Jump to content


  • Content Count

  • Joined

  • Last visited

Reputation Activity

  1. Like
    Bayesian reacted to mrbellamy in The Rise of Skywalker SPOILERS ALLOWED discussion thread   
    Well it seems like he's still at with his trainers so if it's extending his life, more power to him
    Someday we might look back on this and decide that saving Billy Dee Williams was the one decent thing we were able to pull out of this whole godawful shitty mess
  2. Like
    Bayesian reacted to Naïve Old Fart in Any personal goals for 2020?   
    1/ find full-time employment.
    2/ find someone with whom to share my life.
    One of those will be easier than the other.
  3. Like
    Bayesian got a reaction from iamleyeti in WAR HORSE - 2019 Recording Session Leak   
    Not to be pedantic (although so many of us here are)... but shouldn't that be Émilie?

  4. Like
    Bayesian reacted to pete in POLL: Best John Williams Score of the 2010s   
    It's only about 5 minutes. Nice theme - beautiful and touching and restrained, but you can't really compare it to the film scores that are an hour or two or three at least in terms of hours of effort that went into their creation.
    Here it is.. just missing a short minute long end credits:
    Well, he certainly produced a lot of music. Those scores, an oboe concerto, about 12 other pieces such as Markings and Fanfare for Frenway and Conversations etc. Plus Han Solo and Galaxy's Edge, the recent violin album, the third Spielberg/Williams collaboration, and a whole bunch of concerts. - Am I missing anything? A few less film scores and concerti than the previous decade, but that's still quite an addition to his body of work. I don't think we could have hoped for more at the beginning of the decade. And he also spent a bit of time listening to and approving a lot of expanded releases. And he probably wrote a few things we may never hear of. A few health issues too. 
    Favorites of the film scores. I'm enjoying more The Last Jedi after revisiting it recently, but I love the smaller scores as well. Hard to rank, but I would put Tintin and The Post in the bottom two places, much as a I love elements of those scores. And I'd leave off the basketball one due to its brevity. 
  5. Like
    Bayesian reacted to TheUlyssesian in POLL: Best John Williams Score of the 2010s   
    Tintin on paper is really his most accomplished score this decade. The complexity dwarfs his star wars work too. Over a dozen new themes - all original - interwoven into a tapestry. No old theme crutches to lean on. Extremely dense action writing with some of the most nimble, dextrous and virtuoso music Williams has ever written - a lot of it would be quite difficult for an orchestra to play. Did I mention it is also very entertaining and memorable.
    Best Overall Score: Tintin
    Most Effective Score: The Post
    Best Score to Experience on Album: Lincoln
    Best Score to Experience in Movie: War Horse
    Most Memorable: The Force Awakens
  6. Thanks
    Bayesian reacted to Jay in The Rise of Skywalker - COMPLETE SCORE Discussion - SPOILERS ALLOWED!   
    Unreleased music
    The brief, non-thematic cue where Pryde realizes Hux was the spy and kills him is unreleased, as is the next cue where Rey talks to Finn on the Falcon.  That cue begins with another unreleased new variant of The Emperor's Theme as she tells Finn that it was The Emperor that had her parents killed, though a variant of Kylo Ren's Theme that seems to be tracked in from The Abduction from The Force Awakens plays as Rey tells Finn that no one knows who she is.  A brief scene where Kylo talks to The Emperor is scored by Hey! from The Force Awakens, which continues as the Falcon lands on Kef Bir and Jannah is shown tracking them as they land.
    FYC 11 The Old Death Star 2:14 / OST 04A [0:00-2:21] The Old Death Star 2:21
    This cue begins on a wide shot of the Falcon's crashed landing on the surface, panning over to the heroes walking towards a shoreline which is revealed to have Death Star II wreckage in the ocean.  A little trumpet fanfare plays as Rey pulls out the Sith Dagger, and The Imperial March plays as she lines it up with the wreckage and figures out the location of the Wayfinder.  
    The film/FYC and OST then divert for the next scene.  Both feature a bit of suspense for Jannah and her crew showing up, but then score the conversation she has with our heroes using different themes.  The original version on the OST (1:19-2:21) features The Resistance Theme and then Rey's Theme, while the film/FYC version (1:14-end) features Rey's Theme and then Poe's Theme.
    Unreleased music
    A quick scene with BB8 and D-0 outside in unscored, as is a brief scene of Poe working on the Falcon and Jannah bringing Finn a part he needs and them beginning to talk.  As they realize each other are both First Order deserters, the cue begins, which re-uses Finns Confession from The Force Awakens before transitioning into The Force Theme as Finn talks about how the Force brought him to Rey and Poe and brought him here.
