Mr. Who
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Posts
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Posts posted by Mr. Who
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Happy birthday!
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12 minutes ago, Cherry Pie That'll Kill Ya said:
Uh I reckon the worst are:
1. Suicide Squad
2. Justice League
The others are fine.
Agreed!
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10 minutes ago, mstrox said:
Suicide Squad made more money than MoS both domestically and worldwide, and with a smaller budget than MoS. And, Man of Steel has the added heft of two further financial "failures" with the character in BvS and Justice League.
But superman was barely in justice league and wasn’t even on the posters...
I understand the financial aspect but suicide squad was just hard to watch. Margot Robbie who is a great actress is so wasted in that movie
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1 hour ago, mstrox said:
After BvS and JL, they seemingly are abandoning their shared universe and doing a “throw things at the wall and see what sticks” method.
Theyre also dumping Affleck and Cavill, apparently, but still going on with WW2, Aquaman, and Flash - and at least one continuation of Suicide Squad, maybe more (rumors of straight sequels, Harley Quinn centric movies, etc)
I can’t understand why they would cancel MOS 2 but make sequels to Suicide Squad which was one of the worst movies I’ve seen.
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8 hours ago, Stefancos said:
Matt Reeves could do a decent Bond film.
That would mean a Gia bond score and I don't want that...
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2 minutes ago, TGP said:
There's like 4 hours or more of material that's floated around right? And probably more. This could be a really great release.
Actually more than 5 hours! Many different and early versions of cues. Also pieces that weren't in the movie or that later on became cues.
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8 hours ago, karelm said:
Another way to put this, anyone can count beats. In about 10 seconds, a performer will know if they should ignore you because you are adding nothing useful to their performance. Almost all film conducting falls in to this category. For example, I've seen a session where a very prominent composer cued a player incorrectly. The player player looked directly at the "conductor" (which they interpreted as acknowledgement) and then proceeded to come in at the correct time. So the music sounded fine and the conductor was waving away. If this conductor wasn't there at all, the music would have sounded the same...perhaps better. What the performers are hoping for is some guidance and leadership in terms of how the music should be phrased and interpreted beyond the basic notes and rhythm. That is where something special and more magical might happen. It is hard to explain but is more than rhythm and cuing which is the very basic level of conducting. It is knowing when to back off and let the musicians perform without standing in the way (Leonard Bernstein did this frequently in fact there are excellent performances of his "conducting" where he is only shrugging his shoulders because he has made the judgement to stand back and let the musicians perform and anything he does will get in the way). Similarly, there are moments where there is a fine solo and the conductor might stand down to the soloist and "interfere" when the orchestra joins. Conducting is really more like directing a film though with an ensemble of performers. This requires experience to be good at it. Conductors get that experience because that is their primary focus. So if you are a composer, sure you can stand in front of an orchestra and wave hands and a great orchestra will still sound great. But a great conductor will focus on this skill and really be good at it. It is far smarter for a composer to rely on a specialist conductor if the composer/conductor is just doing the rudimentary level tasks.
So for me, I don't care at all if the composer also conducted the soundtrack recording if they aren't especially experienced at it. Brian Tyler is a horrible conductor (pretty much a pop conductor) doing nothing more than swinging his arms and acting dramatic and the orchestra will ignore him. So if you see Composed and Conducted by Brian Tyler, what value is that? I just mention him because I vividly remember seeing how useless his conducting was but don't mean to single him out. I have also performed in orchestras during conducting workshops where we have conductors of various levels. Even if we know how the music should sound, if the conductor doesn't have skill, it is noticeable. We sounded very lackluster with some students on Beethoven Symphony No. 5, the conductor told the students, "No, you must be forceful like this..." and with the very same music we sounded amazing and intense, couldn't stop because of the focused momentum that was lacking from the previous conductor. The very same notes came to life.
In addition to all of this is rehearsal skill is very important. I think JW is excellent at this. It is another way of saying you know how to hone and fine tune a performance in the most efficient way. This is actually a uniquely psychological skill. For example, some conductors might say "brass, play this section louder" whereas John Williams might say "trumpets, this is your moment". They are basically saying the same thing but one will sound better...more like a performance.
This is completely correct. If you look at conductors like Riccardo Mutti or Harnoncourt or Haitink, conducting is their art. Many composers just know the basics and in such a case it might be better to sit in the booth while someone else conducts your music. Being a good composer doesn’t make you a good conductor. It doesn’t mean you don’t know about nuances etc which a composer sitting in the booth will inform the conductor of.
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I would recommend nine months as well!
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Yes it’s a nice score! Too bad there isn’t a release date
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Last jedi is nowhere near as good a score as TFA is.
- bollemanneke and Not Mr. Big
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I hope this gets released in some way
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23 minutes ago, Alexcremers said:
What does that have to do with "UNCLE ensured Cavill will never play Bond"?
