Trumpeteer
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Posts posted by Trumpeteer
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OK, since we're all returning to reality.....
The only thing I'd be sure to take with me during a fire, I think, would be my John Williams autographs.
Everything else can be replaced.
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I'd prefer to call the "brrrriiiiiiiit" thing a flourish.
He's been putting a lot of those in his scores lately.
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For completion's sake, I'd pick John Williams. He's covered more genres than most, and he's done it better than all.
And then, there's the fact that even his "average" works are masterpieces compared to lots of composers' best works.
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Yes, we all know that Williams wanted to do the "Home Alone" films for the chance to write Christmas music. But he stepped up and wrote a very sympathetic and wonderfully "comic" score.
"The Witches of Eastwick" is probably second on this list, but a lot closer to "Home Alone" than you may think.
"Sabrina" is a slightly better score than "Home Alone 2," though both aren't highly regarded in my book, mostly because of infrequent viewings of the films/listens to the CDs.
Jeff -- who thinks "Hook" is a comedy score as well
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I think I prefer "The Red Violin" score to the "Angela's Ashes" score.
The way the thematic material moves throughout the film, binding the five stories together, is quite remarkable. It had me hooked with the opening credits music, and never faltered from there.
"Angela's Ashes," on the other hand, has some moving moments, but doesn't connect with the film the way "The Red Violin" does. Yes, I know a score in a film about music obviously has a chance to connect more with the images and feelings, but Corigliano did that better than has been done before ("The Piano" and "Fiddler on the Roof" come to mind).
Plus, I went to a discussion/screening of the film where Corigliano was present, and hearing him go into immense depth about the score aided my appreciation of his work.
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All I can say is
.You guys really take some effort in arranging your CDs. As for me, my 120 or so CDs are arranged alphabetically. If it is a film score, it is arranged by the film title. If it is a compilation or pop CD, it is arranged by artist/ composer.
As for my Star Wars CDs, I don't put them all together. I arrange them within the collection by the actual film titles (Episode IV is under "S" for Star Wars
)And then there's my 80s collection. I put those under "S" for the collection's title, "Sounds of the 80s."
It's that simple.
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Marian's right. He did write that music under the Mr. DNA scene.
But I like how Richard Attenborough's character said there was supposed to be a fuller march underneath the part when the dinosaurs come to life ("Boom, boom! Boom, boom!")
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When Luke and Han are communicating on Hoth at the beginning and we hear that "theme" begin to play, he says, "Censors are in place, I'm going back."
Oops. I meant "sensors."
And leave the critics alone.
Jeff -- aspiring critic
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Williams and Goldsmith working on the same score.......that would be one of the best scores.....
That would be interesting, but not to hearthe finished product.
I bet the composing and recording sessions would be like getting Mariah Carey and Whitney Houston together to sing "When You Believe" from "The Prince of Egypt."
Who does the conducting? How much music does each compose?
Oh, the possibilities.
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Just realize!
Sequels NEVER earn any Academy Awards or nominations.
Ummm......
"The Godfather Part II"
"Funny Lady"
"The Empire Strikes Back"
"Return of the Jedi"
"The Sting II"
"Indiana Jones and the Temple of Doom"
"The Muppets Take Manhattan"
"Aliens"
"Star Trek IV: The Voyage Home"
"Indiana Jones and the Last Crusade"
A few sequels where the underscore or song score was nominated for an Oscar.
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I got a copy of "Signs" at work a month ago, but other than that I haven't acquired anything new since "Minority Report" in June.
One of these days I'll get "Road to Perdition." But often that music just surfaces in my brain anyway.
And then, of course, "Catch Me If You Can" in December.
It's been a slow summer in terms of buying CDs and DVDs. But I'm saving up for a trip, after which I'll get back on my shopping kick.
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I voted for Battle of Yavin, though I wish I had voted for Battle of Hoth, only because I'm going to assume that that piece of music continues on to when Vader enters the base and Han and Leia are trying to escape. That three minutes or so is great writing, what with the interchanging of themes and all.
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Didn't Lucas say something like: "Five scores/films, and we didn't have still a love theme".
I'm using that quote to prove that you guys (and Lucas) still don't get it. Here's another way of looking at it:When Luke and Han are communicating on Hoth at the beginning and we hear that "theme" begin to play, he says, "Censors are in place, I'm going back."
Use of the theme there indicates that the reason he's in a rush to go back is to see Princess Leia, as we see (after talking to Chewie, he walks into the control room and the first person he notices is her). When viewed in this light, the theme relates to Leia, even though she is not seen, as it is used in a couple of other instances later in the film (the chase to Slave I, the end music).
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I think a lot of us should go back and re-read the part where JW talks about Lucas tinkering with the original films. Of course, I'm in the camp of not tampering with the originals. But as a writer, I can see the desire to go back and just change a little bit here and there because it never seemed right.
And I always love hearing JW talk about his ideas about composing a particular piece of music, especially Vader's theme. Hopefully, he'll go into depth about how Anakin's theme is devolving (or evolving) into Vader's theme.
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That is NOT Han's theme. Come on DO YOU REALLY think that a bad ass like Han Solo would have such a soft theme?? I am not knocking the theme its awesome! All I am saying is is that if Han did have a theme it would be a rousing adventure piece.
Like the Rebel Fanfare, as I said.