    FYC 12 Off the Waterfront 1:03 / OST 04C [2:21-end] Off The Waterfront 0:55
    Rey sails towards the Death Star II in a stolen skimmer, over incredibly bumpy waters, and Finn and Poe debate whether they should go help right away or after the Falcon is fixed
    Unreleased music
    A brief non-thematic unreleased cue scores Rey arriving at the Death Star II and Jannah telling Finn there's another skimmer.  Rey climbs up a section of the wreckage, unscored at first, then scored with nice non-thematic but heroic music as she makes the last few jumps and ends up in a hallway.  The music then quickly switches to tracked-in Darth Vaders Death from Return of the Jedi and she goes down the hallway and finds herself in the Emperors Throne Room.
    A door opens on its own (why?), and when Rey goes in she grabs the Wayfinder and then turns around, all as no score plays.  Music enters as it is revealed a dark version of herself is there, and they have a brief lightsaber battle to a brief, unreleased, non-thematc cue, ending as Kylo Rens hand grabs the Wayfinder from the floor.
    The next unreleased cue begins as Ren tells Rey she cannot return to Leia, just like he cannot, and after crushing the Wayfinder in his fist, the music quickly turns into action cue as Rey and Ren begin dueling.  Back on Ajan Kloss, Leia's Theme is heard as she is shown contemplating before Maz tells R2 she knows what must be done, and Connix helps her walk away.
    Back at the Death Star wreckage, Rey and Ren continue to duel.  Finn and Jannah have arrived, but Rey force-pushes Finn away from the duel, then continues to fight Ren until a giant wave approaches the piece of wreckage they are on and they have to jump to another piece.  They continue to duel on that piece for a while, until she eventually jumps to another piece of wreckage when Ren seems to have an upper hand on her.  This lengthy sequence is entirely unscored.
    FYC 13 Final Saber Duel 1:38 / OST 12A [0:00-1:05] The Final Saber Duel 1:05
    This cue begins as Ren approaches Rey on the new wreckage she led him to, where they duel set to some trumpet runs until she seems to finally be realizing she wont win as Kylo Ren's Theme plays during a brief lull in the action.  She lunges back at him anyway, and they duel until she ends up on the ground. Just when he begins to land what would be a killing blow, the music quiets down considerably as Leia intervenes and Ren backs off, with brief choir underscoring Leia lying down on her death bed, causing Ren to drop his saber as the cue fades out, giving Rey the chance to grab it and stab Kylo in the stomach with it.  The music has completely subsided as Leia dies and Rey feels it through the force.
    This quiet ending with choir is removed from the OST version and only is available in the FYC version.
    FYC 14 Healing Wounds 2:49 / OST 12B [1:05-end] Healing Wounds 2:15
    The opening of this cue is different between the OST and film/FYC.  The OST version (1:05-1:42) starts with high strings and then features some funeral pyre sounding brass.  The film/FYC version (0:00-0:31) is mostly just high strings.  Either version of this passage covers Rey continuing to process what has happened to Leia, until she looks down at Kylo and sees the wound she made. 
    Film/FYC and OST then are the same, with a tempo change (OST 1:42) as she reaches out for his wound and heals it as The Force Theme plays.  She tells Ren she wanted to take his hand ("Ben's hand"), then the music picks up (OST 2:33) as she runs towards Ren's TIE Fighter and takes of fin it, as Finn watches in despair and Poe arrives in the Falcon behind him. 
    Back on Ajan Kloss, Leia's Theme plays as the Resistance gathers around her death bed to say goodbye.  Poe, Finn, and Chewie arrive, and some brief female choir plays as D'Ac has to tell Poe that Leia is gone.
    FYC 15 Advice 1:54
    Kylo is shown holding his lightsaber staring at the water (I guess when Poe showed up in the Falcon they chose not to just shoot him down?), and then he hears Han's voice and they begin talking, all with no music.  The score begins on Han's line "Kylo Ren is dead, my son is alive", and continues to underscore their discussion about Leia being dead and Kylo knowing what he has to do.  The uptick in tempo (1:28) comes when he tosses his lightsaber into the ocean, then turns around and Han has disappeared. 
  7. Thanks
    Bayesian reacted to Jay in The Rise of Skywalker - COMPLETE SCORE Discussion - SPOILERS ALLOWED!   
