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Datameister

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  1. Like
    Datameister got a reaction from crumbs in The Force Awakens - Complete Score Breakdown & Chronological Order (Film Spoilers Allowed)   
    That was all from Opening/Starry Night (free version).
  2. Haha
    Datameister reacted to Alex in The Force Awakens SCORE Discussion (Film Spoilers Allowed)   
    The only conclusion we can draw is that William Ross wrote TFA ūü§∑ūüŹĽ‚Äć‚ôāÔłŹ¬†
  3. Like
    Datameister got a reaction from Florian in Jerry Goldsmith's AIR FORCE ONE - 2019 2CD Varese Deluxe Edition   
    Finally listening to this now. Meeeeee liiiiiiiiiike. I know the main theme well and I've seen the film several times over the years, but this is my first time listening on album. Glorious.
  4. Like
    Datameister got a reaction from Florian in Jerry Goldsmith's AIR FORCE ONE - 2019 2CD Varese Deluxe Edition   
    I've never owned this score in any form, but I'm familiar with the main theme, I remember enjoying the rest of the music in the context of the film, the samples sound great, and I was just talking about how I need more Goldsmith in my life the other day. Ordered!
  5. Like
    Datameister got a reaction from Ludwig in Which JW score contains the best expanded/unreleased material?   
    This is where his big franchise-y scores tend to shine the best. TOD and the Potter scores are way high up there for me. The TPM UE gets a lot of flack, and rightfully so, but it does present a wealth of incredible writing not present on the OST. When we eventually get expanded releases for all the Star Wars prequels and sequels, there's going to be a lot of great stuff to discover.
     
    Frankly, I can't think of a Williams expansion I've regretted purchasing. Some of them benefit more from expansion than the others, but as someone who's more into film scores than soundtrack albums per se, I really appreciate getting to hear the full scope of the composer's work on a project - or at least, closer to it than you get with a typical OST.
  6. Like
    Datameister got a reaction from Will in Which JW score contains the best expanded/unreleased material?   
    This is where his big franchise-y scores tend to shine the best. TOD and the Potter scores are way high up there for me. The TPM UE gets a lot of flack, and rightfully so, but it does present a wealth of incredible writing not present on the OST. When we eventually get expanded releases for all the Star Wars prequels and sequels, there's going to be a lot of great stuff to discover.
     
    Frankly, I can't think of a Williams expansion I've regretted purchasing. Some of them benefit more from expansion than the others, but as someone who's more into film scores than soundtrack albums per se, I really appreciate getting to hear the full scope of the composer's work on a project - or at least, closer to it than you get with a typical OST.
  7. Thanks
    Datameister got a reaction from Will in GALAXY'S EDGE - New John Williams composition (2018)   
    Unless I somehow missed it, I believe the snippet in the second video here is new to us.
  8. Thanks
    Datameister got a reaction from KK in What changes would it take for you to not consider TLJ the worst of SW scores?   
    Ditch the temp track. That's the number one thing. There are sooooo many passages that simply quote previous films (or albums) verbatim, often with editorial choices from the temp track delivered with awkward literalness. There's a big difference between penning a new yet nostalgic rendition of Yoda's theme and...well, slamming the beginning and end of the concert suite together and calling it a day. Most of the individual instances of this are fine, but in aggregate they really hurt the score, especially the first time I saw the film. No other Star Wars score is like this.
     
    The next thing is related - stop using the Force theme every 2 minutes, especially as an adagio horn solo over solemn strings. It's absolutely beautiful writing. Hearing it every other scene cheapens it.
     
    Then we move on to the actual new material. I'm sorry, but I just do not like the wishy-washy underscore heard mostly in the Achoo (I've given up spelling the name) scenes. I also think there are a few too many instances of loud brass triads planing chromatically in the action music...it's a quintessentially Star Wars device, but it feels slightly overused here.
     
