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About Mitchell

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  • Birthday 02/05/1989

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  1. Mitchell


    I cannot get these samples to play for me. I have been trying for days. I've updated everything that could be restricting me from hearing it and no luck. Anyone else having this issue?
  2. I actually found something soothing about that remix. Clearly I've been listening to too much Black Swan.
  3. His orchestrations have gotten denser again like they were in the 80's. But other than Avatar and The Karate Kid, nothing of his has excited me since 2005. I find Spiderwick Chronicles especially dull and phoned in for a Horner score. The piano progressions beg to be compared to 90's Horner efforts like Spitfire and Impact. The string textures are very nice and the Griffin cue has a top-notch Horner crescendo in it but the Casper's Lullaby lift is too much regurgitation for me and I feel I can handle a lot. I mean I like Troy. I also did not find Black Gold anywhere near as compelling as the reviews I've read of it. The melody is so textbook simple, it makes Jerry's Carol Anne melody seem obtuse.
  4. The only ones I agree are STRONGER than Braveheart from KK's list are The Land Before Time, Legends Of The Fall, Apollo 13 and The Legend Of Zorro. And Legends Of The Fall by a hair. As great as that score is, its plodding thematic statements make it less interesting and versatile than Braveheart as a listening experience.
  5. That it does. My roommate spotted me the money for it on the 27th because I had been off work for a while and when it arrived and he saw how nice it was, he understood immediately why I had to have it. I've caught him casually leafing through the booklet. Still thinks I'm a big nerd, though.
  6. Surely you understand that is the most political way to explain things? I'm certain La-La land would have given us everything we wanted on this release in the best quality they could find, if they could have.
  7. 1941 was excellent. I loved the cover to that one. Is he responsible for this latest POTA release? It seems to have a similiar style to 1941. What's the deal with the Expanded Archival label as well? Why some and not others?
  8. Jim Titus classes up everything he touches What other work has he done? Any other soundtracks?
  9. ...there really isn't any reason for it to be overlooked.
  10. It's worth it, KK. I had heard versions of cues in 320 before I received my CD and it truly does not compare. Physical music still matters. Through my DVD player and stereo system, I refuse to let my neighbors children sleep. When I opened it, it appeared to my friends as if I were crying but I assure you, it was merely the light reflecting off the jewel-case...
  11. E.T. is a mess. There are so many variations of cues and concert suites. My playlist for that is long and I've had to use tracks from the 20th anniversary, the original album and the isolated DVD rips (which have gotten good in recent years). I voted Jurassic Park because it seems like something that would be right up La-La Land's alley. They seem especially dedicated to the 90's and I know they're fans like us and they want projects that we have long awaited. The Lost World would sell, I think, but you can never tell with our community. Heck if even a dozen of us are unemployed every soundtrack label's profits dip. I wouldn't mind Williams sanctioned expansions either. Jurassic Park is one of Williams' best album arrangements. If he gives me the rest of the music, I don't care how he Frankensteins it together.
  12. Regardless of his inspirations, TLBT is one of his greatest works. Its success in marrying the picture it was written for is basically inarguable. His lift of that Wagner piece is obvious, but like others have said I do appreciate the lighter more hollow sound he gave it. As for Horner's most beautiful phrase, I definitely think the piece from Braveheart was a good choice. Obviously Horner did too since he stole it to be the bridge to The Wedding cue from Bicentennial Man and also the interlude to the main theme from The Missing. The final four minutes of The Titanic Suite, while not composed for the film, are my favorite part of any Horner work. That final rise to the Titanic in the voices is epic. I hate when my speakers peak and ruin it. If you don't want to count that, I'll never get enough of that final rise in The Death Of Titanic where that oft-used eighth-note accompaniment is passed from the horns to the trumpets while the strings sing the love theme. From the moments the strings slice in to begin it, I get chills. And the bit in War, from 5:56ish I think on, could compete as well. That's some epic stuff.
  13. It always comes down to the seconds, doesn't it? That loop is really bad. It's the only audio flub of the set in my opinion. I think what La-La Land did with the film stems is pretty exciting otherwise. The end of the Sword Fight was easily the most necessary expansion. Without the villain's demise, any piece would feel unresolved. It's still a little surreal to see Hook sitting next to my stereo, like seeing a melting clock drip from one of my end tables.
  14. Not sure. I've always been a Williams fan and I've visited this site for a long while. I remember when there were full score analyses all over the place. I was just getting into scores then. Now that I've been listening to them almost exclusively for greater than a decade, maybe I'm not as green and have something to contribute.
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