    Unreleased music
    The initial scenes on Kijimi as the group sneaks around and avoids stormstroopers is unscored, with music entering as Poe tells the group to follow him, but Zorii quickly finds them and points a blaster at Poe's head.  The cue is largely subdued and entirely non-thematic.  The next cue is a bit more upbeat as Zorii realizes Rey is the one the troopers are looking for, with a brief action outburst playing as she tries to grab her but Rey gets the upper hand. We Go Togetheri is heard as Rey lets Zorii knows she cares what Zorii thinks, but the cue ends with some ominous tension as they narrowly avoid being seen by some stormtroopers, with The Knights of Ren Theme playing as they arrive.
    Source music ("Oma's Place" by Ricky Tinez and J.J. Abrams) plays as they enter a bar and meet Babu Frick in a backroom, with the next score cue entering as C3P0 realizes he must allow his memory to be wiped so the mission can go on, with Luke's Theme playing as 3P0 tells them he's taking one last look as his friends.  A brief unreleased cue is heard when Pryde tells Kylo the Knights of Ren have tracked the heroes to Kijimi.
    Babu starting his work on 3P0 is unscored, as is the beginning of a conversation Poe and Zorii have on a rooftop.  The music enters after Zorii lifts her visor and lets Poe look at her eyes, with music reminiscent of Return to Tattooine from Attack of the Clones playing as Poe shares the story of how no one came to help the Resistance at The Battle of Crait and he expresses doubt that the resistance has any chance of winning the war.
    A brief scene where Rey fixes D-0's squeeky wheel is unscored, then Lesson Two from The Last Jedi is tracked in as Rey realizes that she recognizes the ship they took from Pasaana, with original music returning as as 3P0 relays the message that was written on the dagger.  The pace picks up as Rey runs outside and sees Kylo's Destroyer, which is scored by Kylo Ren's Theme.  Luke's Theme is heard again as Rey realizes Chewie is alive.
    FYC07 Fleeing from Kimiji 1:53 / OST 08A [0:00-1:33] Fleeing from Kijimi 1:33
    The fast-paced opening of the cue with the Action Ostinato begins on a shot of Kylo's TIE Fighter flying down from the Destroyer, with Kylo Ren's Theme playing as he approaches the location of our heroes, and after Zorii gives Poe the medal they'll need to escape orbit, The Victory Theme briefly plays as he asks her to join them.  Kylo Ren's Theme returns with more menace as stormtroopers are shown, but then our heroes fly to Ren's Destroyer and land in the hangar bay.  Some pounding drums play as stormtroopers approach the Falcon's exit ramp, but We Go Together is used as they are able to shoot all the troopers and make their way into the Destroyer.
    The full ending of this cue is only available on the FYC, because the OST segues to a different cue before this cue has finished ringing out.
    A brief scene where Rey uses the Jedi Mind Trick on some stormtroopers is unscored.
    FYC 08 Hallway Shooting 2:11
    The group enters a new hallway and shoots out the cameras, with the pace slowing a bit as Rey realizes the Sith Dagger is on the ship and that they need it.  The pace picks right back up as she takes off and Finn and Poe goes in another direction, running into Chewie and freeing him, but darker music plays as Pryde finds the Falcon.  Fast music returns as Finn and Poe shoot more stormtroopers while escaping with Chewie, who finally gets a blaster to help out and The Resistance Theme plays as all three of them tear through another hallway full of trooopers, but the music takes a dark turn as Poe gets shot and the trio is captured.
    Unreleased music
    Rey enters Ren's quarters, with The Imperial March playing as she finds Vader's helmet, before she ultimate finds the Sith Dagger.  Kylo begins a force conversation with her, the beginning of which (including him telling her that she's hard to find and her telling him that he's hard to get rid of), is unscored.
    FYC 09 Hard to Get Rid Of 2:19
    The music enters as she points her saber at him and he tries to tell her about her parents, with strings entering as she remembers them leaving her on Jakku and flying away in the ship they've been on.  An uptick in the action plays as they duel with sabers for a bit, then quiets down as Pryde instructs some troops to terminate Finn, Poe, and Chewie.  Rey and Ren's duel continues, with The Emperor's Theme entering as Ren mentions Palpatine, with tragic music underscoring flashback footage showing a Palpatine loyalist killing Rey's parents.  The cue ends as Ren terminates the force conversation.
