Dixon Hill reacted to Marian Schedenig in The most inspiring film you've ever seen!
Some of the effects and their use look a bit cute today, but that doesn't hurt the viewing experience. It's documentary making on an artistic level that makes it highly watchable. Sagan's passion and skill in painting on an imaginary canvas, combined with great music choices (with lots of Vangelis matching the visuals and atmosphere perfectly) turn this from "just" a documentary series into (as the subtitles say) "a personal voyage", in a highly emotional way. Some of the science may be outdated, but most of it still largely applies, and that's only part of the fabric anyway - first of all it's Sagan conveying a mindset and a passion for science. It inspired me when I saw it as a kid, and it still did when I re-watched it last year.
I have high hope for the upcoming remake/sequel, but even if it should be on the same level as the original (which would be a major accomplishment), Sagan's version will always remain worthwhile.
It might be the single most inspiring thing I've ever experienced.
Dixon Hill reacted to Incanus in London or Los Angeles for Star Wars VII score? [UPDATE: It's Los Angeles]
Rumour grew of a shadow in LA, whispers of a nameless fear. And the AFM perceived its time had now come.
Dixon Hill got a reaction from Brónach in .
For this birthday wish, I decided I had to totally go somewhere new - I mean, how many times has happy birthday been said before? It's intimidating coming in after a legacy like that. I wasn't even sure I wanted to take it on myself; the folks of JWFan had to really convince me. I thought long and hard about what exactly a happy birthday represents, what its essence is, and finally they said, "you know, just do your own thing and don't worry about the past!" That turned out to be exactly what I needed to hear. I decided that the sound of burning candles, and their subsequent blowing-out, was a really honest way to represent the feelings one has on a birthday.
But in all seriousness... a happy birthday to Hans, who still has my love, at least.
Dixon Hill reacted to Jim Ware in The Lord of the Rings Score Restored (Unused Howard Shore Music Restored To Picture)
Drop the EE footage (Gandalf's line 'I am Saruman, or Saruman as he should have been') and the whole thing syncs perfectly without the need for any editing.
This six-minute section of the score is my favourite of the entire trilogy. I love the little moment as Gandalf realises who he is.
Dixon Hill reacted to Jay in Faleel's Maniacal Treasure Hunt for Unreleased LOTR Music
It's the best of the three!
Dixon Hill reacted to Koray Savas in What Is The Last Film You Watched? (Older Films)
This was one of the first blus that I ever bought, and I was surprised by what stuck with me as I had not watched it more than once since I initially made the purchase. I really like this film, and for a number of varying reasons, one of which is that this is 100% Nolan. As much as I love Memento, this might just be his definitive (there's that word again) film. There's a little bit of his early stuff and a little bit of his latter stuff here, or rather what one would would later see in his work. It's like a weird blend of Inception and Memento that takes place in the late 1800s. I remember lamenting that he "stole" a plot device I once came up with while planning out a script. One that I had already previously used in an uber short film I wrote in high school. Opening narration is exactly the same as the ending narration and the context makes them mean completely different things. Regardless of that little bit of jealousy I used to hold, Nolan does it so much better than I could ever do. The bits of narration throughout as Jackman and Bale read the journals echoes Memento, Bale hugging his daughter at the end and nodding at Caine is reused almost exactly in Inception. What is very identifiable to me as part of Nolan's style is his characterization. He's probably a better writer than director, but he's easily one of my favorites that's working today. Julyan's score also wonderfully supports the film and its mysterious air. Love Bowie and Serkis here too.
Dixon Hill reacted to Melange in The Second Great Musical Abstinence Challenge – 10 Days of Character Building
Isn't that rather like Bill Clinton's defence, that Oral Sex wasn't Sexual Relations?
Melange - Awaiting the 'Musical Abstinence" court cases that will surely follow.
Stefan - "Did you, or did you not, on the 10th of September 2013 watch an E.T 20th Anniversary DVD with re-mastered sound"
Quint - "I did indeed, Sir"
Stefan - "So, you blatantly admit that you broke your musical abstinence oath for the purposes of auditory stimulation?"
Quint - "No, that is not what I am saying"
Stefan - "Pray tell, Mr Quint. How do you explain this contradiction, for the benefit of the jury?"
Quint - "Simples! The mute function was switched on"
Melange - "Case adjourned until September 2014"
Dixon Hill reacted to KK in Howard Shore's The Desolation Of Smaug (Hobbit Part 2)
Like Karol said, not exactly. Too many alternates, and the highlights aren't even preserved properly. Instead they're butchered and stitched together with random cues and very annoying micro-edits that creates a huge lack of flow in the album. The RotK OST is pretty much the only one that got it right.
When I listen to LotR, I want to hear the music tell me the story. The CRs do that because all the music is there in chronological order. The OSTs are kind of all over the place, and I find it annoying.
