BLUMENKOHL

I have just called LLL. They immediately stopped production of HARRY POTTER and the prequels complete edition. So there.

My co-worker is a lightweight film score fan, which is nice. I rode in his car to lunch today, and we listened to the HTTYD2 CD. The Bewilderbeast track came up, fun energetic track, and near the end all of a sudden he starts pressing rewind and rewind and rewind and rewind and rewind over and over again. I heard the fanfare statement from 5:24-5:30 in that track about 6 times. Budda-budda-bum...budda-budda-bum...etc. *scratch rewind sound* and rinse and repeat.
SIX TIMES! I finally asked him if he could just let it play. And he replied "Sorry man, I really get lost in some of these moments sometimes." He basically listens to music with his finger on the rewind key, occasionally listening to the same 10 or 15 second section for 30 minutes...sometimes more.
As someone who prefers to listen to an album from beginning to end, without pausing and stopping and rewinding, I thought he was nuts. We got back to the office still talking about it, and it turns out this is more common than I thought, especially with the younger digital aged people.
I wonder if it's why looping lines in music and arpeggios are so popular.
It just blows my mind. The beauty of that short burst of fanfare in the Battle of the Bewilderbeast track is its briskness, and contrast with what's around it. Playing it on loop for 30 minutes robs it of any specialness.
But who am I to judge how you listen to music?
So how do you listen to music? Like a normal person or a deranged maniac?

Jesus Christ, so many afflicted people. You're all nuts! Nuts I tell ya! Nutters!
How do you enjoy live concerts?!

I disagree on length, as I see myself a superior crafter of the best musical experience for myself.
But I agree with your assessment of the score's quality.

I find it very comparable to GODZILLA: a blockbuster score that is well written and that does not suck but still leaves some room for improvement. Both suffer a rather mediocre thematic base and are in their current from far too long. I long for the days when an album producer actually had to assemble the best cues and not slap 40 minutes of movie-dependent filler in between.

Stop your whining, little turd!

No.
But this at 15:51 is:
https://www.youtube.com/watch?v=yJJlP1X4V_s

how about Star Trek gives the composer an opportunity to showcase his talents.

More profound than Star Wars, yes. But that's not hard to accomplish.

6:00 - the end. Magic.

This is from the definitive performance of the suite for me, Sir Charles Groves/RPO. I've unfortunately not been able to find a copy of it anywhere other than Youtube. One of my "grails."
Whole thing: https://www.youtube.com/playlist?list=PL0AE2BE2489B2536B

If Williams is to be successful again, he needs to get a tip or two on how the new composing scene rolls.
"First, the hat..."
Karol

Holy shit!
Michael Giacchino just tweeted this!

Howard Shore.

Yea, I don't see how anybody could be upset by this once they think clearly. I mean first of all, I doubt it's true, I think the AICN guy was mistaken. But even if it's true, we KNOW that Williams is scoring the film - it was announced by Lucasfilm. There is no "co-composing" going on here. If Gia really is "working alongside" Williams, surely it's in a teacher/student capacity way more than a "co-composer with me!" category. I mean, think clearly people.

Now this is awesome.
Every Friday, a new recording of one of Bach's 1080 works, performed by the Netherlands Bach Society.
http://allofbach.com/
I look forward to enjoying Bach's remaining 1073 works, once per week, over the next 21 years. The actual performances are very well done.

Greetings, all of you!
Encouraged by comments made in another thread, I'd like to take this opportunity to invite you all to visit my freshly launched website, www.marcuspaus.com!
It features a lot of audio selections (including selections from a couple of my film scores), an extensive (albeit still incomplete) worklist, as well as news, various links etc.
Hope you'll enjoy!
Cheers,
Marcus

Greetings, everyone!
I'd like to point out that the title of this thread isn't mine, but it seemed like a relevant thread in which to post this:
I'm very, very pleased to announce the launch of my website: www.marcuspaus.com!
It features lots and lots of audio, as well as a fairly extensive worklist (not yet complete, though), and more.
Hope you'll enjoy!
Cordially,
Marcus

Dude, it's Gary Oldman.
You do not pass on Gary Oldman.

I don't think it's a lack of trust at all. It's more that Williams's doesn't want his music to be disected under a microscope, and to be potentially ripped apart by critics. We know he's very self-critical, always trying to improve his craft, prefering to live in the here and now rather than look back. This would fit in with that.

No. Maybe you'll believe it from the source (please hear him describe his view on the younger generation at 2:45):
https://www.youtube.com/watch?v=3jg1mUEDPOo
This is a very honest look into his point of view. As he put it, film music is evolving and so many young composers are looking to write for films who still see it as an artistic attraction. He said this to me personally and I believe he truly believed it. I can give lots of examples why I believe this but I think his own words expresses it more succulently than I ever could.

This score reminds me *a lot* of Kevin Riepl's original Gears of War score (what an absolute shame that he was replaced by Jablonsky on the later games.)







Scores like Godzilla and Gears of War remind me how underused and poorly used brass are in the rest of the modern world of film music.

Me too. But some people really get put off. I just don't understand how track titles can so damned controversial. Get a life!

I am joining!