    OST 08C [1:33-end] I'm The Spy 1:18
    The opening of this cue is unreleased, as Ren tells a stormtrooper to relay the message to lock down his ship because he has realized Rey's in his quarters, but then the scene transitions to the trio behind held at gunpoint by Hux where the OST version of this cue begins, though almost right away about 20 sections of music JW edited out of the OST version plays as Finn and Poe talk what it was he wanted to tell Rey.  The bouncy music heard on the OST begins as Hux shoots the two troopers and reveals himself to be spy, and Rey's Theme plays as she returns to the hangar bay and kills two stormtroopers talking to 3P0.  Kylo Ren's Theme plays as he enters the hangar as well, and the last upbeat portion of the cue covers Finn, Poe, and Chewie racing to the hangar, with a brief snippet of Luke's Theme as Poe sees Rey in the hangar bay and says that she's a survivor.  The cue ends as Hux asks Finn to shoot him in the arm, and he shoots him in the leg instead.  In the film, the very end of this actually overlaps with:
    FYC 10 Join Me  2:21 / OST 10 Join Me 3:42
    The high string opening covers Rey and Ren approaching each other, then circling each other in the empty hangar (how did the Millennium Falcon with the rest of our heroes in it get out?) as stormtroopers file in and line the walls.  The music quiets as Ren reveals that Rey is a Palpatine, with the crescendo approximately 50 seconds into the cue playing on a closeup of Rey's face as she processes the news.  The Anthem of Evil theme now gets a long, slow rendition on strings as Ren walks towards Rey, as he tells her that they are a Force Dyad, backing her up against the hangar's exit into outer space as he asks her to join him in taking down the Emperor together.
    Over a minute of material heard on the OST from 2:05-3:17 is entirely absent in the film.  From 2:05-2:59 the music is very dramatic, and likely underscores a much longer version of their conversation (Rey's Theme appears at one point but its otherwise non-thematic).  The brief outburst of action material ending with Kylo Ren's Theme from 2:59-3:17 would have underscored the Falcon showing up to save Rey, but this is replaced in the final film with 15 seconds of material tracked in from The Battle of the Resistance, which features Luke's Theme over a shot of Poe in the cockpit.
    The film/FYC version and OST version are the same for the ending, with Rey's Theme playing as she jumps off of the Destroyer towards Finn, who grabs her from the Falcon's landing ramp and she boards the Falcon as the cue ends with a fanfare and they fly away.
  8. Thanks
    Bayesian reacted to Jay in The Rise of Skywalker - COMPLETE SCORE Discussion - SPOILERS ALLOWED!   
    OK here's what happening in the film during all the music we have
    I'm skipping past the prologue for now because it's such a muddled mess and I don't want to start with a bunch of confusing speculation
    Any time I say "unscored" that only means the scene has no music in the final cut, we obviously have no idea if Williams actually scored some of these scenes and JJ chose not to use it
    And any time I say unreleased, there's likewise no way to know if the music heard was written by JW for the scene in question or if JJ tracked it in from some place else; I'll try to mention the obvious tracking when I can but we won't be able to identify all of it until we either get all the sheets or all recordings
    Without further ado..........
    After the prologue, there is no music Poe and Finn playing chess against Chewie in the Falcon, nor their arrival on the Sinta Glacier to meet Boolio.

    FYC 02 Falcon Flight 2:22
    The cue begins quietly as Boolio mentions there's a new spy, and becomes fast-paced on an external shot showing dozens of TIE Fighters closing in on their location.  The fast-paced version of The Emperor's Theme plays as Poe looks out the window and notices all the TIEs approaching them, The Resistance Theme plays as they say goodbye to Boolio and he tells them to "Win the war", and the rest of the cue covers the action/chase sequence as they avoid the TIEs and light-speed-jump to escape, featuring The Rebel Fanfare as Finn shoots down a TIE, We Go Together as Finn and Poe simultaneously realize shooting some scaffolding (?) down will destroy some TIEs, The Resistance Theme as Poe shoots through an ice wall to escape, and the Action Ostinato and Rebel Fanfare at two points during the light-speed jumping.
    Unreleased music
    On Ajan Kloss, we hear The Force Theme as Rey floats and tries to connect with the Jedi of the past, followed by a straight-forward rendition of Rey's Theme when she stops levitating and lands on the ground, and then amazing new action renditions punctuate her run through the training course.  The Imperial March is used as Ren is shown touching the melted mask of Vader (this sounds tracked, I think), and then there is a cue of non-thematic underscore as Rey talks with Leia. 
    Finn, Poe, and Chewie returning and interacting with Rey is all unscored.  The next unreleased cue begins as the resistance is gathered and Poe lets them know the Emperor has returned and what his message was, which is scored with a neat unreleased and lengthy rendition of The Emperors Theme.  As Rey tells Leia she knows how to find Exegol (using a Sith Wayfinder) the Force Theme is heard, followed by Rey's Theme after Leia tells her not to go but Rey says she will go anyway.

