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ocelot

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Everything posted by ocelot

  1. ocelot
    I'm judging the cli based on what I am seeing on screen. I'm a composer. I'm looking at the energy vs the point of the music visually. His Star Warsy trumpet triplets are put in there for no reason. There is a reason when Williams uses that color. And when he shifts musically to heighten the visuals you do not hear it. It's too related. Small clip or not, this is not a boring scene, there should be a lot of intensity and shifting to move us forward without interfering with the visuals. Again, I will probably get bashed on the tv series I'm doing at some point, but just calling it out as I see it... Music is subjective. Some will like things others won't. And as for Zimmer.... Dear Lord....
  2. ocelot
    Not great musically at all. He pretty much stays in the same tonality as if he has no clue how to modulate to not only keep the energy but to heighten it and move it forward, and when he does he goes somewhere related rather than shifting to get you shifting out of your seats. Come on!!! This is basic film music 101!!! I feel horrible saying this but it is true. And I'm starting to score a tv show with a full 90+ piece orchestra so I'll probably get bashed left right and center when it's my turn, but the guy can not compose a theme. Even if you liked this motif, it's only a start of a theme Where is the rest of it? Compare this with any of Goldsmith's themes. There is a beginning, middle and end to his themes and any of John Williams themes, with counterpoint in some, always a B theme int he middle, modulation and having the A theme come in big after etc etc. The new Trek motif is just the start of a melody. Where is the rest? Edit: I thought your wrong was about my comments on his Star Trek Theme. That's what this comment was about.
  3. ocelot
    Worse thing ever written and passed off as a theme. It's a motif at best and it thuds. The whole point of trek themes was to have something that soared and made you feel the ship in all it's glory. This was dead in the water before it started.
  4. ocelot
    Nice! Hopefully he can go somewhere with it, but very nice start indeed. Right? But I can try, lol
  5. ocelot
    Don't they all die in this film? Are you all being sarcastic? I hope it's just me not getting the sarcasm because I'd be very surprised if they all don't die, or at least most.... We never hear of them ever again. LOL, exactly.... Hopefully he will bring those chops into Rogue One then, because most of his scores sound extremely bland and unmusical to my ears. I do like The Incredibles and did he do Ratatouille? That's where I think he shines.
  6. ocelot
    Oh Dear God........ Fingers crossed it's not another horrid score.... The thing that annoys me about the first cue is that it has the rhythm from the Imperial March. Its the Empire, just use the fucking Imperial March already!!!!
  7. ocelot
    I'll do one!
  8. ocelot
    You're insane. The guy can't write a theme to save his life, and his score to most big budget movies are just not musical in any way. He can't modulate right, he can't do chase scenes musically, he can't use woodwinds well.... UGH... throw up session!!!
  9. ocelot
    One of the worst news ever.....
  10. ocelot
    Had a great evening last night at the Hollywood Bowl!
  11. ocelot
    On the previous page someone said another rebels against the death star, and someone else echoed it. I think this film will be very different in feel and scope.
  12. ocelot
    Wait, do some of you guys think they are going to destroy another death star in Rogue One? Do you not know that this is about getting the plans that end up with Princess Leia at the start of A New Hope? No death star is being destroyed. The film ends 10/15 minutes before A New Hope starts. It's about how they got the plans to the death star to find it's weakness that they eventually exploit in A New Hope.
  13. ocelot
    FYC here we come? lol
  14. ocelot
    That's the part I was asking about. "The Broad Potter Fantasy Scoring" Potter 3 is one of the best scores in modern times to me. What did you mean by broad? I took it to mean the whole thing, as in that whole style.
  15. ocelot
    No No, I haven't said a word about BFG except that I like a few cues. There are many parts of this score that are way too meandering for me and it's not totally my cup of tea. Loving woodwinds is one thing, but I never said anything about this score in my last few posts. I love the way he used woodwinds in The Phantom Menace and Jurassic Park, Lost world and TinTin. They were succinct, to the point. The colors were amazing and the writing focused. I think they way he might have done BFG is that it will work on screen, but apart from the few cues where I think his writing shines through, a lot of it won't be on repeat listen to me except to learn more orchestration. Even if I think it is meandering, I can still learn from it. You can still use woodwinds to their full effect and still have an incredible score that sounds way better than leaving them out and having a score be "duller" in color. That's all I am saying. Don't read into it any more than that. I'm not saying that if you just throw up the whole woodwind section on a page, that's fantastic, lol EDIT: Listen to just the last 30 seconds of "The Witching Hour" where he goes into a quasi chase. That's when I love his writing.
  16. ocelot
    Agreed but there is a time to use them in both ways. Love Takemitsu, Adams and Ligeti. Some directors absolutely hate woodwind runs (I believe it's why Silvestri was replaced on but I think they are extremely effective in certain chase cues. My problem is I am not hearing them at all in so many scores nowadays except for the occasional sad solo with a Cor Anglais/English Horn or flute melody for a child. But in most films I do see, I just don't hear them anymore which is sad as they deliver the most color in the orchestra.
  17. ocelot
    No worries, all good.
