Loert

Interesting how differently our brains work 2025 to me feels like if they'll go any faster they'll break down and descend into chaos. It even makes me feel a little anxious. Whereas 2010 just feels effortless. I think it's a case of where we both hear the same thing but we interpret it differently. (Mind you I'm specifically talking about Dragon Training.)

Silvestri's Contact has some Matrix-sounding passages as well (1:22 from Good to Go):

Not as punchy as 2010 though.

Somebody once said: "Good composers borrow, great composers steal." That's why I steal every chance that I get.

Did the cat look something like this? On a more serious note, the dancing cat probably signifies how you take JW to be a kind of unifier of nature. Cats are commonly known to be solitary and independent by nature, so to get a cat to dance would indicate the magnitude of JW's charming power over the animals. But at the same time he says how he gets inspiration from his pets, so it's a symbiotic relationship: the animals take inspiration from him, he takes inspiration from the animals (his animals, and JW is their "master"). I guess it's a similar concept to a snake charmer, or Orpheus charming the animals with his lyre playing. As for not being able to turn on your recording app, it's the same reason why all the Nazis' cameras exploded at the end of ROTLA: you were in the presence of something beyond this world. (Yes I have been reading a bit of Jung recently )

If it's a happy scene, you write in a major key. If it's a sad scene, you write in a minor key. Thank you for coming to my masterclass. Any questions?

For a moment I thought they meant Jonathan Ross the British TV presenter.

I don't listen to that many film scores aside from a select few composers, so in no particular order: HANS ZIMMER Pirates of the Caribbean: At World's End Kung Fu Panda 2 JOHN WILLIAMS A.I. Artificial Intelligence Harry Potter and the Philosopher's Stone Star Wars III: Revenge of the Sith Solo: A Star Wars Story JOHN POWELL Chicken Run Horton Hears a Who! How to Train Your Dragon trilogy Kung Fu Panda 2 Solo: A Star Wars Story DON DAVIS The Matrix trilogy How to Train Your Dragon, especially the first film, is overall the one I get the most enjoyment from. Though undoubtedly it's not as influential or "important" as some other scores. And I know I missed out on a lot of great composers and scores (JNH, Horner, Newman etc.) I just haven't listened to those scores in a long time and don't know them well enough to judge. This thread will actually be useful for me to catch up on my knowledge

Well, you're not wrong. It is well above average.

Welcome everybody...to the Infra Dig Society.

And to think that it was all written in just 4 weeks...

Also 1:01:54... very interesting hearing these answers now in 2025 . I especially love JP's facial reaction at the beginning...

Maybe if he'd written more than just the one song...a few more might do the trick

Now imagine how much better it would be if they cut the live action version to Powell's original 2010 score.

It's like taking Beethoven's 9th Symphony but repeating some bars, extending one bar, removing a few bars, adding a flute there, removing a trill there etc... Why not just listen to Beethoven's 9th?!?! That's not the best analogy because music is adapted by others all the time, but I'm especially thinking about the adaptation necessitated by slightly different scene lengths, i.e. in service of a film... I'll give it a few more goes, maybe it'll grow on me. But it's pretty much as I expected - trying to shoe-horn a perfectly organic score into a (slightly) different film. Of course there's nothing wrong with the music writing itself - Powell excels as always. But it just doesn't match the strength of form of the original. I did like the last minute of Caught Designing Outfits (especially that Far-and-Away-ish horn flourish at 2:02), and the last two minutes of The Trial of Flame. There were some bits of those that I preferred over the original.