    FYC 03 We Go Together 2:10 / OST 09A [0:00-2:33] We Go Together 2:33
    The We Go Together Theme is introduced properly as Finn and Poe tell Rey they are going with her to find the Wayfinder, then Rey's Theme plays as she begins talking to Leia, followed by The Force Theme as she and Leia hug goodbye, followed by a big sweeping rendition of We Go Together as Rey, Finn, Poe, Chewie, 3P0, and BB8 all take off together.
    The full ending of this cue is only available on the FYC, because the OST segues to a different cue before this cue has finished ringing out.
    Unreleased music
    The Knights of Ren Theme plays as the Knights reforge Kylo's mask, followed by Kylo Ren's Theme as he marches down the hallway with them to a meeting where Boolio's head is placed on a table and another unreleased rendition of The Emperors Theme as Kylo tells his crew what he found on Exegol.  What sounds like tracked music plays as Kylo begins force-choking one crew member in the room.
    OST 09B [2:33-end] Arrival on Pasaana 0:44
    The bulk of this short cue as heard on the OST does not appear in the film at all, so likely underscored a deleted scene of some sort of conversation on board the Falcon.  Only the tail end of the cue is heard as the Falcon lands on Pasaana.
    Unreleased music
    Source music by JJ Abrams is heard as they first check out the festival, seguing to an unreleased cue as Nyambee approaches Rey and gives her a necklace.  Rey's Theme plays as she has to explain that she does not have a family name, which segues to ominous music as Rey and Kylo Ren begin their force conversation.  Most of the conversation plays with no score until Kylo Ren's Theme comes in towards the end, and the pace picks up as Rey realizes he grabbed her necklace and will be able to find them.  A brief pause in the music occurs when they get trapped by a stormtrooper but are saved by a masked helper, who is revealed to be Lando Calrissian as We Go Together plays.  Another unreleased cue covers Lando telling them about the Sith Wayfinder he was tracking with Luke, which starts slowly but picks up when they notice First Order ships approaching, and then Leia's Theme is heard when Lando asks Rey to give Leia his love.  After a brief pause, another brief, nonthematic unreleased cue begins as Poe begins to fix a speeder they can use, which leads into:
    OST 05 The Speeder Chase 3:21
    The cue as heard on the OST is not heard in the film, but seems to me to be written for an earlier, longer cut of this chase sequence where our heroes escape from First Order pursuer and eventually crash after killing them all and landing in quicksand.  The film version features the Action Ostinato that is possibly tracked in from Falcon Flight, and some Rey's Theme as BB8 taps on a canister until it shoots out and explodes on a pursuer, as well as this cue's set-piece theme when they get another speeder to crash into a rock.
    Unreleased music
    No score plays as they shoot the final stormtrooper down and then fall through the quicksand, nor during a brief scene where Snap talks to Leia.  Score returns as our heroes collect themselves in underground tunnels.  Rey asking Finn what it was that he wanted to tell her is unscored, with music entering again as they find a speeder with Sith markings on it.  The music is non-thematic as they look around and eventually find the Sith Dagger, with C3P0 letting them know he can read the location of the Wayfinder from the dagger.  The rest of their conversation is unscored, with music beginning as the snake appears behind 3P0, ending as Rey gets everyone else to lower their blasters.
    She approaches the snake with no music playing, but when she notices that the snake is bruised and bleeding, a nice cue begins that transitions into Rey's Theme as she sits down and The Force Theme as she heals the snake's wound.  A brief unreleased cue featuring The Knights of Ren Theme plays as the Knights arrive nearby and begin looking around.
    FYC 04 In the Desert 2:26
    The group climbing up to the crashed ship is mostly unscored, but this cue begins as Rey realizes Kylo is nearby and tells them to get the ship working as she goes to prepare for him.  The Resistance Theme is used as the rest of the group enters the ship and Poe tells everyone what to do, with some pounding drums being used for the Knights of Ren shown to be right outside.  The uptick is pace comes when Finn realizes Chewie has been captured and runs to hide behind a rock, and Anthem of Evil briefly plays as the stormtroopers hold up the Sith Dagger.  The cue ends quietly as Rey meditates briefly before igniting her saber as Kylo approaches.