I think Man from Uncle was great and Cavil did a great job in that movie. He was also great in Mission Impossible: Fallout so i think he would make a great Bond.
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34 minutes ago, Arpy said:
I don't think Balfe thought poorly of his score, besides, I've always been of the opinion that they should release scores in their entirety, clearly Balfe and the studios deemed it viable for them to go ahead and release most of it.
Agreed. Complaining about too long albums while at the same time asking for expansions is weird. This isn’t a score I will listen to outside the movie but it’s still a good thing that a lot of the music gets released.
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This is great news!
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14 hours ago, Alexcremers said:
Jack Reacher 2: Never Go Back
It's Jason Bourne for dummies. 3/10
The book is brilliant but the geniuses who made this terrible movie decided to change the whole plot and make everything bad. This movie shouldn’t be called Jack Reacher as it had nothing to do with the books which are great. I was really disappointed when I saw this.
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2 hours ago, Alexcremers said:
Avengers: Infinity War proved we don't need James Gunn. I laughed with the Guardians regardless.
James Gunn provided ideas for the guardians scenes in Infinity War.
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43 minutes ago, Jurassic Shark said:
He's a famous name! And he knows JW!
He is a rather famous name in classical music. The fact that he knows Williams doesn’t make him famous lol
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1 hour ago, elvisjones said:
As a relative outsider (and less frequent poster) looking in, there is something very interesting going in this thread. Koray really seems to be personally, emotionally involved in what people say, and how people feel, about the director McQuarrie and composer Balfe, as much, or even more than, the movie itself. It seems like anyone who makes a negative comment about the film or its score gets treated as if they've personally insulted not only the director and composer, but also Koray himself, to a degree. I honestly, and with the utmost respect, wonder why that is....
I think it's funny that Dan Goldwasser (Scoringsessions.com) got all annoyed when Drew asked about the "Pirates" score on Twitter, too.
A funny commonality between the two (as many here may know) is that Koray's brother runs FILM.MUSIC.MEDIA and Dan runs SCORING SESSIONS. Both of these websites rely on positive personal relationships with composers, in the latter case, to get permission to come photograph recording sessions, and in the prior case, to get inside access to composers for their in-depth video interviews.
Not that anyone asked, but personally, I think the current trend in film music tends to favor scores that sound more like recordings/sound design and less like live orchestral performances. I liken it to the trend in the 90's when MTV-style quick-cutting was all the rage in filmmaking, or when digital color-grading came in and made everything look super saturated (like Oh Brother Where Art Though or Ultraviolet) or when Bullet-time was everywhere. I think Drew asked a relevant question when he asked about samples vs. live. Does anyone here really think that RCP scores sound the same as JW scores? Honestly, I think we all agree RCP has a sound that is not really anything like JW's.
There are people on this board who dismiss the current sound (myself included, if I'm honest), and there are people who like it. The people who seem to like it, such as Mr. Who, seem to take any criticism of it as a pointless exercise in "bashing" music they like. Some even seem to feel like certain people here take JW too seriously, which strikes me as funny considering this IS a John Williams fan site.
One thing that has emerged seems to be that the community here could be sorted into two very general camps - 1 camp likes to listen to film music primarily for it's musical value and the other camp likes to listen to film music primarily because of its association with a film. Camp 1 has been critical of the score to Fallout, while camp 2 has argued that camp 1 is disregarding what it's association to the film adds to it. For what it's worth, I fall into camp 1, again, not that anybody asked.
thoughts?
Funny thing is, I don’t even like The MI6 score. It’s pretty repetitive and doesn’t go anywhere. I just think the attitudes of some people are really childish and stupid. I listen mostly to romantic era classical music which has a very different sound to this score lol. However I did think the score worked very well in the movie which was great.
Balfe and Giachino both have recording styles I don’t like but I don’t go round complaining and complaining about it, tagging the composers on twitter.
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But if the composer wants the orchestra to sound like that it’s not an issue.
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I don’t get why so many people here have to really hate scores from composers they don’t like. It’s a weird behaviour. Trashing people’s work that they’ve been working on for 9 months is just disgusting. Would Soundtrack memes really say this to Lorne’s face?
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Film music media did an interview with balfe about mi6
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I thought Last Jedi was a bit of a crappy score but the world doesn’t end because I don’t like a score. The reactions have been a bit extreme with MI fallout. Not just here but with people attacking the composer (whom I don’t even like) on twitter etc.
Kraemer’s score was very good but it isn’t one of the greatest scores of all times.
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2 minutes ago, Nick Parker said:
Doesn't he get album royalties as well, plus any royalties from airplay on a film music radio station or something?
That depends on what contract he has with the studio but generally album royalties or when it’s played on a radio station is almost no money for the composer.
Hollywood in Vienna radio?
in General Discussion
Posted
Hello, I am trying to find out if Hollywood in Vienna is played on the radio. I have a memory of hearing the JNH concert 2 years ago but can’t find any info.