    Things to keep: Canto Bight (glorious), Rose's theme (perfectly serviceable), the new theme for Luke in exile (sadly underused), a lot of the action music (great energy), The Spark (just wonderful from beginning to end), and the overall sound (not as dry and small as TFA - more Star Wars-y). There's probably more. I do like the score, in spite of its flaws. But boy, it would not get me excited for any hypothetical future Johnson/Williams collaborations.
  9. Like
    Datameister got a reaction from Yavar Moradi in Universal Fanfare Showdown - Horner v. Goldsmith   
    Goldsmith wins for me. That's not to slight Horner's effort, which I would agree is magical...it really makes me feel good to hear it. But Goldsmith's version has a perfect, inevitable simplicity to it. I love everything about it - the majestic horn soli, the beautiful noodling up above, the punchy brass and percussion, the absolutely glorious introduction of the whole orchestra, and the perfect recapitulation of the opening fanfare. It may be my favorite logo cue, period...though there's a lot of great competition.
  10. Like
    Datameister got a reaction from Richard Penna in The Rise of Skywalker final trailer MUSIC discussion   
    I'm watching friends (who are Williams fans) geek out about the trailer music on Facebook. Like @Tom said, this stuff gets produced and used because moviegoers eat it up.
     
    I actually really enjoy some of the trailer music for the sequel trilogy - mainly the theatrical trailer for TFA, plus some of the variations on Williams' TFA themes in the trailers for TLJ. There's a part of my brain that responds to the rest of it, too, but it usually gets drowned out by the louder part of my brain that's tired of the formula. Modern trailer music is like fast food. We isolate the elements that we desire with our most primitive instincts - salt, fat, pop chord progressions, broad unisono horns - and then we exaggerate those elements' presence past the point of recognition. This triggers our brains' reward systems...at least until you've had so much of it that you're ready to puke and go find yourself a nice salad.
     
    Incidentally, I could really go for a burger right now. And I can't get the TFA trailer music out of my head.
  11. Like
    Datameister got a reaction from Pando in Map Room: Dawn full mockup   
    VERY nicely done! What sample libraries are you using? EDIT: Never mind, just noticed your description: "I recreated this track entirely using Spitfire Symphonic Orchestra. Additional minor elements by Scarbee Mark I, Balinese Gamelan, 8dio Requiem Pro, 8dio Insolidus, and Deckard's Dream."
  12. Like
    Datameister got a reaction from aviazn in Revenge of the Sith anyone else's favorite SW score?   
    It really could. This is a score that will benefit immensely from expansion, IMO.
  13. Like
    Datameister got a reaction from Jurassic Shark in Harry Potter 7CD Collection - MUSIC discussion   
    I'm assuming it's this, and thus a joke.
     
     
  14. Like
    Datameister got a reaction from igger6 in What changes would it take for you to not consider TLJ the worst of SW scores?   
    You misunderstand me. I don't presume to know the story behind every scoring choice here, and my goal isn't to point fingers between the composer and the director. All we can really judge is the end result of their collaboration - and of course that's extremely subjective. Passages that sound natural and coherent to you may strike other listeners differently. That's the nature of music.
     
    To clarify my position, though, a few things. Firstly, I'm talking about the film score as it was written and recorded; the fact that the OT and PT scores also suffered heavy editing is a non sequitur.
     
    Secondly, the fact that Williams directly quotes past films' concert suites in major ways (Yoda's theme, Leia's theme for her flight to safety, Rey's theme for her following Luke) is really unusual. I can't think of another Williams score that does that. I can't help imagining someone sitting in a room, assembling the temp track, seeing an album track called "Princess Leia's Theme", and thinking, "Perfect, let's use that for her big moment!"
     
    Thirdly, I wasn't trying to suggest that old recordings have been reused. When two pieces of recorded music are edited together, it can be hard to make the transition sound natural and musical. The benefit of completely re-recording such an "edit" is that you can sometimes write material that smooths out the transition. My position is that there are too many unnatural, unmusical transitions in the score that bear all the hallmarks of originating in an edited-together temp track from which Williams did not sufficiently stray - whoever's choice that was.
     
