though, I think I agree overall. I haven't noticed any significant shifts in the look of live action for the last ten years or so.
You’re right, animation has developed quite a bit.5 minutes ago, KK said:Just look to Zimmer's scores from 2008 vs 2020 (ex. The Dark Knight vs Dunkirk) to sum up the broader changes in the film music landscape. The late 00s still featured melodies and somewhat dynamic action material (by today's standards). Mainstream film music has become a lot more muted (with a priority on staying out of the way), melodic themes are much more frowned upon and it's all become mostly textural.
Independent film music trends are also changing. More crossover musicians are entering the industry, woodwinds are making a comeback (just not in a Williams-esque way) and more interesting voices are creating work versus the anonymous piano/guitar scores for dramas of the late 00s.
I think there are similar arguments you could make about changing trends in cinema itself. These trends will naturally become more obvious the more we move away from 2020. But the defining change in the 2010s will be the broader homogenization of cinema and TV thanks to the rise of Disney/MCU/cinematic universes and streaming. And since hundreds of millions of dollars are being poured into these massive cookie-cutter properties that reap billion dollar profits (or at least used to), the more interesting filmmakers are just going to get smaller audiences. Maybe it's that homogenization that you're referring to?
Hopefully with Covid and the streaming crisis, we might eventually see big studios break apart, maybe the downfall of MCU, Disney and Netflix to usher in the 60s again!
I suppose I would ask: are we just so good at this now that there isn’t much more we can do to dramatically improve the cinema experience?
Another 200 billion dollars is going to just get you diminishing returns on the blockbuster front. The Lucas dream of an Indy movie Renaissance just hasn’t panned out either.
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I can’t. I can tell the difference between a 2004 movie and a 2008 movie, only 4 years apart. But not 2008 to 2020.
It all looks the same, it all sounds the same.
Even TV is picking up the aesthetic. The only reason I can tell the difference between a 2008 TV show and a 2020 TV show is because 2020 TV is picking up the look and sound of 2008 film.
Genuinely curious if anyone can confirm if there has there ever been such a long period of stylistic (and technological) stagnation in Hollywood? -
He’s promising. I want to see him push his orchestral side to new places.
There are glimmers of it, but he falls back on the current orchestral/electronic tropes too often.
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2 hours ago, Jay said:
And yet no one here gave a crap about their last collaboration
I don’t even know about it. I’m way off the Giacchino wagon. The only reason I listened to this was because I saw MoH and Giacchino’s name and wondered if it was any good.
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The latter tracks really shine. So I'm thinking Nami is one to watch.
- TSMefford and Yavar Moradi
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This is good stuff. Best Giacchino in aggggeess.
But I can't tell who's the genius here: Nami or Giacchino?
"Set Final Charges" Damn! So good! I honestly don't think it's Giacchino. It sounds too awesome.
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Resht in peash, Mr. Bond!
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1 hour ago, gkgyver said:
Oh good, more "subverting" because that has such a good track record these days.
Starting the last chapter on a more subdued note is the most vanilla thing in storytelling.Just like that epic action scene at the beginning of RotJ.
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5 hours ago, GiacchinoCues said:
You've said I hate it. When that's not what I've said at all. I like it. It's just that it's nothing new, so there's not much to say about it.
Just because something isn’t new doesn’t mean there’s not much to say about it.
As you proved by saying some interesting things about the origins of the track!
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23 hours ago, Jay said:
Because everyone's opinion on the sample posted is valid?
You can’t provide analysis if you say there is nothing to analyze!If you hate it, say you hate it.
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2 hours ago, GiacchinoCues said:
All of this discussion about the gunbarrel cue...why hasn't anyone pointed out it's just a minor re-arrangement of Newman's gunbarrel from SPECTRE, which is a re-arrangement of Arnold's version of the Bond theme from Casino Royale. There's nothing to analyze here!
Why don’t you leave the thread then?
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The show is waaaay over-hyped. The music is not.
The dryness of the recordings is I think what Star Wars would sound like if you sent modern recording equipment back to 1977. Really nice touch. -
“Cracking the Chrysanthemum Cipher” has some Williams/Desplat vibes that I enjoy.
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Finally catching up on this show. Göransson is the best thing to happen to Star Wars since Williams.
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Why should I feel sorry for her?
She fed the cancel culture only up until it turned around and ate her. She deserves every ounce of it.
- blondheim and Molly Weasley
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5 hours ago, Sharkissimo said:
I like Dylan too, although admittedly I'm not so keen on the Cult of Dylan, that like an overgrown tree, cuts out sunlight to other equally worthy songwriters, who for all their talent aren't as adept at the art of personal myth-making as he is.
I'm not also that fussed at Dylan's malapropism, which has been so widely used/abused that's been accepted as a colloquialism. Although I understand why those speak English as a second language might give less latitude to these technically incorrect variants.
Once Dylan accepted the Nobel, I lost all respect for him. -
6 hours ago, Jurassic Shark said:
I wonder what John Williams thinks of Bobby Dylan.
Same thing John Williams says he thinks of every other musician:
"He's a young, marvelous, and creative musical talent." - John Williams, on any musician.
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17 minutes ago, Jurassic Shark said:
That bad?
My wife has no problems. She is 5’7”. I’m 6’4”. It does not work consistently with phone in my pockets. -
Great sound, wireless range of an asthmatic moth around a flame.
The Phantom Menace is the best Star Wars score.
in General Discussion
Posted
I just broke 3-month music fast with a back-to-back real-world chronological listen to all 9 Star Wars Scores. They're all great, but three of them stand out as faultless, and one is on another plane in its totality.
Star Wars is a breath away from perfection. It is only let down by its 1977 mixing and simplicity.
The Force Awakens is a breath and the hair of a fine feline away from perfection. It's too dark and claustrophobic at times to make it an enjoyable experience.
The Phantom Menace is perfection. Crisp is the word that comes to mind. The mix is sublime. The music is expansive but not so much that it feels disjointed. It's true to science fiction, dark where it needs to be, and brimming with energy and creativity. You feel like you're on a galactic adventure with this one. This is what I would take to a deserted island with me.
The remaining six suffer from rambling incoherence at times. They are too ambitious, too unfocused, and start to move away from being Star Wars. If you just listen to the first of each trilogy, you get the best Star War musical experience. The three have exceptional continuity with each other (mix/mastering aside). They feel more cohesive together than they do with their respective trilogies. Thematically you basically get all the highlights of the 9 movies.
That is all.