Jump to content

Trumpeteer

Members
  • Content Count

    2326
  • Joined

  • Last visited

Everything posted by Trumpeteer

  1. Joe, I just need to make one correction: the Bergmans did not write the score to Tootsie. They wrote the lyrics to te original songs. Dave Grusin wrote a very good score. 1982 was a very good year, even if you don't consider the scores, which is hard to do. That's because many of the films wouldn't be as good without the music. Jeff -- who think 1982 was the one year Oscar got all the music categories right.
  2. OK, I see what you mean now. Jeff -- who thinks the Keys theme from ET is one of the best villain themes ever
  3. The album sequence is done for listening excitement. I think if the album had been released chronologically, it wouldn't have been as fun a listen (after his escape, there's a long stretch of "boring" music). Jeff -- putting "Spyders" on repeat listen once again
  4. Track 1, "Minority Report" is the end credits. Exactly as it is heard in the film (what a relief!).
  5. Rosewood is Williams' most underrated piece of work. A fantastic score to an equally fantastic film. I think if the film had been well-received, the score would have been nominated for an Oscar. The gospel songs are all written by Williams, sung a capella. The orchestrations are some of the best I have heard from him, and the music has never been touched on since. Oh yeah, Home Alone is awesome. But you already knew that.
  6. In ET is somthing similar isn't it? Never noticed it in ET, and I've committed that score to memory.
  7. I agree with Morn. This was the perfect mix of action thriller and AI-type philosophical debate. None of it was too heavy-handed, nor was it too summer movie-ish to be a light film. And obviously I'm the only one who absolutely fell in love with the Spyders scene. Musically and visually, it was one of the most memorable scenes of the year! This movie has every right to be a big fat hit, and one of Spielberg's and Cruise's best. Oh yeah, Williams rocked the house once again. But that goes without saying. Jeff -- who will see this movie again! PS -- JerryB wanted to know if Cameron Crowe was in the film reading the paper on the subway. Good observation, Jerry!
  8. Roald, I understand your sadness. I'm a little upset by the fact that Williams is ending his Harry Potter involvement, but I probably would have felt the same way if I was of a mature age when it was announced he was backing out of Superman III. "I hate Williams!" I would have said. "He doesn't deserve to be a part of my film music collection ever again!" And then something like Return of the Jedi comes out the same year, followed by Temple of Doom and the River the following year. a major apology for my rebuke of my fan club membership would have followed. What I'm trying to say, Roald, is that the loss of Harry Potter isn't the end of the world. There's Episode III in three years, for example. I have a feeling Williams will compose something for Catch Me If You Can or Episode II (or anything he has lined up in between those) that will have you coming back. Jeff -- who will never submit such a resignation
  9. What a fantastic movie, both in front and behind the lens! I couldn't think of one scene that amazed more than another, which says a lot about Spielberg's devotion to this film. On to the CD review. As usual, I waited until after I saw the film to listen to this score. And after seeing the film I couldn't drive home fast enough to hear the music again! A major highlight in the film and on CD: the Spyder scene. From the second these creepy crawlers are introduced, Williams gives us a very intensive motif that doesn't give up until the final moment of the scene. Thankfully, that theme gets a reprise in the end credits (which is track 1 on the CD -- it is indeed, Andrew). The theme for Anne Lively brings a human quality to the score, and I enjoyed every moment it appeared on film and in the CD. Track 7, Eye-Dentiscan, is a such a fun track to listen to. Andrew mentioned the similarities to March of the Villains from Superman, but there is also a nod to Alan Silvestri's Death Becomes Her theme. One note: I had some qualms about the music for this scene (where John is breaking into Pre-Crime), because it seemed too comical. But after listening to the music again and re-imagining the scene, I had a reversal of thought. After all, how would you score a scene where someone is chasing his eyes? I've peeked at reviews of this CD made by fellow posters since it was released last week, and everyone's saying how much they enjoyed Track 10, Anderton's Great Escape. But I couldn't enjoy the cue in the film and on the CD because everything screams a replica of the conveyor belt scene from Attack of the Clones. It's amazing that in some parts it's a shot-by-shot copy, not only in visuals but in the use of xylophones and punctuations of brass. A nice cue, indeed, but too familiar to enjoy on its own. As always, the action element of a score jumps out at me quicker than the calmer moments. But the finale almost moved me to tears. A great end to a roller coaster ride. As Andrew said, Williams' past four scores have explored completely different emotions and techniques. This one ranks behind AI in terms of overall quality and equal to Harry Potter in terms of adding to the film's visuals, and ahead of Star Wars in terms of coherence. I'm making a very early prediction: this score will be an Oscar nominee.
  10. There's a guy that goes to the deli across the street from where I work every day. I swore for a long time it was John Williams...until I had proof it wasn't. I went up and asked him. Oddly, no one had ever said that to him before and he didn't know who Williams was. His name was Michael Sumpter. I see him once in a while and he laughs (at me, I'm sure). Jeff -- who will meet the real thing someday