    Side note: To be fair, I'm judging this score against the oeuvre of my favorite all-time composer, so I'm going to be harsh. I still like TLJ better than most of what's coming from other composers these days, and there are parts of it that I think are truly superb.
  15. Like
    Datameister got a reaction from Disco Stu in What changes would it take for you to not consider TLJ the worst of SW scores?   
    It happens in any fan community...human nature. ūüôā
  16. Thanks
    Datameister got a reaction from igger6 in What changes would it take for you to not consider TLJ the worst of SW scores?   
    Ditch the temp track. That's the number one thing. There are sooooo many passages that simply quote previous films (or albums) verbatim, often with editorial choices from the temp track delivered with awkward literalness. There's a big difference between penning a new yet nostalgic rendition of Yoda's theme and...well, slamming the beginning and end of the concert suite together and calling it a day. Most of the individual instances of this are fine, but in aggregate they really hurt the score, especially the first time I saw the film. No other Star Wars score is like this.
     
    The next thing is related - stop using the Force theme every 2 minutes, especially as an adagio horn solo over solemn strings. It's absolutely beautiful writing. Hearing it every other scene cheapens it.
     
    Then we move on to the actual new material. I'm sorry, but I just do not like the wishy-washy underscore heard mostly in the Achoo (I've given up spelling the name) scenes. I also think there are a few too many instances of loud brass triads planing chromatically in the action music...it's a quintessentially Star Wars device, but it feels slightly overused here.
     
    Things to keep: Canto Bight (glorious), Rose's theme (perfectly serviceable), the new theme for Luke in exile (sadly underused), a lot of the action music (great energy), The Spark (just wonderful from beginning to end), and the overall sound (not as dry and small as TFA - more Star Wars-y). There's probably more. I do like the score, in spite of its flaws. But boy, it would not get me excited for any hypothetical future Johnson/Williams collaborations.
  17. Like
    Datameister got a reaction from Not Mr. Big in What changes would it take for you to not consider TLJ the worst of SW scores?   
    Good luck trying to reason people out of their emotional responses to music. As I said before, it's highly subjective. It often takes me out of a film when I hear reused music. That's not a choice I'm making; I usually can't help feeling a sense of "here we go again", unless the music is being reused very intentionally to draw parallels between two scenes. (In this score, "Here They Come" is a good example. I really enjoy that. As an example from beyond Star Wars, I love the reprise of "Leaving Hogwarts" at the end of DH2.) The frequency also makes a difference. Doing it once or twice in a score is very different from including old material in seemingly every other cue.
     
    I quite like TLJ's score. There are parts of it that I even love. But the competition is fierce, as I hold the 7 scores that preceded it in very high esteem. It's not my least favorite because I hate it or something; it's my least favorite because the others are so frickin' good. If you feel differently, I'm happy for you, or perhaps sad that you don't enjoy the others as much as I do. Different people respond differently to different music.
  18. Like
    Datameister got a reaction from Will in What changes would it take for you to not consider TLJ the worst of SW scores?   
    Yes. As I recall, Rian Johnson said he gave JW a temp track made primarily of existing Star Wars music. The change of process and director produced some very noticeable changes in the approach to the score, IMO.
     
    I'm guessing TROS will be more similar to TFA overall. I'm expecting a much smaller amount of new thematic material than that score, obviously, but I'm also expecting a return to Williams' usual approach.
  19. Like
    Datameister got a reaction from Will in What changes would it take for you to not consider TLJ the worst of SW scores?   
    Yes. It's not like you can't have a score that uses the theme a lot...but offhand, I can't think of a single statement of it in TLJ that really does anything new with the theme. Not that it needs to be completely reinvented every time or anything, but ROTS provides some really great examples of taking it new directions. As do all the other films, really.
  20. Like
    Datameister got a reaction from Evanus in What changes would it take for you to not consider TLJ the worst of SW scores?   
    Ditch the temp track. That's the number one thing. There are sooooo many passages that simply quote previous films (or albums) verbatim, often with editorial choices from the temp track delivered with awkward literalness. There's a big difference between penning a new yet nostalgic rendition of Yoda's theme and...well, slamming the beginning and end of the concert suite together and calling it a day. Most of the individual instances of this are fine, but in aggregate they really hurt the score, especially the first time I saw the film. No other Star Wars score is like this.
     
    The next thing is related - stop using the Force theme every 2 minutes, especially as an adagio horn solo over solemn strings. It's absolutely beautiful writing. Hearing it every other scene cheapens it.
     
