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Oomoog the Ecstatic

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Everything posted by Oomoog the Ecstatic

  1. JPIII was the one that was finally getting good then suddenly a swat team showed up on the beach and the movie ended. I was like
  2. For those high string, feminine-like themes, I also prefer this to Marion's. At least orchestration-wise
  3. Plenty of 'genres' he doesn't do, or stoop down to, you just have to classify more various genres. Most common genre names don't tell me anything about the film.
  4. Skyfall is so boring, watching it again for the 3rd time At least compared to Casino Royale, that film is a damn masterpiece. Just turned the thing off.
  5. It is fully subjective, as there will always be someone who while fully comprehending people believe *this is that*, ie. E.T. is magical and cohesive, or the best work ever, can still not help to see things differently. They will even bring new context, like what a good film or TV series is, and the sheer importance of them in our lives to understand the role of music. 'Perspectives' aren't objective. But we still personally agree, E.T. is amazing. Everyone has a different score of their favorite, so in years come, more people will start thinking new ones are better--because there will simply be more new music they can hear fresh, on their terms. Therefore, in a way, we have a problem being more open-minded to new music like the youngians are. I just don't see modern film expressing music cohesively enough, with the full room to tell a story but also supplement film. I love film, TV and video games, so I will always prefer the music of these outlets.
  6. In that thread 'Composers who impersonate Williams" I was surprised by a lot of Williams-like music. But we don't have many films nowadays that depend much upon showcasing its music or the director's instructions for music to tell much story, so it would be hard for them, or anyone, to find a career of the caliber of inspiration and creativity Williams had. Yeah. Recently however, video games have given a lot more room to showcase their music, because it plays among the hours of background actions. But there's usually less dynamic narrative and contrast always going on to create context. It's why the melodies and textures are still pretty great though. Williams music doesn't depend on the movie. We depend on a new mindset to understand it; a mindset of impressionistic fantasy, psychology, action, all in one package. Wherein lies the difference between thought and action in his music? It's all one cohesive phenomenon. In other composers like Horner, it feels like there's one smaller thing going on, like a thought or an emotion, not the bigger picture. Not something that's tying together. This is due to the role music used to have, compared to what it's become. When I hear a score like Homeward Bound 1 and 2, I still hear a very cohesive 90s narrative that is dependent on music for telling the story of actions, thoughts, and the more significant, marriage of these things. This is why people say 'the music of Williams doesn't fully sound like film music... It sounds like a story in-of-itself.'
  7. What I'm saying is great media and partnership already tends to inspire good music (quite unfortunately for other composers .) But I seem to be alone in saying GoT is my favorite show and that if John Williams were in the beginning credits, it would absolutely blow my mind. I think I would die from viewing what would commence.
  8. Don't want to take this point away from everyone, but I'm not so sure about this. Why I inquire into an antithetical listening exercise ie. compare it to something like The Force Theme. I myself always loved Across the Stars and other Prequels tracks, but I'm realizing now it's for a deeper reason. Maybe some people have caught on already
  9. HOLY CRAP. I think I just discovered the most underrated Williams cue. To preface, I always heard this music and unanimously it got a lot of flack from people for being from such a bad movie. People remember it for its film (and problematically, they have a hard time hearing anything else but the shortcomings of the film in the cue), but get this. I really listened again. I tried to picture it in a different, good version of this franchise. In a good movie. I was suddenly blown away by what I heard and pictured... This music is absolutely brilliant! Williams should've saved this for something else. This film did not deserve this music! So try what I did, and in these two minutes picture your most ideal Star Wars/Space opera. Now close your eyes and feel what's really going on in this music alone: 2:30-3:42 My small hope is that its underratedness will slowly start clicking with one or two people.
  10. Not sure what my favorite moment is, but Ithis segment of the love theme playing over this shit. It's so dark and rosy violet. 2:30-3:05
  11. Do you have a favorite original moment in the score or favorite original motif from the Star Wars prequels? Like to hear what you think. What is your track and time?
  12. There was a great thing recently... that someone like Williams could've taken advantage of to inspire a brilliant score. Game of Thrones. That show was incredible and the music could've been way better than it was.
  13. And Across The Stars is basically Romeo and Juliet in Space. Recall the middle, about 2:26. So damn awesome.
  14. Game of Thrones! Seeing his name in the beginning credits of every episode...
  15. In that last paparazzi clip, George said you can talk to him anytime. He's been helping me with my carborator.
  16. There are no movies well-suited for great scores nowadays. No audience who wants those kinds of movies. As a lover of old film music I even prefer 90s/00s-like cerebral films, although some of my absolute favorite film/score combos are Star Wars, Homeward Bound, The Lion King, The Time Machine '02, maybe Jurassic Park, so for me its a toss up, but for others, I don't think they have that market on their mind. As a writer of adventure music, I would need a very good partnership. It seems impractical right now.
  17. Trying to think of composers I'd listen to all of their works but one. 1. Williams - listen to everything 2. Borodin - listen to everything 3. Uematsu - listen to everything. won't include some older synthesized, as every live remake has been passable with some quality ie. 4. [Insert more composers... will go on forever, Prokofiev, Sugiyama, Glazunov, etc.] 5. Grieg? - aha. everything except Hall of the Mountain King. so overplayed and overrated it drives me nuts now
  18. The sequels are what are tactically redundant and serviceable. The most cliche and overrated crap ever produced; standardized production and acting, there was nothing impactful or worthwhile about their purpose. You truly believe what you say at a deeper level? They were lucky to have John Williams. The Lucas dislike seems off to me. Imo, A New Hope is my personal favorite of the OTs. Star Wars OT > LoTR Star Wars Prequels > Hobbit Of course Jackson is not as well off. He's newer and thus comes under more pressure from his production team. Lucas still has way more vision and discernment--his writing, production and hiring is spot-on compared to other directors. However, why his different approach to storytelling and production is overall better is hard for me to explain at this time. He has a very gifted imagination. You can tell what he chooses to film ties to a larger vision, rather than just thinking up 'deep stuff' or crowd-pleasing narratives that go nowhere.
  19. This is the only negative I agree with. Intricating the dialogue would easily bring out more character depth, but it would also confuse more numb minds. However I think the overall presentation and execution of the prequels are excellent! and the groundwork of the story is incredible! I'd rather have the magnificent story and execution of the prequels, than the simplistic coherence and streamlined acting of the sequels. Some of it even surpasses the OT. Lucas was a master, and it shows.
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