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Everything posted by KK

  1. I remember stumbling onto the Goblintown and Out of the Frying pan scenes on Youtube recently and was surprisingly impressed with the visuals and the staging. Definitely better than the awful bloom-laden mess of the later films that are permanently seared into my memory. But all that Azog shit is just stupid stupid plotting. Awkward plotting/sequencing remains the bane of these films. And Thorin is annoying as hell.
  2. The Hobbit: There and Back Again by Howard Shore Ooph. This has not aged well.
  3. Beanpole director, Kantemir Balagov, is now directing the pilot for this: https://www.hollywoodreporter.com/heat-vision/last-of-us-hbo-series-finds-its-director-with-beanpole-filmmaker-exclusive Damn. This could actually be good!
  4. Ahh! I mixed up the dates. Yea a Saturday would definitely work better I think.
  5. Easily Davis. There is legacy of changing musical traditions for Bond. I certainly don't need or want 20 Arnold Bond scores. Whereas Davis' sound is integral to the Matrix universe. And due to the sophisticated nature of the music writing itself, it would probably be tough to replicate for most average film composers. It's more like Williams + Star Wars or Shore + Middle-Earth.
  6. Not even close. Neither is 1917 really (though there are some career highlight cues in there). That list is missing Road to Perdition, Series of Unfortunate Events, Little Children, Revolutionary Road and The Good German. But yes, have fun Bes. Though Newman has pretty much stagnated his sound in the last decade, he is without a doubt one of the most intelligent and musically curious voices in the industry. His 90s/00s output is very rich.
  7. Memoryhouse and The Blue Notebooks are his best works. Followed by his reimagining of Vivaldi's Four Seasons with Recomposed and his 24 Postcards in Colour. The Leftovers has some good material, even though it's mostly just Memoryhouse variations. But the music also derives a lot of its power from the show it accompanies (and vice versa). The same goes for My Brilliant Friend, another case where the music isn't at all original, but both the show and music greatly benefit from each other. My first Richter piece:
  8. He's been on autopilot for some time now in the film department, though his very familiar bag of tricks is still pretty effective in context (slow dramatic string chords scream "PROFOUND"). His solo albums are much more interesting and representative of his creative peak.
  9. It's so exquisitely shot! The shot where Welles gets a taste free air with his fingertips...super evocative: It's also a brilliant visual archival of post-war Vienna. That faded Austrian glory against all the rubble...you can't recreate that. Definitely a once-in-a-lifetime kind of film. The only thing that doesn't really sit with me is the music.
  10. Indeed. Would have been stronger with no score at all.
  11. Should be able to join this one!
  12. Ludwig's effort is the more earnest one, and probably more authentic/intriguing integration of African colours/textures. But as unoriginal and comprised as it is, Avatar just easily has the better. more ambitious writing, which speaks more to Horner's superior skillset and experience when it comes to the orchestra. So Avatar makes the more entertaining package.
  13. Pieces of a Woman by Howard Shore Pleasant listening, with a central waltz idea that's not unlike something you might hear Umebayashi conjure. The piano concerto movement is the best part of the whole album though. Memoirs of a Geisha by John Williams Simply sublime.
  14. Agreed. It definitely cheapened some of the movie's sentiments. The score on its own is pleasant enough. But I think they should have just used his piano concerto to underscore the whole thing.
  15. Pieces of a Woman I've seen the buzz for this film wane since it's initial splash it made at its festival run and I'm not entirely sure why. I suspect it may have something to do with LaBeouf's latest fiasco. But yes, the film loses some of its steam after its harrowing 30 minute opener, and yes, some of the symbolism is a little overstated (I could use less of the apples, and cheesy courtroom monologues), but this is a very confidently directed character drama that expertly navigates between hope and heartbreak. And Vanessa Kirby is a phenomenal force to be reckoned with! It's a g
  16. It's not much good. Shore on autopilot. The last track is all you need.
  17. Definitely Dune, and maybe Bond. The others seem like more team-driven products than Zimmer himself.
  18. I'm using the headphone jack on the XD as my output. And the Scarlett is plugged into the laptop via USB. I also plugged in the XD directly into the laptop via USB, which gave me a MIDI signal from the keyboard. But I'm not picking up any of the actual audio output on the DAW. I could plug in actual monitor speakers into the Scarlett as well, but currently don't have a functioning pair. But I should still be able to pick up the output on the DAW, so I don't know what I'm doing wrong. Maybe it's an issue with the interface (hopefully not!). What do you plug in your XD in
  19. So, I'm having some setup issues. I'm trying to plug in the minilogue into Logic, but for some reason, my interface (Focusrite Scarlett 2i2) isn't picking up any signals from the minilogue. So Logic isn't picking anything up. When I plug in headphones directly into the minilogue though, it all sounds great. Any advice? Am I missing something really obvious?
  20. It's so obviously a mishmash of tropes and scenes from far better sci-fi films, that it felt like the screenplay was assembled by a computer. The score was as dull and unimaginative as the film.
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