    Then we move on to the actual new material. I'm sorry, but I just do not like the wishy-washy underscore heard mostly in the Achoo (I've given up spelling the name) scenes. I also think there are a few too many instances of loud brass triads planing chromatically in the action music...it's a quintessentially Star Wars device, but it feels slightly overused here.
     
    Things to keep: Canto Bight (glorious), Rose's theme (perfectly serviceable), the new theme for Luke in exile (sadly underused), a lot of the action music (great energy), The Spark (just wonderful from beginning to end), and the overall sound (not as dry and small as TFA - more Star Wars-y). There's probably more. I do like the score, in spite of its flaws. But boy, it would not get me excited for any hypothetical future Johnson/Williams collaborations.
  21. Thanks
    Datameister got a reaction from A. A. Ron in What changes would it take for you to not consider TLJ the worst of SW scores?   
    Ditch the temp track. That's the number one thing. There are sooooo many passages that simply quote previous films (or albums) verbatim, often with editorial choices from the temp track delivered with awkward literalness. There's a big difference between penning a new yet nostalgic rendition of Yoda's theme and...well, slamming the beginning and end of the concert suite together and calling it a day. Most of the individual instances of this are fine, but in aggregate they really hurt the score, especially the first time I saw the film. No other Star Wars score is like this.
     
    The next thing is related - stop using the Force theme every 2 minutes, especially as an adagio horn solo over solemn strings. It's absolutely beautiful writing. Hearing it every other scene cheapens it.
     
    Then we move on to the actual new material. I'm sorry, but I just do not like the wishy-washy underscore heard mostly in the Achoo (I've given up spelling the name) scenes. I also think there are a few too many instances of loud brass triads planing chromatically in the action music...it's a quintessentially Star Wars device, but it feels slightly overused here.
     
    Things to keep: Canto Bight (glorious), Rose's theme (perfectly serviceable), the new theme for Luke in exile (sadly underused), a lot of the action music (great energy), The Spark (just wonderful from beginning to end), and the overall sound (not as dry and small as TFA - more Star Wars-y). There's probably more. I do like the score, in spite of its flaws. But boy, it would not get me excited for any hypothetical future Johnson/Williams collaborations.
  22. Like
    Datameister got a reaction from Remco in What changes would it take for you to not consider TLJ the worst of SW scores?   
    Sure; never did I say that Williams was a colossal failure who ruined millions of moviegoers' experiences with that choice. The scene was controversial for other reasons, haha. I'm simply expressing what my brain's emotional response to the moment was, based on my own experiences and preferences. It's a very subjective thing. The only part that's pretty objective is the fact that this is different from Williams' typical approach. But whether it matters is going to vary from person to person. I have no desire to convince anyone that I'm "right" or something.
  23. Like
    Datameister got a reaction from pete in Revenge of the Sith anyone else's favorite SW score?   
    It really could. This is a score that will benefit immensely from expansion, IMO.
  24. Like
    Datameister got a reaction from Not Mr. Big in What changes would it take for you to not consider TLJ the worst of SW scores?   
    Sure; never did I say that Williams was a colossal failure who ruined millions of moviegoers' experiences with that choice. The scene was controversial for other reasons, haha. I'm simply expressing what my brain's emotional response to the moment was, based on my own experiences and preferences. It's a very subjective thing. The only part that's pretty objective is the fact that this is different from Williams' typical approach. But whether it matters is going to vary from person to person. I have no desire to convince anyone that I'm "right" or something.
  25. Like
    Datameister got a reaction from Arpy in What changes would it take for you to not consider TLJ the worst of SW scores?   
    What does it not have? The new music that should have been written for those moments and scenes.
     
    The argument that we should judge a score based only on the parts we like doesn't hold water for me. You're asking about people's perceptions of the score, and rehashed music plays a significant role in this score.
     
    I do disagree entirely about Luke and Leia; that's a brand-new take on the theme, and I for one think it's fantastic. It fits the scene perfectly, it melts organically with the rest of the cue, and it never makes me think, "Here we go again." (I would have preferred not to have the piccolo solo after the main title, though. I prefer getting fresh music there, as we have with every other score except AOTC. But that's a minor issue for me when looking at this score as a whole.)
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