natedog
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Posts posted by natedog
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4 minutes ago, Bayesian said:
Battle of the Resistance... what to make of this cue?
First things first, I love this track. But it's definitely not in the same vein as DotF or BotH, which one might have expected for a climactic battle in the last-one-forever chapter of a series like Star Wars. It seems quite like it's designed to follow the on-screen action rather than set a tone.
I was disappointed about that for about half a minute... and then decided to take it for what it is. And what a trove this is! So many lovely details, like the four brass chords at 0:55 that lead into Poe's theme (I've never heard JW write anything quite like it and I just love that kind of tonal teeing-up.)
There's a orchestrational clarity and leanness in this track, and the rest of the score, that's really grown on me. I think I noticed it for the first time in the Adventures of Han theme. The ability to hear different textures and instruments is almost chamber-music-like, but it's done with a 90+ piece orchestra. It's rather wonderful.
The prequel movies are very different to the sequel trilogy. The prequels are space operas and like an opera the music is a character and plays such an integral part. The sequel films are more like traditional action movies and Williams has scored this accordingly imo. I would have loved to have heard one more DotF type thing from the master but i'm just not sure they have their place in these movies.
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Up till now i've only listened to OST's but having purchased my first ever expanded release soundtrack in Minority Report, it got me thinking about other scores from Williams with previously unreleased music.
So I was wondering what is everyone's favourite expanded/unreleased score? And also are there any stand out tracks that you feel should have been included on the OST albums?
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Is it likely JW will do any concerts in the States in 2019? I felt this was my one chance to see him live so feel like travelling to America is my only option now
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10 hours ago, Nick1066 said:
Depends. How much do you look like Daisy Ridley?
Not very
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What’s the chances I can get an autograph from JW at the stage door after the show?
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Spielberg showing up would be amazing but I highly doubt that would happen
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This is the first time I’ll be seeing Williams conducting in the flesh so I’m hugely excited. What are his concerts like? Is it usually 2 hours of music with an interval? Does he speak much or tell any anecdotes in between pieces of music?
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Any chance a choir will be performing with the LSO? Would love to hear Duel of the Fates live
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6 minutes ago, Steve McQueen said:
I've read serious documents referring to that style of scoring as "classical," though they refer mostly to Williams, Horner, Silvestri, etc..
I actually find that Williams, Desplat, Giacchnio, all belong to Postmodernism, along with Glass, Adams, Delbaive, Part, and others. Great variety, and definitely distinct from Modernism.
The more electronically enhanced generation both in film and concert hall, may be well described as belonging to the Digital Age.
Hope we have some traditionalist mavericks among them. Powell is not too bad, anyway.
Would you include someone like Joe Kraemer in this postmodernist group?
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14 minutes ago, KK said:
"Classical" is a strange, and perhaps dangerous word to attach to a film composer. It's certainly not one I would use to describe the likes of Giacchino or even Desplat really. I suppose you mean "traditional".
Sorry I should clarify. When I say classical what I mean is scoring with a full orchestra, not creating scores by using computers to mix sounds together which a lot of composers tend to do nowdays.
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Looking at the current state of film scoring, the landscape seems to be dominated by that RCP sound and to me it seems like classical film scores are heading for extinction. That's not to say that classical scores are dead...yet. We still have people like Desplat, Giacchino, Silvestri and of course the granddaddy of them all JW flying the flag but where do we think the future will be for this kind of sound in movies?
Are there are any next generation classical composers making their way up the industry ladder that we need to be aware of?
I'm trying to put together a list of 'classical' film composers that are currently working in Hollywood today, especially looking to find some lesser known gems. Be great if you guys with your vastly superior film music knowledge can throw some names out there!
Thanks
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I’ve read the book. I thought in the film The oasis stuff was really great, I just wish the real world tone was a bit darker and more threatening, like minority report or AI. Instead we kind of good a version of hook where the bad guys aren’t really that bad, and the stakes aren’t all that high
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Not overstruck on the high five theme. Sounds too much like your generic marvel hero theme. Orchestrations on the whole are very williamsesque. A decent score overall
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I agree. This and the main theme sound very Horner-ish to me. Interested to hear what the rest of the score sounds like
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What ever happened to David Arnold? I really liked his Bond scores as well as Independence Day. Has he retired? Doesn’t seem like he’s hired to do big movies anymore
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Still gutted Williams isn’t doing this. When was the last time Silvestri produced a good action/fantasy score?
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Having feel like i've exhausted Williams's OSTs, i'd been keen to find out any lesser known gems from expanded/extended soundtracks that I might have missed.
What are your favourite previously unreleased tracks?
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11 minutes ago, Lewya said:
His actions seem to say that he isn't the biggest fan of it, but I could very much be wrong. He seems a bit muted to me. No note in the score album either, perhaps a sign? Although obviously, he won't say so. He also just liked a comment on Twitter where someone said the best soundtrack moment of the year was the strech of silence in The Last Jedi. Now, that's some shade!
I seem to think that Rian is actually quite a shy guy anyway so maybe he’s just chill about the whole thing. JJ is very different though
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Can someone explain to me in layman terms the difference between wet and dry recordings? Do you have examples of both recordings so I can compare and listen to the differences
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It's a good score if we're comparing it to contemporary films scores but it's distinctly average by Williams standards which is a really shame. The motif for Sophie is nicest that is about it, the rest is underscore and a grating, hyperactive flute. In fact i feel his standards have been slipping after 2005, i mean he is 84 for crying out loud so maybe i'm being a bit harsh. After so much excitement and anticipation for each new score, i've been left underwhelmed by The BFG, Lincoln and The Book Thief. I find TFA to be his weakest Star Wars score also, it's less operatic and has far less weight than the previous scores in the series. His themes aren't really iconic or memorable anymore although this may be because the films haven't been up to scratch. I just feel that at this stage is in his career he is winding down and is better suited to scoring more intimate films rather than the big movies he used to do.
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how long before 30 second track previews are released, do you reckon?
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Hello people,
one composer i haven't really listened to or found their music particularly accessible is Jerry Goldsmith. Can people recommend the best tracks or individual pieces (not whole scores). Can be action music or just great pieces of music. I kind of want to put together a Goldsmith greatest hits playlist together.
Thanks
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'without hands on control' refers to the time Williams took off scoring TFA and Gia took his place
John Williams and Anne-Sophie Mutter @ Carnegie Hall (New York, NY) - April 21, 2022
in JOHN WILLIAMS
Posted
I'll be at P.J Carney's