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About InTheCity

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  1. I'm late to this party - any info when this is back in stock?
  2. He's a Los Angeles attorney who deals exclusively with unusual clearances for big clients like WB & Fox. He is literally THE source on these types of things, the most experienced and senior legal reference on the topic in the industry. The general legal precedence is as I stated: "if you make money by treading on someone's good will (name) with out compensating them you are open to legal action" You must have permission ahead of time, or secure some type of clearance. I'd add be especially careful using Disney/Fox's IP - they are EXTREMELY litigious (and probably for good reason)
  3. Just giving you a friendly heads up - I’ve checked with a big 850$/hr clearance attorney and I’m correct.
  4. So I guess thats a no, well you are still treading on "his good will" without compensating him. I'd be careful legally
  5. just curious if you pay any royalty to the maestro for using his (or the studio's) IP to make yourself $$?
  6. well this is much closer to the Azkaban example than your quasi trills I don't really get the bombast argument, composers use bombast when they wish and don't use it also when they wish
  7. I'm either giving you too much or too little respect this is what I'm talking about and I think you know it Shosty and JW do this, very few others scales are scales, they are meaningless and trite
  8. Wikipedia on the 11th I invite anyone to watch the video i posted way above and offer a composer that time after time inspires more film music JW's main usage of winds is copied directly from Shosty - that running octave Similar with the low strings and huge string octaves its all there
  9. you have chosen wisely Symphony 11 is a natural starting place for film music fans 7 for history buffs
  10. Glad to see some Shostakovich supporters coming out of the woodwork. Another thing he shares with John Williams is that they are both polystylists, Shostakovich has his very serious side : the violin concerto one, the symphony 4 he has his narrative sound most of his late symphonies - his symphony 11 is often referred to as as a film score without a film he has his jovial sound symphony nine,piano concerto 2 his incredibly sad sound string quartets 8:15 and he has his very deep instrospective sound
  11. You neglect his symphonies - his most important works. His music has a level of depth that Williams isn’t able to achieve with his forwardness.
  12. Mark its a shame you feel that way as you are missing out on some good music. here is less than a minute of interesting shostakovich moments give me 60 seconds to make the case Shostakobich.m4v you probably also know his jovial festival overture from Summon the Heroes Morricone: Where is golden age cinema (Raksin/Hermann) with out this harmonic language? Menken: CE3K Conversation:
  13. It’s not like I am picking some random nobody - this is one of the greatest classical masters of all time . He also composed 50 film scores all while under the eye of Stalin. I’ll post some examples if I have the time. His music speaks for himself.
  14. The very un-shy music that JW writes shares most in common with Shostakovich. Film composing as a whole most closely follows his example.
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