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Everything posted by Bayesian

  1. Most of Thomas Newman’s music escapes my ability to appreciate. I feel like I should like it, but usually can’t quite make a connection. So it goes for these TN moments above me.
  2. One thing I remember finding odd about the movie is how much of a goof they made Fred Haise out to be. He knocked up his wife accidentally, vomited on the way up, substituted country music on the tape player for fun, made a crude joke about eating dead rhino ass, couldn’t understand how Swigert figured out the math for oxygen consumption (or something) and somehow forgot there were three people aboard instead of two. And there’s probably more that I’m forgetting. Altogether, it’s a little much.
  3. If I might offer one suggestion: “Music composed and conducted by John Williams” Otherwise, this is stellar work (as you always do)! You spoil us.
  4. I expect the Target version with the collectible cards (but otherwise identical to the Amazon CD in every way) will be coming out on release weekend too. Just like with TFA and TLJ.
  5. It’s a classic YA novel, back from when YA novels were a lot more literate and, God forbid, they actually taught you about the real world. I hope this film does it justice, CGI or not. As long as it stays true to the allegorical themes of London’s book, I would frankly sooner enjoy seeing this movie succeed more than almost any of the overproduced Marvel pap coming our way. (Not that it will remotely ever achieve such a thing, but a man can dream.)
  6. Does this mean we might finally get an Amazon placeholder for the soundtrack in the next few days?? (Not that the two things are remotely related, but seriously, why can’t we preorder the OST already?)
  7. It does just sound like JW, doesn’t it? The flute/piccolo flourishes, the punchy brass, and that tasty closing bar, perfectly baked as only he can.
  8. So well said. This is exactly me too. It’s hard when there aren’t any people near or dear to me to talk to about JW or film music generally, let alone the minutiae of specific scores. I hadn’t really thought before how much I rely on this forum, but I see now it’s a lot.
  9. I don’t know what it would be, but as a society, there must be something we can do to keep computer scientists from gleefully racing to bring about our destruction from some kind of digital apocalypse. Deepfakes need to be made illegal, like @Bryant Burnette says. More than that, they probably ought be treated by everyone as no less intuitively or ethically reprehensible than rape, eugenics or underage porn. There are several things that we as a species agreed not to do for the sake of preserving our humanity — human cloning, biological warfare — and this is a technology that deserves to be on that list.
  10. Maybe they’re not embarrassing, but their attention to detail is remarkable. Most times I can’t hear anything that would suggest an edit took place in postproduction. What is a microedit anyway? I’m genuinely curious. Does it differ from some other kind of regular music edit?
  11. I admit I’m not a fan of the font. It looks a little too weird for weird’s sake. Is it based on some alphabet or syllabary seen in the series? If it was, that would be in keeping, I suppose.
  12. “Interesting times”? More like “scary as f*** times.” Like @Edmilson said, this is technology begging to be misused. I’ll wryly call attention to Ian Malcolm‘s trenchant line here, but it was not much fun to watch that video. At least for me.
  13. Not to be pedantic (although so many of us here are)... but shouldn't that be Émilie?
  14. I don't have the magazine issue to see what their methodology was, but @Borodin is correct that asking for a top 10 or 20 results in much more arbitrary lists than a top 5 (especially if the list has to be ranked). This is known by survey methodologists. As @publicist wryly noted above, there is a lot of obfuscation in statistics. Rather than a simple list of composer names, I bet the frequency distribution would be far more revealing because it will show the distance between one rank and the next, and that distance is often where the interesting story lies. For instance, if #1Bach and #2Stravinsky and #3Beethoven are each separated by one vote and then #4Mozart is separated from #3 by 20 votes, that's more significant than third consecutive one-vote difference. I also assume that composers were asked to name their top 5 choices without regard to rank; in other words, the BBC treated all five composers named by someone as equally "top." In his mind, JW might see Beethoven as slightly more important than Bach, but to the BBC methodology, the two composers are identical in value. If this is not the case, then we're missing information about how each of the five names from each respondent were weighted before being aggregated. This is probably how we can have Chopin at #20 with only 9 votes--all the votes are piled up on the higher-ranking composers. But that raises the question of how the bottom 30 composers in that list can be distributed among 8 degrees of freedom. Assuming no weighting, there would have to be a lot of shared ranks (e.g., five composers each getting 7 votes, eight getting 6 votes, that kind of thing). In such a case, like I said, a frequency distribution would be much more informative.
  15. It seems the film will be workshopped and recut within an inch of its life right up until the last possible second, which means there’ll be hacked and tracked music all over the place. But that shouldn’t prevent Disney from having a release date announced for the OST. The fact that there isn’t one yet is really surprising to me.
  16. Opening credits to Babe (1995). Nigel westlake’s adaptation of Saint-Säens was and remains timeless. And the rest of the movie is something of a modern miracle in its own right. And it uses the Horner Universal logo! Delicious.
  17. I actually don’t miss it (which is probably straight-up sacrilege to say aloud). I always thought two fanfares in a row was a little much.
  18. My thinking is, while Luke said that he can't save him, that doesn't rule out someone else or even Kylo himself from saving him. At the end of TLJ, Kylo is the villain, yes, but not irredeemably so. All his declarative statements about destruction are just words (possibly spoken to convince himself, since no one else seems to buy it). Right up to the end of TLJ, Kylo is portrayed as a loose cannon without much in the way of a track record of success.
  19. You're right about Kylo fooling Snoke -- I was mistaken in saying Kylo "lost" Snoke, since it was he who killed him. But he probably wasn't fooling Rey. He probably can't fool her -- after all, he lost to her in the forest in TFA and couldn't get her to remotely consider joining his side, despite everything he said or tried in TLJ. She's preternaturally, freakishly strong with the Force. But that doesn't mean he and Rey couldn't team up to defeat Snoke for their own reasons. Throughout TLJ, all I see are hints that Kylo isn't quite living up to his potential as a truly evil guy.
  20. But isn’t the whole of TLJ about Kylo Ren fighting with his internal conflict? Early on, Snoke tells him that killing Han split his soul to the core. Later, he is visibly conflicted about pulling the trigger on his own mother and in fact does not do it (it ends up being some anonymous guy who does it). Throughout TLJ, Kylo is clearly trying to talk himself into believing that he is evil. Unfortunately, Rey keeps calling him out on it. And after losing his mentor Snoke, after an endless chase after Rebellion remnants who refuse to die, Kylo latches onto Luke’s surprise appearance as a means to vindicate his path up to that point: he needs to blame Luke for everything (which he does) and needs to destroy him with everything he’s got in order to prove to himself he’s in the right. But Luke humiliates him (Kylo can’t kill a force projection) and taunts him about his path into evil. And the fact that Luke’s feint allows the rebels time to escape can only have humiliated him further. The whole time, Kylo is pushing against the tide by trying to be evil. It wouldn’t surprise me to see him in TROS change allegiance in the final act, after being gaslighted by Palpatine through the first three-quarters of the film. He doesn’t necessarily need to become “good” all of a sudden—he can (and should) simply want revenge for being lied to this whole time and being manipulated into killing his father (and mother too, nearly).
  21. I had no idea until I saw this thread just now that those logos were composed by Horner and Goldsmith! Somehow, it never occurred to me to wonder who wrote them.
  22. Agreed. And while I’m no musicologist like falstaft or a couple others here, my ear tells me that’s JW original material. Something about the texture of the punchy brass chord pairs and the string section running up the scale between them.. either that’s JW or the first composer to go beyond pastiche and write exactly like him.
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