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NL197

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Everything posted by NL197

  1. I go by my alternate username in well...."other" places that cannot be named (I'm assuming that) where my custom edit work has been known to worm its way into film score fans' ears from time to time. That name I use is JHFan. There IS a John Williams, but I am most certainly a JHFan first and foremost....and no, I don't mean Joe Hisaishi.
  2. I'd say Simon Franglen has the most realistic chance of scoring this, because not only is he intimately familiar with the Na'vi musical landscape, having designed a lot of it with James Horner, but also worked (with Horner and then of course continued on after his death) on Cameron and Disneyworld's Pandora: The World Of Avatar attraction.
  3. House of Cards: The cue "Distant Memories" is largely made up of this effect, which really shows itself in 1:30 into the cue. To Gillian On Her 37th Birthday: In "Gillian" throughout the cue the effect plays underneath the piano solo. Deep Impact: In "Drawing Straws", you hear it at 2:20 into the cue underneath the high strings as a tension device. Braveheart: It plays throughout the cue "Revenge". Also, 30 seconds into "Wallace's Dream" but you hear it at various times in the score. The Forgotten: 1 minute into "Remember..
  4. My favorite synthesized effect Horner used was the 'air' effect, like a faint whistle in a huge amount of his scores, notably in "To Gillian on her 37th Birthday", "Deep Impact", "Braveheart", "The Forgotten" and many, many others.
  5. I've never taken to Goldsmith's electronics because they seemed to be so gimmicky and really stuck out. Aside from a synth tone in Empire Strikes Back I don't recall ever noticing electronics apart from the keyboards in Home Alone in a John Williams score. But I freely admit I don't listen to much of his music apart from their films.
  6. Quite honestly, this is the first time I have ever in my life seen this question asked. With JH it's always the same tired useless crap about borrowing and personal attitude nonsense. Never have I seen anyone ask it, or give it any thought - I never gave it any thought before. I just started to think about what scores have a lot of synth cues and it all seemed to click together. Apollo 13 is another to add to the list. It's a LOT more electronic than most realize, and if the score ever goes get its proper (legit) album expansion, that will be very noticeable.
  7. Braveheart works very well that way. That previously unreleased cue "A Father's Final Return" is (my favorite) addition not heard outside the film prior to the LLL release, and a prime example of how to use the synth strings and choir effectively in place of the orchestra. It didn't need the grandeur of the opening LSO strings in "Royal Wedding". The still-unreleased film version of "Betrayal and Desolation" transitioned from orchestra to a synthesized ending. "The Pelican Brief" goes back and forth a lot, as does "Searching For Bobby Fischer" and "Clear and Present D
  8. I was 15 when it came out, saw the film 12 times theatrically (which was easy...$5 matinee prices and a summer of nothing to do made going to see a favorite movie both fun and a good escape from the heat) and like you, iD4 cemented my love of film music.
  9. First-ever posting here. The full report is already available as part of the official docket: https://dms.ntsb.gov/pubdms/search/hitlist.cfm?docketID=60079&CurrentPage=1&EndRow=15&StartRow=1&order=1&sort=0&TXTSEARCHT= Everything is available in PDF, and they conclude that James Horner was likely impaired by his pain medication (a variation of Tylenol #3) and not the ethanol which as you said, the report found to be likely a by-product of post-mortem activity. It was high cholesterol medication, not blood pressure, though they found that had no impact on
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