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Everything posted by Arpy

  1. I agree with the confused geography and the different nations largely unexplained. Trapanese's score is alright, if a little anonymous in being light on thematic material and instead relying on powerful ostinato-driven pieces.
  2. Will pick up Bumblebee and X-Men!
  3. Wow, I thought this was off the table forever since it was stuck in approval limbo!
  4. Williams would be upset regardless of who used his themes, it's clear he's attached to them and that's fine. I don't imagine he's upset with Gia's score, and as a composer, but the treatment of the themes. I could imagine the studio asking for Duel of the Fates at every opportunity... cos... EPICTM
  5. Creatively bankrupt oscars for choosing Soul as Best Score, but then again, they chose that awful Social Network trash a decade ago...
  6. The Senate in The Phantom Menace - a dark variation of the Emperor's theme, just so deliciously evil yet somewhat restrained. Palpatine was right to say he was the Senate in Revenge of the Sith. Return to Tatooine in Attack of the Clones with that undulating mystery motif that features some really lovely orchestrations; it's music that makes you think. Goodbye Old Friend/Arrival on Utapau in Revenge of the Sith - to me this is Williams' best and most dynamic version of the Force theme which shifts from taking flight to something more subtle, then takes off again with a brilliant fanfare. The Arrival on Utapau cue has this driving momentum that features the Force theme before being resolved as this travel/republic motif lusciously takes shape before descending into some subtle underscore that sets the tense atmosphere of the scene. As Obi-Wan's Stsrfighter takes off, the Republic motif rises once more this time less heroic, instead more wary. It Can't Be/I'm Sorry - a contemplative cue develops as Obi-Wan and Yoda discover the true nature of Anakin's betrayal. It's another one of those cues that features some of my favourite darker moments of the score, whilst I'm Sorry is beautifully tragic. I don't think there's been a more potent film score cue since that's captured the same feeling of loss and betrayal, even moreso than 'Lament' which is another great piece. A Moody Trip - I love the string writing in this cue that builds out of Across the Stars and then concludes with this beautiful sustained section that's both warm and melancholic at the same time. There are more I'm forgetting but god damn, nearly all of my favourite moments are still officially unreleased!
  7. Up and The Shape of Water are my picks. Up is a beautiful score that stands out in the film in several key scenes and it really forms the emotional core of the story.
  8. We know Cuaron wanted something different which leads me to believe that if Williams had stayed on for all eight films, the themes introduced along the way would entirely be at the discretion of whichever filmmaker was onboard and whether Williams felt they were appropriate for the films. Williams did all nine Star Wars films and wasn't entirely consistent with when themes are introduced or if they'd ever return again...
  9. If multiple series are being produced, Art Directors, Scholars etc. are needed, not just for early development, but to guide ongoing and future productions. All this change is coming as a result of the studios getting cold feet over whatever they produced in the pilot eps. Make no mistake, Amazon is going full-on Game of Thrones/ Witcher on this and will try everything in their power to make this show sell to the same audiences who wanted nudity, gore, excessive violence and grim/dark fantasy so dark it's depressing to watch and everything Lord of the Rings will be twisted and contorted to fit this mould.
  10. Call of the Wild CD Solo Deluxe CD How to Train Your Dragon 2 CD
  11. Fuck the reality of a scene! Music if given room to breathe like it has in the past can say much more than sound effects could, it supports the narrative, can give momentum and size to action scenes or any moment in a film. When I see something explode, I can already imagine the sounds it will make because I've heard them a bazillion times before and these days instead of being immersed in a scene through sound design, I've become quite irritated that every second of a film is filled with noise that doesn't need to be there! I like sound effects, but when they cover up the artistry of the score, they muddle the soundtrack and become tiresome.
  12. After watching the last three Kong related films, Peter Jackson's film is a masterpiece.
  13. How much was Williams' choice versus the editors is the question and how Abrams and any other creative on this film can tout Williams' involvement whilst simultaneously burying it under inane noises...
  14. Aside from the opening chimes, the first statement of her theme is marred by an obnoxious speeder sound effect in the film. That really pissed me off.
  15. The J.J. rewrite tidbit is crazy when considering the money involved, but not surprising after the Sequel Trilogy changes he forced upon Williams. This is one of my biggest issues with current blockbuster scores - esp. the Tom Holkenborg/Zimmer-types - there's a lot of noise going on and none of it really contributes anything to the picture and actively fights the sound effects which are already a symphony of catastrophe...
  16. Saw Godzilla vs. Kong: How come King Kong can pass through the gravity portal and the humans need a fucking gravity repellent spaceship? How did Millie Bobby Brown and co. enter the secret facility without any cctv or security measures? Why were the gravity pods just open and have cryofreeze skull island eggs inside exposed to the elements? Once the team are transported to Hong Kong, the facility there doesn't run any security checks on the pod, doesn't spot them on security recordings, not to mention they magically hack the doors... I laughed so hard when Godzilla shoots an energy beam at Kong's axe to charge it up so he can hit MechaGodzilla! Hilarious!
  17. Tintin, War Horse and The BFG share stylistic elements with the Star Wars Sequel scores; maybe a sign of the specific era Williams is writing in and the relative proximity that these scores were written, but I can definitely hear some of the more reflective elegiac writing in The Rise of Skywalker more than the other two sequels. No, it's more rational to think the shifts occurred to reflect the subject matter of the films and the change in tone from the grandeur of richly thematic scores to more reflective and subtle types which is a good thing.
  18. I usually find the first movements are where the magic is at. Sounds great.
  19. @MepharielAnime scores have been better than most Hollywood scores lately, more inventive, expressive. The traditional film score is almost dead nowadays, it's now a subset of sound design.
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