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I recently joined a discussion over at FSM where they are arguing that the "love" theme in "The Empire Strikes Back" is actually Han's theme. Here's what some people have said about it:
From Spacehunter:
I've discovered that Han does, in fact, have his own theme. It's a variation on the love theme. Same melody, but slightly different rythym. The liner notes for the 2-disc set even mention "Han Solo's theme" and "Solo's theme" while talking about the track "Escape In The Millennium Falcon." It's basically the cue that intercuts with Vader's theme while Han is trying to get the ship to start as the snowtroopers are closing in on them, and it also closes out the track as Luke spots the Falcon making it's escape.I've just started listening to the entire score, and I noticed it also appears early on in "The Ice Planet Hoth" during the moment where Luke is talking to Han over his communicator. I'll be listening to see if it appears anywhere else in the score.
So Han Solo does have a theme, even if it is just a variation on a shared one.
And from Azahid:
I wanted to rekindle this topic again since John Williams and George Lucas have openly declared 'Across the Stars' as the FIRST official love theme.Which concludes with the obvious discovery that the Love theme from Empire introduced when Luke and Han are on the Tantuans.It is basically HAN SOLO's theme.
During EMPIRE its Hán Solo who pursues the courtship of Leia and since he's the main catalyst to the romance and so he dominates the situation and accurately warrants the theme.
It is at the same time symbolic of a romance which is alluded to both Leia and Han but it is essentially Han's Theme.
It now makes sense in the cliamtic scene at teh end of EMPIRE when Han's body is whisked on Slave One and with Leia and co blasting away.
Hans theme is AGAIN reprised in Jedi when he is searching for Leia.
The theme occurs and symblises the romantic relationship.
And then here's what I said:
Outside of its initial introduction when Luke is talking to Han at the beginning of ESB, I have never heard the theme played when the scene is only about Han. The scenes you refer to above are linked to Leia as well, even if one or the other is not physically in the scene.So I remain convinced it's a love theme for the two. Han's motif is part of the Rebel Fanfare.
Here's where you Williams devotees come in.....
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The only scores guaranteed a nomination now are "Signs" and "Road to Perdition." The reason for that is the critical response to both scores and their respective films. Almost every review of the films mentioned the scores in some way, and that usually means a lot when it comes to exposure. Plus, when the trade ads start sometime in the next four months, the studios can plaster specific review quotes about the composers.
"Minority Report" is so far the best Williams score this year. "Harry Potter" will not get a nomination because of the Ross collaboration (see the oscar.org site for the rules; I'm too tired to type them out). It's too early to talk about "Catch Me," as the score hasn't even been recorded!
I haven't heard any other scores that deserve a nomination. "Gangs of New York" is a strong possibility, but that depends on the reception of the film. And I think a couple of period films coming up have some promise, like "Four Feathers" and "The Hours."
If "Attack of the Clones" is nominated, I'll be surprised, but happy. If "Spiderman" gets nominated, I'll hurl myself out a window.
No lie.
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I'm not a big fan of the film, but the score is incredible! I think it was one of the first of his "lesser-known" scores that I really listened to.
If you listen to one of his more recent "lesser-known" works, "Rosewood," I think you'll find it to be the evil twin of "The Reivers." I think that's why I enjoy that score so much.
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Marian - who thinks that few villains are *comparable* to Vader.
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I almost cried at work when I read that. I had never heard any news of his progress in the past three years, and so I was jazzed to hear that he has movement and can breathe on his own for a period of time.
Best wishes, Chris.
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Oh yeah, and I think Lee had a much juicier role in Saruman. There wasn't much for him to do as Dooku but act like he was watching a big droid battle, flying over a rocky planet and fight a non-existent green Jedi. :roll:
I really enjoyed watching his showdown with Gandalf. That truly made the movie for me.
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scissorhands - who can see a strong cohesion and coherence in Marian's posts (and very good argumentations), though I don't agree with her
I almost made that mistake once, but thankfully double checked the MAN behind the name.
Jeff -- who feels bad for Marian for having to explain his name to us Americans, though anyone who knows a guy named Robin has the same kind of problems
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Yeah, that was cool. But I suppose playing "The Patriot" over a montgae of last year's run of the Patriots, we shouldn't be so surprised that they picked that music.
Still, it's always nice to hear non-"Star Wars" John Williams music at sporting events.
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Looks good to me, guys! It does take a little more time to load images for me, but it still works for me all the same.
Must-have Goldsmith soundtracks
in General Discussion
Posted
I only have "The Omen" and "Basic Instinct." I would like to get "Poltergeist" and "Mulan," as those are fantastic scores. I listen to "The Omen" almost weekly....
I like parts of "Planet of the Apes," especially the music when the apes come out of the cornfield, and the music when Charlton Heston is captured ("Get your hands off me, you damn dirty ape!")
As far as "Total Recall," it sounds like a tryout for music he would later use to better effect in "Basic Instinct." Take a listen to "Roxy Loses" and you'll see where I get this theory.
"Aliens" and the "Star Wars" trilogy aside, I generally have a problem accepting sequel scores. They generally sound like more of the same, adding something they think is new but is really just the same thing done with different instrumentation. So I can only express a mild likeing for the "Omen" sequels and "Poltergeist 2."
Jeff -- a bigger fan of Goldsmith than Horner