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Everything posted by Datameister

  1. Oh. Much tougher decision then. I guess I'll still give it to Mermaid. But Hercules, Pocahontas, Beauty and the Beast, and Aladdin are all stiff competition. For me, Hunchback is a strange mixture of the stunningly brilliant and the stunningly mundane. Neither Tangled nor Enchanted reaches such heights, but they're still fantastic.
  2. Mermaid for me, even though the recording itself is pretty terrible.
  3. They apparently were recorded, but those recordings haven't surfaced, sadly.
  4. Yep. 1941, Hook, HPSS, POA, and TFA are the only ones I can think of. Google says Nixon as well? Plus COS if you include TV promos.
  5. I was the dispatcher who took that call, and your voice sounded suspiciously like Hans Zimmer's …
  6. I'm sure it's got nothing to do with budget. Just a terrible stylistic choice intended to sell more tickets. Somehow.
  7. My first thought as well … although if it is, props for playing the long game. Check out their post history before this thread.
  8. I love that video. I'll quibble a bit—I'm sure anyone involved in making these is very aware of the cliches. There are probably in-house terms for all of them. No one producing this stuff can possibly think they're trailblazing auteurs. (It's cool, I'm not a trailblazing auteur either.)
  9. Y'know, on a second listen, there might be some real instruments in there. I was wrong. JW confirmed.
  10. It would be interesting to extrapolate forward. Given an infinite amount of time, eventually the human race would stumble upon a trailer format so irresistible that the entire population of the universe would show up. That would be peak trailer. (It would probably be unbearable, but it would work.)
  11. Aside from the silliness of this thread, this is a somewhat interesting conversation. I think the disconnect is the idea that a trailer should give a "bite-sized representation of what your film is actually like." For the folks making the trailers, I'm sure the only goal is to make people want to see the film. (Especially, but not exclusively, people who are more likely to enjoy the film.) So that becomes sort of a game of one-upmanship—whose trailer will be the most epic? hilarious? scary? dramatic? And part of that is the music. It's an arms race for the trailer tropes that most effectively entice the largest numbers of people into the theater. (Or onto the subscription streaming service, or whatever.) Any decent film composer knows you have to hold back in a lot of places to craft a score that really supports the film; any decent trailer music composer knows you have to keep up with the Joneses to keep getting work. Or in this case, you have to help the Joneses keep up with over-the-top adventure movie trailers everyone else is making. (I don't think they were successful with this one, but the proof will be in the box office pudding.)
  12. I think that's literally true. I enjoy some trailer music, but formulaic is the perfect word.
  13. Yeah, there's some real troll energy to this thread, intentionally or otherwise. @Amvanquish if you truly started this thread with the expectation that no one but the composer reply, I'm not sure what to tell you. This is actually a fan site, so the fans tend to chat.
  14. Interesting that you mention quality when I've done nothing of the sort. I just said Williams didn't write it, and an orchestra didn't record it. Plenty of great music out there fits that description. And yes, if you say you can't tell if this was Williams, I'd say you're not qualified to tell whether this was Williams.
  15. Yes. He wrote several trailer cues. One of them was used in the very first teaser. It's mostly non-thematic. @Amvanquish, you can boast and yell all you want, but it's immediately apparent from a single listen that JW didn't write this music. And good luck finding instrumentalists to comment, since it's also immediately apparent that it was mostly or completely produced with virtual instruments.
  16. Looks like it could very well be good. (Although no trailer is good enough to preclude the possibility of the film being terrible.) Fingers crossed! And yeah, I got onboard with a lot of the trailer music for the Star Wars ST, but this track is just terrible.
  17. Meh, we already have posters that do that. (I flip-flop on whether it's hilarious or just a really good way to deter anyone new from joining the community.) In all fairness, I was directly responding to an incorrect statement that was offered in good faith, as far as I can tell.
  18. Well, he originally wrote a much shorter "Hedwig's Theme" for the trailer, based purely on his mental imagery from the books—hadn't seen any film footage. He thought it evoked the snowy owl's flight and titled it accordingly. But it so effectively captured the broader magic and mystery of Harry's entry into the wizarding world that it ended up becoming the score's main theme.
  19. I think it would be accurate for me to say I don't buy films anymore. I make occasional trips to the movie theater and I pay for streaming services. My small collection of DVDs and Blu-ray sees the light of day less and less each year. My music collection is a totally different story. I've got numerous shelves of CDs, as well as some albums I've bought digitally. I don't use any music streaming services. A lot of this has to do with my viewing/listening habits: I'm much more likely to watch movies at home, whereas a decent chunk of my listening happens in transit. And I like to keep my mobile data use low. My tastes in films are also a lot more mainstream than my tastes in music. Plus I revisit albums much more frequently than I revisit films. So yeah, definitely soundtracks for me.
  20. I agree that her subplots really didn't cover that much ground over the course of the season … but I also found them really compelling to watch. Genevieve O'Reilly has truly hit her stride with this character. In ROTS's deleted scenes, she struck me as a rather stilted lookalike. In R1, she got to give a more mature and nuanced performance. Now, in Andor, she totally steals the show with everything she says—and everything she doesn't.
  21. Sure doesn't feel that way right now, what with the big Bob shakeup …
  22. But science fiction—especially hard sci-fi—isn't really about the exploration of the human condition in a futuristic setting. It's about the interaction between the human condition and a (scientifically plausible) futuristic setting. Star Wars intentionally leaves the realm of scientifically plausibility, even when you ignore the Force. And the futuristic setting is just that: a setting. It's not really involved in the central themes and questions. None of that is a criticism of Star Wars; it just has different goals than science fiction generally does.
  23. The "not sci-fi" argument doesn't excuse everything; it just excuses the consciously unscientific stuff you're talking about. There's no easy or objective way to determine whether a work is science fiction, science fantasy, hard sci-fi, soft sci-fi, space opera, etc. The borders and overlaps between genres are loose and subject to debate. Personally, I'd say that the original Star Wars is very much science fantasy. You could easily tell the same story in a traditional fantasy setting, and the opening "A long time ago …" tries to set up a fantasy mindset from the start. For me it also sits on the far outskirts—Outer Rim?—of soft sci-fi. Later films feel a little less science fantasy and a little more soft sci-fi. But it's still just a soft sci-fi veneer. There's nothing sci-fi about the stories. Andor is interesting. It doesn't really feel like science fantasy at all, but it's certainly not hard sci-fi for the reasons you describe. I'd describe it more as a political thriller in a soft sci-fi setting. Its themes don't feel at all sci-fi to me. If Star Wars could easily fit in a fantasy setting, Andor could easily fit in a contemporary one.
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