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Trumpeteer

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Everything posted by Trumpeteer

  1. Morn, I really don't know what film it was used in. Someone said the love theme from Raiders is dedicated to her, but I thought I read in an authoritative publication a long time ago that it was a smaller film. Anyone able to help us out on this one? Jeff -- who learns something new every day: Joseph was part of Toto! Yeah, they've been more than "mildly successful!"
  2. It's Williams music. Every note in the film, with the exception of "Anything Goes" is pure Williams.
  3. One of his sons has a rock band that has been mildly successful, but don't ask me the name of it. And it was Joseph Williams who was the SINGING voice of Simba in The Lion King. I don't know if this is an urban myth or not, but when his first wife died, he wrote a love theme in a film and dedicated it to her. Jeff -- who is surprised that many posters on the board didn't know he has kids and is married
  4. You'll have to excuse me...what exactly is that "sound?" Jeff -- who liked Dexster's "Anderton's Great chase Through Coruscant Right Before the Gungan Battle With the Trade Federation Army" joke
  5. Wade's Death is my favorite. When I bought the CD after seeing the film for the first time, I played Wade's Death a lot. Those strings at the end are very haunting. Initially, I thought they were underscored with Wade's actual death, as the strings sound like they are reflecting Wade's last breaths. But of course those strings play when Capt. Miller breaks down crying. It's still a great musical moment. It's a fantastic score. Shoulda won the Oscar. Jeff
  6. What can I say about the sequel? A very sad ending. I'm sure Han and Leia's theme played as the mourners gathered over John's body. There's hope yet for the finale. I liked the appearances of Vangelis, Moroder and Gore. But I think the best part was hearing Goldsmith's Ave Satani and the Harry Potter music that defeated it. I'm wating anxiously for the finale. Don't make us wait three years Joe! Jeff -- who was coincidentally listening to the Omen while reading this
  7. Go to www.oscar.com/oscarnight/composer_tribute.html for that list of music during the Oscar tribute. I can't answer the question about the Best Picture montage, though. Jeff -- the definitive Oscar sponge
  8. colin Farrell's character was there to prove that Pre-crime had flaws and that it deserved to be shut down before it went national. The setup for Tom Cruise's character, as well as the missing file from Agatha showing Max von Sydow's character murdering Anne Lively were two flaws that would have ruined the company. That's why the movie ended like it did. Since the cops didn't prevent Crow's murder, that was a major reason to shut down the company. And then von Sydow's death was the icing on the cake.
  9. Like Gamecube and Joe, I never buy a CD unless I have seen the film. After all, the score was written to accompany a film, so to hear it on CD first is the wrong way to go, in my opinion. If I like the score enough in the film, I'll buy the CD. Often, the CD presentation isn't as exciting as the film presentation, but I still listen. Therefore, the answer is none. Jeff -- who isn't shocked anymore when people say they haven't seen Star Wars, Superman, ET, etc.
  10. 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.
  11. OK, I see what you mean now. Jeff -- who thinks the Keys theme from ET is one of the best villain themes ever
  12. 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
  13. Track 1, "Minority Report" is the end credits. Exactly as it is heard in the film (what a relief!).
  14. 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.
  15. In ET is somthing similar isn't it? Never noticed it in ET, and I've committed that score to memory.
  16. 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!
  17. 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
  18. 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.
  19. 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
  20. 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)
  21. 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.
  22. Ummm.....I think it's from track 12, called "The Forest Battle" from Return of the Jedi. :lookaround:
  23. Genius! I was thinking Jamie would just keeping using the same move over and over and over.....
  24. 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.
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