Dixon Hill

Lower dynamics/more relaxed playing leading to a warm and broad sound. Lexicon on everything. Todd-AO in its heyday. Natural dynamic range. The 80s were tinny. Everything before that is crap quality whether you like it or not. You might be nostalgic about the sound of Star Wars 77 but it is shit sound. Shore's trilogy from 2001-2003 was the last great example of pinnacle 90s sonic quality. Since then dynamic range has suffered, playing techniques have changed and made things harsher. Overall aesthetics are different because of the widespread hybrid approach, and it sounds great with that stuff, but even straight orchestral music is being treated differently. What's the last symphonic score that really sounded good on every front? Silvestri's Avengers, the first one? The end credits on that rock. Nothing else really stands out. I welcome recommendations.

Anyone else think this was a really well placed quote that should have gotten more likes?

I prefer Kubrick's film but its great selection of music isn't quite as good as Vangelis' Blade Runner.

Interesting. John and I more or less agree.

Well I can't say I know what anyone involved truly intended, but I do see Williams' music as reaching beyond the bleak surface to the real heart of matters, rather than it being a synthetic facade. The music and film both have such masterful handling of light and shade that I can't look at either as plainly happy or disturbing. It seems to be about happy things in a disturbing context, but given the family men behind the film I err on the side of the emotional thrust being more important than the seeming scifi twistedness of things.

Like any film it's a Rorschach test for the viewer and we take away what is most applicable to us. Everything you say is true, but I don't see any of it as the main point of the film or what Spielberg/Kubrick wanted to ultimately convey. That's the difference between it being a rather hollow commentary on something purely speculative, and a deeply moving statement on real things.

I would never describe this ending as happy but I don't subscribe to the idea that it's somehow really disturbing and dark and twisted either. It is what is shown - bittersweet.

Just this thread?

I reckon A Clockwork Orange is a pretty upbeat ending too.

Hello A. A. Ron - if you haven't noticed yet, hornist is a great choice to start out your ignore list with. Just a friendly suggestion.

He hands out the confused reaction like candy on Halloween but can't take it when I do it.

No that would be you.

I like the flute concerto. Viola is a close second.

Hate to be that guy but let's not go crazy.

AI has little bits of influence from a number of sources, but those moments are brief and scattered. On the whole I reckon the score is deeply connected to Williams' personal voice as a concert composer, with all the influences and innovations that make that up. A solid choice for his most original score with the understanding that nothing is ever really original.

You can compare them as Nolan movies of course. The Prestige is better than both though.

This is one lover's quarrel we cannot get involved in, my dear.

I fully endorse more X-Men/X2 quotes.

Old news, Snoozenkohl. Been using this for years.

Won't ever understand people's need to rank and list things. Who cares.

I'm with Thor and Koray, The Shining on all counts. I can appreciate the reverence for Hitchcock more than I do for some other oft touted films and directors, but personally only North by Northwest interests me much.

Prefer Inception as a movie. I like both scores alot.

Oh come on.

It's a stolen march anyway.