For instance, the FotR album is rather dull compared to the awesomeness of the CR. After I heard the CRs, I could never go back!
Dixon Hill got a reaction from KK in The Hobbit Film Trilogy Thread
Not ignorant of the success of shows like Storage Wars, Peter Jackson has decided that the majority of the third film will focus on the auction of Bilbo's estate, and ensuing drama. Howard Shore will adapt the Storage Wars theme, and really make it his own.
Dixon Hill reacted to chuck in Bear McCreary tweets Elmer Bernstein advice
Sad that no one is posting Bear McCreary's tweets about his mentor Elmer Bernstein wonderful quotes of wisdom in here:
I was fortunate to work with legendary composer Elmer Bernstein for the last decade of his life. He was my mentor, friend & first employer. When I first arrived in LA, from the ages 18-21, I sat on Elmer's film scoring class at USC & wrote down every single word he said.
I recently discovered my old notebooks... & found I had underlined 25 Elmer Bernstein quotes that caught my attention as a young composer. The quotes are as relevant today as they were then, and offer a glimpse into Elmer's creative process & political savvy.
For the next five weeks, I will post one Bernstein quote each business day...
-"Respect the film. You don't have to like it." #ElmerWisdom
-"Reactions to movies don't change. Only techniques [in making movies.]" #ElmerWisdom
-"Rich chords are not as scary as thin chords" #ElmerWisdom
- "Assume every person in the theater will experience the score once. Decide what you can communicate that people can absorb right away." #ElmerWisdom
-"If you don't enjoy the process, don't get into the business. Enjoy what you're doing, when you're doing it." #ElmerWisdom
-"Avoid talking about music with the filmmaker. Instead, ask "What the audience should be feeling?'" #ElmerWisdom
-"People look down on you when you criticize or belittle others. Don't do it." #ElmerWisdom
-"No good score will ever be written if the director is always interfering." #ElmerWisdom
-"When a director knows exactly what he wants [from the score], he doesn't need a composer." #ElmerWisdom
-"I don't think there is anything in your entire life that can confuse you as quickly as a filmmmaker." #ElmerWisdom
-"Never fear your talented competitors. Fear the charlatans." #ElmerWisdom
-"To deny what a film is about is death for the film and score alike. #ElmerWisdom
-"If a filmmaker ever says 'Look, I just don't know enough about music, that's what you're here for' go to your local church, get on your knees & thank God." #ElmerWisdom
-"When people remember your scores, they're really remembering the film & the film experience. Not the music, just the association, because the music worked for them." #ElmerWisdom
-"In the long run, you're judged by how you helped the film, not how many records you sold." #ElmerWisdom
-"Focus on who you are, what you're willing to do or not to do. Don't prostitute yourself." #ElmerWisdom
-"Temp music: BAD." #ElmerWisdom
-"Everybody on a film thinks they have two jobs: their own... and music." #ElmerWisdom
-"If things keep going this way, there will be no more great scores." (1999) #ElmerWisdom
-"Jerry Goldsmith is the #1 composer working now. He's open to new ideas and always inventing." (1999) #ElmerWisdom
-"If you get a chance to do the job, even if it's going to be a mess, do it." #ElmerWisdom
-"You can't change the system. You have to deal with it the way it is." #ElmerWisdom
-"There is a mystical element to a flute in its low register." #ElmerWisdom
-"Filmmakers tend to be comfortable when we're comfortable, which happens when we're ourselves." #ElmerWisdom
Dixon Hill reacted to Sharkissimo in Instruments that didn't quite make it, instruments that may not make it
Dixon Hill reacted to Quintus in Classic FM's 100 Best Film Scores
Whilst I'm all burned out on LotR and its score's power has diminished somewhat for me, I still appreciate its greatness, it's herculean achievement within the medium. It has every right to the top spot as much as a number of other scores in the list.
Dixon Hill reacted to Ludwig in Williams inspired ex-Police drummer to learn about orchestration (a.k.a. Film music: art or craft?)
Agree with your disagreement. Copeland betrays here a sentiment that is common among classical musicians - that music is in its "highest" form when it is the central focus of a performance of any kind. The idea that music can participate in a multimedia experience, and therefore be subordinated to other elements, is one that people like Copeland find extremely unpalatable, that it somehow "cheapens" the music.
I would counter that the fusion of music with film actually enhances the impact of the music precisely because there are other elements that add, not detract, from its meaning. And I say this as a classical composer of opera myself, like Copeland. Much of the brilliance of Williams, for example, lies in his ability to key into those other elements of the film and translate them into musical terms, which makes the music feel like a natural, often inevitable, fit with the film, even if one is not consciously aware of its presence.
I think it's fair to say that this is what the best film music does, and so it succeeds in its purpose. An opera is more about the music than is a film. They're different media. Copeland makes the mistake of evaluating one kind of music by the standards of another. Not art? Please. Some would say that about many modern operas.