    Unreleased music
    The entire scene with Kylo flying towards Rey and her jumping up and sabering his TIE is unscored, the next unreleased cue begins as Finn tells Rey that Chewie has been captured and she reaches up to use the force to pull the transporter back to the surface.  A sweet unreleased version of Kylo Ren's Theme plays as he is shown to be alive, then walks towards Rey and begins force-pulling the transport himself, with the cue building towards an explosive climax as Rey's force-lightning destroys the transporter.  Another short, non-thematic, unreleased cue plays as Finn yells to Rey to get her to leave with them, and then no music is heard as they are shown to be safe in an asteroid field and Rey is lamenting that she killed Chewie.

    FYC 05 A Prisoner 1:23
    The music begins as Poe tells her it was not her fault, and dark music plays as Rey tells Finn about her vision of being on the Emperor's throne, then the scene shifts to Hux telling Pryde they have a prisoner, which is revealed to be a not-dead Chewie as We Go Together plays.
    3P0 lets the group know the dagger's inscription is in his memory bank, and Poe says he knows someone who can help on Kijimi, but he is reluctant to want to return there.  This is all unscored.

    FYC 06 To Kimiji 1:37
    The cue begins with Poe stating he's willing to go to Kijimi, though, because Chewie will have died for nothing if they don't continue on, with We Go Together playing as the heroes all agree to conitnue the mission for Chewie.  A quick fanfare version of The Knights of Ren theme plays as their ship is shown to be following them, then a warm rendition of We Go Together plays as BB8 finds and wakes up D-0, with Rey's Theme playing as he rolls over to her and Rey tells him he's with them now.
  9. Like
    Bayesian reacted to Arpy in How did you feel about The Rise of Skywalker?   
    I liked the film - especially the second time where I was expecting the problems to come through. I think there's certainly missed potential, character arcs left in ruins or mishandled, rushed pacing with so little story to bind it all together. Somehow I still like it, I like the more Expanded Universe feel it has, bringing in elements of The Force that we haven't seen explored. The Reylo development is the strongest part of the film and ultimately that's all that I was concerned with. The score is amazing, it's tied for me in first with TFA for the ST. 
    Pacing Issues - too much to see and do with no time to take it all in. The things we see and do are a mixture of awesome design and poor placement, why bother showing it if we can't see more of it.   
    The Knights of Ren are fucking useless, like the Jedi who went to arrest Palpatine in RotS. They show up on a mountain and look around like they're lost 'do you guys see anything yet? Nope'. Somehow they get to Exegol and hide behind a pillar and then Kylo dispatches them and that's it. The Knights of Ren, teased since TFA are nothing after all.  
    Death Star Star Destroyer Fleet? Looks cool, but is incredibly stupid.  
    Why is Lando on Pasaana in a tank? He should be lounging about in some palatial space bar.  
    Too much Leia: She's there but she's a one line robot, she doesn't have any full conversations and she's awkwardly placed into shots.   
    Not enough Palpatine. More time on Exegol was needed and Palpatine should've had more of a presence, instead we're told and not shown what this means to the Galaxy at large.   
  10. Like
    Bayesian reacted to Brundlefly in What will the title of the next big JW box be?   
    Fuck you, for bashing Rosewood!
  11. Like
    Bayesian reacted to igger6 in The Rise of Skywalker - For Your Consideration (FYC) Album Discussion - SPOILERS ALLOWED!   
    Absolutely! I don’t know why the heck the Academy is dragging its feet on this. Irrespective of a nomination for TROS, this should already have happened years ago. A special Oscar of the Snow White/Toy Story variety would be justified if the SW saga were all he’d ever done. As it is, the lack of a lifetime achievement Oscar is a glaring oversight. 
  12. Like
    Bayesian got a reaction from Arpy in The Rise of Skywalker OST Album Discussion - NO FILM SPOILERS   
    I’d love it if JW got the chance to write a score with a jazz flavor again. 
  13. Like
    Bayesian reacted to Jay in The Official La-La Land Records Thread   
    I think the thing with film music is, it's an incredibly wide, deserve spectrum of music that has over 100 years and counting of films to pull from.  You've got orchestral scores, electronic scores, experimental scores, classic scores, huge scores, small scores, video game scores, tv scores, animation scores, complicated scores, simple scores, all kinds of stuff from all kinds of different eras... and everyone has different tastes.  Many people end up wanting scores to all the big movies from their childhood and young adulthood, which for the current forum culture ends up being a lot of late 70s to late 90s scores, but that wasn't always the case.  Some people prefer golden age scores, or silver age scores, or 90s scores, or japanese scores, or whatever else, some people have very narrow ranges, some people love to check out almost everything.
