Gnome in Plaid
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Posts posted by Gnome in Plaid
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4 hours ago, Brundlefly said:
A compact overview of what you have and what you should get. Bold titles are titles you do not have. The number of exclamation marks indicates, how urgently you need them (IMO):
70s:
Patton!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Chinatown!!
The Wind and the Lion!!!
Islands in the Stream!!!!!!!!!!!!!
Coma!
80s:
Inchon!
Hoosiers!!
Star Trek V: The Final Frontier!!!
90s:
U.S. Marshals!
The 13th Warrior!!
Nice overview (actually reminded me about some albums I'd like to get). I quoted the ones I'd prioritize (with a lot of exclamation marks added for Patton and Islands in the Stream). You left out a couple of really incredible scores from his early career, though: Freud and City of Fear are essential Goldsmith.
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The denouement of "The Sacrifice of Faramir" seems to be an elaboration on Boyd's melody for "The Edge of Night:"
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5 hours ago, mstrox said:
Voted for Hedwig. I could sit down and listen to a presentation of Hedwig's theme. The History of the Ring theme is great, and adds essential color and a feeling of history to the movie, but I don't think there's a good, satisfying theme-only presentation that could be made out of it.
I'm not sure if that's the comparison to make. The "Hedwig's Theme" track contains more than just the primary "Hedwig's Theme" motif, but a number of different related melodies; it would be more comparable if there were a "Ring Suite" composed of Sauron's theme and the Seduction theme in addition to the History motif.
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16 hours ago, BloodBoal said:
Modern movie scores deserve to be buried under sound effects!
Most modern movie scores are just sound effects!
Best? Recently, HP1, the Prequels, Edge of Darkness, and all of Aronofsky's films stand out in my mind as particularly good.
Worst? Sherlock Holmes 2 and BOFA, although the latter might be more due to the recording. Either way, how do major studio releases end up sounding that bad?
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U.S. Open, not Wimbledon, and I think he's been a pretty regular attendee there.
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A Conspiracy Unmasked (The Fellowship of the Ring, Shore) (OK, not really a "conspiratorial" piece, but, hey, the title fits!)
Palpatine's Seduction (Revenge of the Sith, Williams)
Kazim's Theme (Sahara, Mansell)
The Abduction (The Silence of the Lambs, Shore)
I've Known Everything (House of Cards, Beal)
Infiltration (Die Hard with a Vengeance, Kamen)
The Fight (American Gangster, Streitenfeld)
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55 minutes ago, TheGreyPilgrim said:
Huh, forgot about that. Does it still exist somewhere?
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What hipster here is going to answer "Use Well the Days?"
1. "Into the West"
2. "In Dreams"
3. "Gollum's Song"
4. "I See Fire"
5. "May It Be"
6. "The Last Goodbye"
DNF. Song of the Lonely Mountain. Yeah yeah yeah yeah? No no no no.
It's a shame Shore wasn't involved on the last two Hobbit songs. "I See Fire" is a damn good song as it is, but I think it could've been something really special if it fit better into the Middle-Earth sound. @TheGreyPilgrim's intro is a great teaser for what could have been.
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I'm not sure if this is the right place to ask, but how much of the fundamental orchestration was changed for the LTP concerts (or even between concerts)? I ask because there are some points in FOTR with what sounds like a bass flute, but it doesn't appear in the instrumentation list here. Complicating things, the Kingma site lists a testimonial for someone who played it in an LOTR concert.
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12 hours ago, Incanus said:
So many missing important Shore scores.
That's putting it mildly. There's one track in the entire playlist that isn't either Middle-Earth or Twilight, and that one track is from Spotlight. I can understand there being omissions when there's such a large body of work, but this is on par with making a "This is John Williams" list but having it contain only SW (with the focus on TFA and the Prequels, yet making sure there's room to throw in "Jedi Rocks" and Burtt's Arena cue), KOTCS, and, just to shake things up, one single cue from Stepmom.
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I might be wrong on DOS. There's something doubling the ascending scale in "A Spell of Concealment" from 2:04-2:11 that I can't identify, and sounds like it could be a rhaita mixed in artificially quietly.
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One nit-pick: I think the Sauron/Necromancer statement at the end of "Radagast the Brown" is a standard oboe. It's too "mild" to be a rhaita.
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Rhaita (a Moroccan shawm, largely the same instrument as the Egyptian mizmar and the lower-pitched versions of the Armenian zurna). It's used in unison with muted trumpet(s?) in most prominent statements of Sauron's Theme in the first two scores ("Keep It Secret, Keep It Safe," "The Great Eye, "The Three Hunters," "The Heir of Numenor"). Its appearances in ROTK stand out more because of some changes in orchestration - in "The Palantir," it's a beat (two beats?) behind the brass, and serves almost as an echo. I think the particularly nasal sound of "Minas Morgul" comes from adding Western oboes to the melody, but I'm not quite as sure on that. Then, the rhaita is especially prominent in "Grond" because of the octave separation between it and the low brass.
Shore's used it on at least four other scores I can think of (Naked Lunch, The Cell, and the first two Hobbit scores), although the first two are within a more standard context for the instrument. Mychael Danna also used the very similar zurna to great effect in Ararat.
- SafeUnderHill and John
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On 4/22/2017 at 11:38 AM, karelm said:
What about the JW boom tiss? What is the classical precedent for it?
Like this one and a million of his other scores:
I think Mussorgsky used it, or something similar in "Night on Bald Mountain." For the most part I think it comes from more of a pop/rock tradition (basic drum rudiment).
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1 hour ago, Koray Savas said:
It's easily Zimmer's best score of the past 10 years.
I'll see your Interstellar and raise you a Sherlock Holmes.
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Bring it on! The odd-numbered Indiana Jones movies are good!
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8 hours ago, crocodile said:
As for the the whole thing, he kind of had to go over the top in some places.... because the film itself wouldn't.
I like to imagine ROTS as Williams scoring the movie Lucas should have made.
17 hours ago, Richard said:What would you include, Pub?
It seems that ROTS seems to be JW's THE WHITE ALBUM: a lot of people think that would make a killer single album, but nobody can decide what to excise (except REVOLUTION 9).
Here's a thought; enjoy it for what it is - a great, sprawling, if flawed, work, that is, nevertheless, entertaining. Who gives a shit if ROTS lasts for 3 1/2 weeks. Isn't that part of it's appeal?
THE LAMB LIES DOWN ON BROADWAY as a single LP? Please.
So what is ROTS' "Revolution 9?"
7 hours ago, Not Mr. Big said:The first half's action music and anything else involving General Grievous are pretty easy to excise IMO. Williams' xylophone-boom tzz sound at its least engaging.
"Boys into Battle," "The Elevator Scene," "Grievous Travels to Palpatine," and "Riding the Lizard" are all essential, IMHO.
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13 minutes ago, Selina Kyle said:
5% The BFG. For the boring scenes.
Nope. 5% Images. Shit is gonna get weird.
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Hummie Mann, where did you disappear to? Please come back...
Why do people hate daytime soap operas?
in General Discussion
Posted
Not always. When I lived in Morocco, we got soap operas from everywhere. Ones from the Philippines seemed especially popular, for some reason.
Especially from the standout composer of daytime soaps. That feline bastard's killing our employment chances.