  11. Ross, I heard that connection. It's easy to notice. However, this is kind of like saying that three notes of the Imperial March pop up in Nixon. I don't think it means Williams is lazy; I think he just felt those notes in that order played by that instrument conveyed a particular emotion suitable for that film. I'd like to end this post on a high note: (flasetto voice emanates from me)
  12. This answers some small questions, but not the big ones. I'm thinking they scored the droid battles with TPM music because no part of it was finished to present to John in time to score it. I'm betting they didn't even give him an idea. If you notice on the CD and in the film, original music doesn't pick up until well after the bulk of the main battle. I'm thinking George didn't give John an idea of film length needed for music, or had originally decided to not have music in the batle (yeah, right). Thanks for the article anyway, Maurizio.
  13. Ummm.....I think it's from track 12, called "The Forest Battle" from Return of the Jedi. :lookaround:
  14. Genius! I was thinking Jamie would just keeping using the same move over and over and over.....
  15. The reason why Superman is superior to Spider-man is because of what everyone has been saying: putting Reeve and Kidder on cables against a blue screen is far superior to seeing a superhero created 100% from ones and zeroes. The computer-generated version often looks hyper-realistic, which means you can see that it's trying to look better than reality (i.e. superhuman moves and angles). With Superman it still looked real, and it required to do exactly what movies should make us do: suspend belief that Christopher Reeve and Margot Kidder are flying around the Statue of Liberty. Anyway, the only time I remember seeing Superman in the theater was about two years ago, when one of the local theaters played it as part of its midnight showings that they often have. Boy was it fun and those opening titles were much more inspiring than any size TV screen. Seeing that big "S" was slightly equal to having the "Star Wars" logo blast onto the big screen.
  16. I can't listen to those opening strains without feeling a knot in my stomach. And the rest of the movie never lets up on the tension. Such a great film! Very few big films lately focus on people like this did.
  17. Actually, Marian, the probe droid music is NOT in the film. The film is unscored from the point Luke gets out of the thawing chamber until the Imperial March concert arrangement. Jeff -- who's glad the probe droid music is on CD, but not in the film...too comical.
  18. I voted for the end credits of Temple of Doom. I think it is quite remarkable how Williams weaved Short Round's Theme in. Jeff -- whose favorite Williams theme is.......(see below)
  19. You're one of few who doesn't think the musical choice when Padme pulls away wasn't funny. It was a good choice, but the reduction is too abrupt. This same style is used in romantic comedies. Jeff -- who can't get the "Chase through Coruscant" music out of his head
  20. I'm very lucky to have a copy of Temple of Doom. It's a Japanese print, but it has everything I love in the film. At first, I was upset at the loss of the percussion when Indy is trapped on the bridge at the end, but I'm happy to have "The Bug Tunnel" and "Streets of Shanghai."
  21. Hello all! NAME: Jeff Commings LOCATION: Albuquerque, New Mexico, USA (we like to call this state "The Land of Entrapment") AGE: 28 SEX: yes, please! seriously....male PROFESSION: newspaper journalist FAVE WILLIAMS SCORES: All of the Star Wars films, A.I., Harry Potter, Jaws, Indiana Jones and the Temple of Doom, Schindler's List, Saving Private Ryan, JFK, Home Alone FAVE NON-WILLIAMS SCORES: The Omen , Aliens, Planet of the Apes (1968), The Untouchables, The Fugitive FAVE FILMS: (top five, in order) Ferris Bueller's Day Off, The Lion King, Aladdin, The Hunchback of Notre Dame, Ghost FAVE DIRECTORS: Steven Spielberg, David Fincher (Seven and Panic Room), Alan Parker (does great musicals) VISITING BOARD SINCE: Right now! June 2002
  22. After I wake up from fainting, I'd ask him if I could sit in with him for one day as he's scoring a film. And I wouldn't talk his ear off. I'd just be a fly on the wall. Jeff -- a journalist who was "this" close to getting an interview with JW
  23. Hello everyone, and allow this response to be my first post: In regard to the Sail Barge Assault in Return of the Jedi, I believe that instance is very admirable compared to what was done to the final battle in Attack of the Clones. If you have the 1997 release or the 1994 box set, you can hear the original cue that Williams wrote for the scene. I have heard that Lucas wanted something more energetic, a way to show that the Rebels were back in full force. So Williams did actually re-score the scene, using themes and melodies from Star Wars. Absolutely nothing wrong with that. Now, Williams did write a cue for the Arena Battle and what follows (it's on your AOTC CD). If Lucas didn't like it, he could have asked Williams to re-score this as well. But I have heard Williams was busy with Minority Report and didn't have time. So Lucas used music from Phantom Menace, music that previously scored a battle that had maybe a little relation to what was going on in AOTC. But that doesn't excuse its use in AOTC. If Lucas had used music composed and performed for AOTC for that final battle, it might have been more acceptable. Similarily, if Lucas had just cut and paste music from Star Wars (music recorded in 1977) in the Sail Barge Assault, I think we all would be up in arms. Jeff -- who is excited to be a part of the board.
×
×
  • Create New...