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About DarkLord89

  • Birthday 02/16/1989

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    Monza, Italy

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  1. Happy, happy birthday to our beloved Maestro!!! ^_^
  2. It seems that speaking a Neo-Latin language gives some advantages here... It's very, very similar to Italian here.
  3. 1) Nope, bars A and B are the first 2 seconds from the Concord track. There is no snare drum stave in those two bars, though it seems odd the bar numbering and the fact that he wrote bars A and B on the first page, then left the rest blank and moved to the next page. This means, IMHO, that the first page of 1M3 was written later and then added to the composition before its recording. 2) It could be, but I think some percussions are different and also there's a crescendo that isn't included in the 8M3 Fix recording.
  4. A few corrections on the "Temple of Doom" lyrics... Here's what I read when I over-analysed the thing: divyea pavea jagato matar / ahtish remati shegran shegran bojanam etad yatar siddam / asma bhissaha khada twantah ashabaliste svalpah krudaha / tam tuam sui kura karu naaha washta presadoya te vida raa yamo / hida yamka yaa dasas yamo tubhyam datum mamsam ahrtam / tubhyam datum mamsam ahrtam tubhyam datum mistam nutnam / tubhyam datum mistam nutnam (Oooooh… Aaaaah…) ghoram ghoram ghoram sundarum / ghoram ghoram ghoram sundarum ghoram ghoram ghoram sundarum / ghoram ghoram ghoram sundarum darunam darunam ghoram sundarum / darunam darunam ghoram sundarum darunam darunam ghoram sundarum / darunam darunam ghoram sundarum huh jai huh jai huh jai huh jai (female: ghoram ghoram ghoram sundarum) huh jai huh jai huh jai huh jai (female: ghoram ghoram ghoram sundarum) huh jai huh jai huh jai huh jai / huh jai huh jai huh jai huh jai huh huh huh huh huh huh huh huh / huh huh huh jai huh jai huh jai huh huh huh huh huh huh huh huh / huh huh huh huh huh huh huh huh huh huh huh huh huh huh huh huh / huh huh huh huh huh huh huh
  5. Could it be that the original title for The Map Room: Dawn is "Discovering the Script"? I don't know wheter "Seriph" has a particular meaning or if it even doesn't exist... Matteo
  6. Well, this explains pretty well why Bouzereau decided to mix "The Warehouse" with the Raiders March... Matteo
  7. If I recall correctly, that variation was tracked from the Yoda vs. Dooku duel ("This is just the beginning...!!!"). Differently from TESB, in this case you can hear Yoda's theme in an odd place because it wasn't MEANT for that place. Matteo
  8. Nope. There are a ton of random inserts and odds and ends buried in random places on the ROTJ SE that are not pointed out in the liner notes Are really there?!? I don't think I've found them, or at least I don't remember them (apart from "The Emperor Arrives" in "The Lightsaber", of course)... Absolutely must give a listen to that set, too much time has passed! Matteo
  9. How sadly true. And maybe one of the worst kind of cliches. But... hold on... weren't we talking about JW and his evolution in style?
  10. I know it's not swashbuckling, maybe I expressed myself badly. Pretending that the original PotC score doesn't exist is not that much different from those who hail it as one of the very best swashbuckling scores ever written (I personally DON'T, I find better pirate music in Hook or CutThroat Island; PotC is just generic action music with nothing pirate-ish in it, apart maybe from Jack's cello theme). It's just the same close-minded attitude, only it is not directed IN FAVOUR of this score, but AGAINST this score. I think it's high time that we recognize the high popular success this scores have had and not blind ourselves with the assumption that "this music is utter trash and thus no-one will be remembering it in a short time". Again, there's some good in these scores, particularly about some nice themes. Such a shame they were badly handled as far as orchestration and usage (which is linked to the meaning of a theme in leitmotiv constructions) are concerned.
  11. I'm the first to acknowledge that in its first incarnation this theme is VERY badly orchestrated, that its use during the scores (particularly the first one) is very messy to say the least (just like any other theme from that film), that some sections of that track sound too similar to "Gladiator" action scenes (I for one wasn't able to tell the difference between the two at first, and others here cannot even after multiple listenings), but simply pretending it almost doesn't exist is just near fanboy-ish attitude of the opposite direction than worshipping this theme as the very best swashbuckling theme ever written. Oh, and the video Stefan posted is just another proof supporting my argument: This tune is remembered by average "amateurs", but it's not judged with full knowledge of what precedes it, and what its history is. So, all in all, it's a memorable tune, but this doesn't mean it's good. Admittely, part of PotC 1 success at popular level is due to its score, no matter how good it is. It caught people's attention (for better or worse) just like the Raiders March did 27 years ago. This is why both tunes are successful, and I'll also say that the Raiders March is so popular nowadays (aside for Indy 4) because the original trilogy is still thrilling more and more people. Unfortunately, the same cannot be said for other older popular themes, say CE3K (again, just taking into account "popular level" and the "newer generation" factors).
  12. Well, it surely doesn't make it as memorable as "Hedwig's Theme" or "He's a Pirate" (both themes that, either they're good or bad, have definitely earned a huge place in popular culture, just as "Star Wars", "The Lord of the Rings", "Rocky" or "Back to the Future" have).
  13. Sounds like a rank amateur in my book! Yes, I think it's something between 70% and 95% newbie, it depends on how much he listens to those scores (though, knowing him, I think he leans toward 95% more likely than 70%...). This doesn't change the fact that the majority of people I know still don't have a clue of how the theme from Brokeback Mountain sounds like.
  14. Again, I'm talking about great numbers, not just one or two guys. You know, I'm an animator in a youth club in my town, and when I referred to my "guess-the-score" games I actually talked about 50+, if not 100+, people. And this guy actually is a great fan of Shyamalan, so he listen to JNH's scores (well, at least those from MNS's films), so he's not 100% newbie to the genre after all.
  15. It seems I'm not able to explain myself. My experience with my hobbies or passions enable me to form an opinion about something concerning them (in this particular case, scores). I have more criteria about how good is a score, or about how effective is a score, than the casual movie-goer who barely notices the score at all (again, just for taking into account a recent experience within 2008, my friends didn't catch the Joker's siren, while on the other hand I did, and kind-of liked the effect it produces). But as far as memorability is concerned, taking into account an opinion from one who isn't usually impressed from film scores (or barely cares to them all) could be very useful in trying to understand the memorability of an effort. I think we're all "spoiled", from a certain point of view. For example, another friend of mine and I had an exchange while talking about how good the score from Brokeback Mountain is (he still keeps saying it's a masterpiece of film scoring, but I agree that tastes are tastes). However, the fact that he (and only he) cared for that tune tells me that it wasn't so memorable, after all.
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