tuneman_21

I'll take the 4th one on the right. I'll put you down for one.

Then, in other words, you don't think orchestration means shit. Spoken like a true violin player....

My bone players in my concert band fought with that lick too. Once the got it, man, it rocked. Personally, I'm still fighting with his trumpet concerto.

And you have a clear lack of musical intellegence. So I guess that makes us even. I can't begin to find the posts where you've said just that - orchestration doesn't matter.

So what? You've said it yourself. Orchestration doesn't matter. I say the play the entire score to the next Potter movie on combs wrapped with paper.

You were seeing the "real" Boston Pops. They are the Boston Pops when indoors. When performing in the Esplande, they call themselves the Boston Pops Esplande Orchestra. That dates all the way back to Arthur Fiedler. And, sure, Lockhart is down to earth, if you consider having the baton jabbed in your face down to earth. His stick technique is awful, and frankly I think the quality of the orchestra has gone down since he took over.

Why? Because he actually collaborated with him? Because he actually got the music he wanted for the film out of him, instead of getting typical Williams? Because he didn't say, "YES friend, you're absolutely right about it all,"? Actually, Williams left the Potter series to score Memoirs of a Geisha. He had been looking forward to scoring that ever since the book came out and was actually sketching out themes for a potential musical adaptation of the book - regardless of whether or not it was going to become a movie. That's how Yo-Yo Ma became involved since JW was planning on it becoming a cello concerto. The only way JW is coming back is if Chris Columbus directs the last one. Personally, I think Patrick Doyle's score would have been much better if his orchestrations were stronger.

I don't push for anything. The name amuses me that's all. I like to call him John Towner because it's cute. it makes me laugh. And I am sure John Williams would laugh about it also. uuuuuummmmmmmmm Anyone else finding this alittle unhealthy? *insert Pyscho strings here*

There is also these composers to consider for the fashion game... John Ottman, Gustavo Santaollaooooo, and Danny Elfman for those that asked for him. I found the last picture while looking for Gustavo's. She's not a composer, I guess a talk show host in Argentina. Why can't we get chicks like her to host talk shows in the States.

Jerry's going to come back and haunt you for finding that picture! Actually, I read in the bio that JG daughter is writing that Jerry was consider quite the fashion maven in his day. You had to love the pony tail...I think I'll do that to towards my golden years.

Do you think she screams Towner in extasy?

Act I "John Williams - The Early Years" 1) The Basket Chase - ROTLA 2) Cadillac of the Skies - Empire of the Sun 3) The Flying Sequence - Superman 4) Battle of Endor III - ROTJ 4) Scherzo for Motorcycle and Orchestra - Last Crusade intermission Act II "John Williams - The Modern Years" 1) The Flag Parade - SW:TPM 2) The Chess Game - HP:TSS 3) Anakin vs. Obi-Wan - ROTS 4) Burning the Church - The Patriot 5) T-Rex Rescue and Finale - Jurassic Park That's rather short, isn't it? For a stormtrooper.

Why do we keep calling him John Towner Williams?

then I suggest you hit that like the fist of an angry god my friend....repeatedly. If she doesn't, i'd make sure she's a she before you get yourself in too deep, if you get my meaning. As for your real question...what was it again? I got distracted by some er...pictures. To those pictures I can only say wow. Just...wow. There's nothing more to add than a simply wow. I am in awe.

DUH!!! By the way, does the Brazilian chick have a brazilian? That would be way hot!

Yeah. What's so wrong with this discussion? We've talked about other composers here, why should Horner - and the defense or bashing of him - be any different? Shoot, if it wasn't for Horner, and Williams and Goldsmith, I probably wouldn't give a hoot about the only really good "classical" music being written in modern times.

I have the Signature Score of this - as it is my most favorite JW piece ever. In the score, the piece is sectioned off and is, for all intents and purposes, a 6 minute musical representation of the games themselves. The atonal section is supposed to represent the struggle for victory and reaching the finish line. So, you're right Miguel. It says right in the score. It does not represent anything other than that.

I personally consider James Horner to be one of the top two composers in Hollywood (Top Three when Goldsmith was still alive). I am much more fond of Horner's pre-The Rocketeer scores than he's post - Rocketeer scores. The Zorro scores are some of his better current stuff. I personally thought the Star Trek scores he did were brilliant, especially considering how young he was at the time, they have a really mature sound. Braveheart was brilliant. I think the Titanic score gets a bad wrap because of some of the people involved in it - Leonardo DiCrapio, et al. It also gets a bad wrap because of that song, which every male on earth was sick of by the 12,000,000 playing of it on the radio. The song was overkilled and the score unnecessarily suffered for that. That score also suffered from some horrible post-production editing. What I don't like about Horner is the occasional blattant klepto-composing he does: Honey, I Shrunk the Kids, the Mars rhythm in Mask of Zorro. To me, its one thing to use a folk song, like in Braveheart, or when he lifts some cues he wrote for another movie - I don't think there's a Hollywood composer that hasn't done that. But its another to take someone's work and not credit the guy who wrote it, especially when the guy is still alive! I also think that he is sometimes way too married to that airy, New Age, Enya type music. He can be almost overly atmospheric. Horner does the same thing well that JW and JG did well - finding that untangable something about the movie and bring it forward musically. Like with Williams and Goldsmith, his music always seems like it always belonged. I've never heard a Horner score that I thought "Wow, that really doesn't work."

Another interesting thought would be - and I'm really hoping for this - if they re-release the first three soundtracks, especially TOD since the bootleg I have of it sucks.

That's ok, I once uttered the phrase "Well, I'm hard!" quite sarcastically in the middle of a music theory class. It's a long story. Needless to say, I got some unwanted attention from that.

Which touches on something I've always thought about JW's scores. I've always thought Last Crusade and Hook mark a distinct change in Williams writings. Sort of mile markers in his career. Am I right, isn't Last Crusade the last score JW did with Herb Spencer as his orchestrator? Ok, but then you have to refer to Stefan as Stefan the Cosman the First, Lord of the High Seas, Son of the 5th House and Keep of the Sacred Chalice of Reeks.

Another great game to play in bed is The Distracted Tourist and the Ever-Watchful Orangetang (I apologize to Mel Brooks on that one) Another thing I hate is when you start thinking about one tune and segue into a completely different one on accident. I did that once with Star Wars - I started thinking about the A section of it and completely and unconsciously went right into the B section of Superman March. I guess thats shouldn't be surprising considering there similarity Tuneman - (who ducks the oncoming tomatoes and eggs for that similarity comment)

I think we're all waiting for the day Lockhart comes out.

I do that, except with The Enterprise from ST:TMP The worst is when I can't GET a tune out of my head and I'm trying to sleep. Or, you only get one particular part looping over and over again... Isn't that how Schumann went nuts?

But she's legal now Well, I'll leave the touching to you and your wife and Emmy Rossum. I'm here to talk about music. mmmmmmmmmmmmmmmm. That'll hold me for a while