    It has never made sense, to me, to ever be disappointed in any label's output, for any reason.  They are licensing what they can, from the studios that will allow them to, from this incredibly diverse 100+ year catalog of music.  Every release they put out is important to SOMEONE, every score is potentially someone's favorite score of all time. None of these labels are in this for the profit, they do it for the passion, and for the huge array of fans who each want different particular scores from these studios' catalogs.  

    I think sometimes when a label puts out a score a vocal portion of a message board really want, or perhaps a few scores that get a lot of attention in a short time, people come to continue to expect more releases that will hit their specific pleasure centers, but it's really unrealistic to ever expect that; With so much ground to cover from such a diverse media, it's only coincidence if one label releases a large portion of your particular score deserves in a certain time frame.
    Basically, there's no reason to get yourself hyped and hyped when any label says anything is coming on any certain date, with so many releases coming out every month from so many labels, the likelihood of your particular short checklist of being met is always small.  Better to be ambivalent about what's coming then be pleasantly surprised when it's something you really want, than to expect something particular because you feel its deserved then be crushed again and again when it doesn't come out.

    Everything will come out eventually!  In the meantime, always check out samples to scores you've never heard before to see if there's something new-to-you that you might really enjoy!
  14. Thanks
    Bayesian reacted to Disco Stu in Disco Stu's Classical Score Videos   
    Just finished my score video for Walter Piston's String Quartet No. 3, my personal favorite of his 5 quartets.
    I think he brings a real "rock star" energy to the outer movements, with an emphasis on sharp dynamic contrasts, driving rhythms and repetitive motifs that I get really caught up in every time I listen.  Pay special attention to the wonderful viola theme in the central section of the final movement at 12:19, which is a low-key highlight of all Piston's output I think.
  15. Like
    Bayesian reacted to The Illustrious Jerry in The 12th Annual JWFan Awards - The Best Scores and Films of 2019!   
    Of the media I've consumed this past year, both films and scores, this is what I came up with:
    1.   Star Wars: The Rise of Skywalker by John Williams
          The Mandalorian: Season One by Ludwig Göransson
    2.   A Hidden Life by James Newton Howard
    3.   How To Train Your Dragon: The Hidden World by John Powell
    4.   Marriage Story by Randy Newman
    5.   Pain and Glory by Alberto Iglesias
    6.   The King by Nicholas Britell
    7.   Frozen II by Christophe Beck
    8.   Avengers: Endgame by Alan Silvestri
    9.   Little Women by Alexandre Desplat
    10. The Song Of Names by Howard Shore
    11. Motherless Brooklyn by Daniel Pemberton
    12. Jojo Rabbit by Michael Giacchino
    13. Spider-man: Far From Home by Michael Giacchino
    14.  Joker by Hildur Guonadottir
    15. The Report by David Wingo
    No particular order.
    We Go Together (Star Wars: The Rise of Skywalker)
    Journey to Exegol (Star Wars: The Rise of Skywalker)
    The Speeder Chase (Star Wars: The Rise of Skywalker)
    Farewell (Star Wars: The Rise of Skywalker)
    A Hidden Life (A Hidden Life)
    Once There Were Dragons (How To Train Your Dragon: The Hidden World)
    The Mandalorian (The Mandalorian)
    The Ponds of Sorgan (The Mandalorian)
    What I Love About Nicole (Marriage Story)
    Fire And Ice (Frozen II)
    I normally check off all the films on my watchlist in the year after they come out when they're streaming and available physically, but I have managed to catch these mentionables this year:
    1. Marriage Story (Noah Baumbach) *****
    2. Apollo 11 (Todd Douglas Miller) *****
    3. The Two Popes (Fernando Meirelles) ****
    4. Shazam! (David F. Sanberg) ****
    5. Ad Astra (James Gray) ***
    6. Star Wars: The Rise of Skywalker (JJ Abrams) **
    At the top of my watchlist for the coming year are the following:
    Jojo Rabbit
    A Hidden Life
    A Beautiful Day in the Neighbourhood
    Ford vs. Ferrari
    The Irishman
    Once Upon a Time in...Hollywood
    Knives Out
    The Lighthouse
    - getting my first expanded set: La La Land's CD release of E.T. the Extra Terrestrial before it sold out in March
    - expanding my CD collection with dozens of beloved OSTs
    - plenty of films on my watch list to keep me busy for the next year
    - Williams final Star Wars score: a worthy finale!
    - watching and listening to The Mandalorian each week, made more fun with the Discord
    - Adam Driver's performance in Marriage Story
    - an actually alright DC movie: Shazam!