  18. ocelot
    Zimmer is a pop composer who has a stable of many younger composers doing most of the work for him so when you say ho he treats his thematic materials, I would say, who is treating those thematic materials? I give him props for giving these other composers work and starting them off, some on great careers, but he is no where near what you claim in my opinion. And no I am not starting any arguments here, lol, if you know me like some do you would know I don't actually like to argue, I'm a pretty happy, nice guy who is blessed with a lot of what I have, and I am so thankful for all of it. I was asking what Publicist meant because I truly didn't understand what he said fully. BTW, I was asked to join the zimmer ranks years ago and I declined. I do not believe Zimmer writes very well, and he has yet to come up with a theme that sticks with me. Plus again, as stated, there are many people writing scores for him that he puts his name to and maybe writes one thing for. It's a great well oiled machine there and I give him major props for starting it up and really starting off many people's careers, but he himself, is amazing with the tone of a movie, but his scores are mostly serviceable at best but many can go from one film to the other without much notice of difference and he doesn't really write for full orchestra well, HIMSELF. You might know him or know his composers as I do and you might have a different idea of him and you might prefer him to others. That's the whole point of music though, right? It's subjective. We don't all like the same things and that a good thing in my opinion or it would be a sad world we live in. Either way please do not mistake me for one of those trying to start arguments. But I will state what I know or what I think on subjects just as my point of view, that should be allowed for everyone I think.
  19. ocelot
    Wait, so you want people to stop using woodwinds for color? Everyone should start sounding like the directionless big scores like in the MCU films and Zimmer? Not sure what you are saying here.
  20. ocelot
    Dunno, I know I do it my music both personal and when I am writing for whatever they ask. Agreed, very Debussy in some areas, especially the solo strings octaves. There's a lot of french impressionism in that track. Interesting opinion although I do not share it. I think The Force Awakens is one of his best scores ever. I think the playing on it is a bit shoddy in areas. The strings are just not focused or together in many spots. But the composition is fantastic. The brass writing is probably some of the best he has ever done. I'm not sure why he chose to not use so many woodwinds for color, that would be my only statement, but it was definitely a conscious decision considering the amount of woodwinds in The BFG. I definitely do not want him doing smaller scores. I still think he outranks everyone else when it comes to scoring big movies with great themes and brilliant chase music. Take a listen to the last 30 seconds of The Witching Hour. Love when he gets vicious and fast, no one else does it like that. Great writing, crunch runs, etc etc
  21. ocelot
    Not ture. I know so many fellow composers, a lot working in the industry and they pretty much all use block orchestrations. None get complicated with it and when I ask they just say, I just don't know how to do it well. It's just not done by hardly anyone nowadays. I can do it, trust me, but not many others that I know.
  22. ocelot
    Don't be. You can't expect every Williams Score to be in your limited capabilities as a listener. LOL, sorry, just being an ass, a la Maggie Smith. No, You are totally right in that it all depends on what you like to listen to. I love huge orchestral color so I love this but lets say Lincoln, which is a fabulous score is not my cup of tea except for Malice Towards None. We all have different things we respond to and that's a great thing or music would be so boring. I agree that Azkaban is such the better Potter Score. So much stuff in there to sink your teeth into. This score, I am just astounded by the orchestrations more than anything else, but for me, that makes me want to learn. There are a few themes which I do love but I can see why a lot of people think it is filler rather than meat and potatoes. I was hoping for an action cue or two as well. Orchestrations might be frosting to a degree, I actually think it's a lot more than frosting because seriously hardly anyone can master the orchestra like that, but even if it were so, what a great score it is to study and master even a fraction of that orchestration. I bet the orchestra had a blast playing it. I do agree that without an incredible theme, orchestration is just orchestration but there are a few beautiful themes in there in my opinion. I think Williams was just having a lot of fun. I would like him to rest before doing Star Wars Episode 8 to recharge. I think this would have taken a lot out of him.
  23. ocelot
    His first book was The Gremlins, which were about little mischievous mythical little creatures that wreck havoc... Sound familiar? Spielberg didn't use the same plot as the book and changed the local but the idea of Gremlins and what they were came from Roald Dahl's book, The Gremlins. I loved his books as a kid!
  24. ocelot
    The BFG is by Roald Dahl for crying out loud, not some unknown author. He also gave us Charlie and the Chocolate Factory, Charlie and the Great Glass Elevator, James and the Giant Peach and Fantastic Mr Fox amongst others!!!!! Edit: I forgot Matilda!
  25. ocelot
    As a composer (many on here are) my jaw dropped at the sheer amount of orchestration in this score. From the Debussy "Jeux" like sections in Dream Country, to the aforementioned Tchaikovsky ballet inspired main theme, the Offenbach/Ponchielli's dance of the hours Frolic (anyone feel the dancing ostriches and hippos from Fantasia at the end?) lol, to the Prokofiev's Cinderella-like waltz "To Giant Country". Those are the only things I have listen to so far and holy hell, just orchestrationally it's MASSIVE. Can not comment on thematically since I am not listening to the rest yet. I'm gonna wait. BTW is it 4 flutes in all this?
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