    - enjoying some films in a locally run  small-town theatre, which is a simply lovely place
    - discovering the Art of the Score podcast, which I listened to on my walks in the summer, which was just perfect
    - taking advantage of numerous opportunities to make some pretty funny posts on the forums
    - The Rise of Skywalker I guess, but I'm not complaining
    - would've liked there to have been a few more stand-out scores for me this year
    - Intrada Jaws suddenly disappearing forever, dang it!
    - @Bespin's leave from the Discord
    Thanks for another great year at JW Fan!
  16. Haha
    Bayesian reacted to mstrox in The 12th Annual JWFan Awards - The Best Scores and Films of 2019!   
    Just what everybody has been waiting to see!  The Fannies!
  17. Thanks
    Bayesian reacted to King Mark in The Rise of Skywalker - COMPLETE SCORE Discussion - SPOILERS ALLOWED!   
    it's incredible there's no issue at releasing all the music to The Mandalorian right away and we still have to deal with this crap with JW
  18. Thanks
    Bayesian reacted to mstrox in The Rise of Skywalker SPOILERS ALLOWED discussion thread   
    He was a background alien that was in promotional shots, had 3.75" and 6" action figures, and featured in an official short story before the release of TFA.  In the movie itself, he was blurry in the Rey/Finn Jakku chase for like two frames.  He was TFA's Rose.
  19. Thanks
    Bayesian reacted to Jay in The Rise of Skywalker SPOILERS ALLOWED discussion thread   
    Here's a nice article about it:
  20. Like
    Bayesian reacted to Chen G. in The Rise of Skywalker SPOILERS ALLOWED discussion thread   
    Sounds about right. It felt to me not so much that Rose was sidelined (although to some extent she sure was) but that her role (like so much of this film) was chopped to pieces in the editing.
    It also seems to me that the attempt to keep Leia in this film proved too much of a burden. They really should have cut their loses with that, and spent their time and money on other parts of the film that clearly needed it.
  21. Like
    Bayesian reacted to aescalle in The Rise of Skywalker - For Your Consideration (FYC) Album Discussion - SPOILERS ALLOWED!   
    Not official ones.
    I am not sure if these covers will work for you,
    but I did them following the TFA and TLJ exemples.


  22. Like
    Bayesian got a reaction from DolceMecha in The Rise of Skywalker - COMPLETE SCORE Discussion - SPOILERS ALLOWED!   
    The attention to detail being paid to the score by so many people in this thread is amazing. I saw the film last night and I couldn’t keep track of all the moments where I heard music I loved but not found on the OST or FYC.
    For now, I’ll say that I adore how Rey’s theme on piano (from The Force is with you; OST) was saved for the moment after Palpatine drains her and the camera is on her lifeless face. It was a magical use of color for an important and poignant moment.
  23. Like
    Bayesian reacted to Naïve Old Fart in Do you understand Star Wars?   
    Do I understand it? What does it mean?
    To the industry; a game-changer.
    To the studios; a cash-cow.
    To audiences; a beloved series of adventures, that take people away from the mundane, if only for a couple of hours.
    To me; as I get older, my priorities and my attitudes change. I never "relied" upon the films, in my youth. They were enjoyable, but not essential. At this time, however, I'm of the opinion that the films are about one of the most important things in this world - family. The ability, and the need to, belong, are strong motivators, and the films illustrate this, well. "Good and evil"? Yeah, it's that, as well, but, IMO, that's secondary. It's about being accepted, belonging, and, yes, being loved, and in this jaded, selfish present society, that's not a bad message, at all.
  24. Like
    Bayesian got a reaction from crumbs in Hans Zimmer's NO TIME TO DIE (2020) - James Bond #25   
    That's definitely a part of the problem I have with Zimmer/Balfe/RCP. It's one thing that most of the music they write is trash, but they also have this irritating habit of leveraging their well-oiled PR machine to boast how much blood and sweat they put into it, how much time they labored over it, what stops they pulled to bring in the best talent they could find, what auditory miracles they invented this time around, blah blah blah.
    Of course, the only thing more unbearable than a talentless hack is a talentless hack who takes jobs away from the far more gifted likes of Joe Kraemer and then goes on to put out 2-CD releases of his hackery as if under the ridiculous impression his music actually deserves such treatment.
  25. Haha
    Bayesian got a reaction from A. A. Ron in TLJ & TRoS, which do you like   
    Bait! Bait bait bait! This is KK saying, “please oh please take the bait!” But we’ll resist, won’t we, fellas?
  • Create New...