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Posts posted by mxsch

  1. I don't really know WTF happened to this recording, since the movie is clearly using another mix. LSO sounds flat and uninspiring, there is a distortion heard in the right channel sometimes. Same is happened to Ready Player One and Infinity War, last one suffers especially.

    But if you compare original Avengers which was recorded with LSO too with godawful album version of Endgame when it quotes the music from the first one, difference is the night and day. Original is punchy, vibrant and dynamic and Endgame... Meh. I mean, even quotes from First Avenger which is not LSO sounds better on the OG album too.

    I wonder who mixed all this stuff...


  2. 46 minutes ago, j39m said:


    I don't see this yet mentioned, but I'm sure everybody is thinking of the desperate statement of Leia's theme when Vader strikes down Obi-Wan.


    I have convinced myself that I'm "okay with it" when JW does it, but there are a few moments in TROS that give me pause. Things like the quiet, high-strings Vader theme when Rey enters the old Death Star (lifted from the moment of Vader's death) or the reprise of lifting the X-wing (Yoda:Dagobah::Luke:Ahch-to) that make me feel like they tried to mash the nostalgia button a bit too hard...

    Williams once explained that he used Leia's theme in the moment when Vader "kills" Obi-Wan because this theme was most dramatic of all in original SW.

    P.S. That's what is said about this in the 97 SE RCA re-release:

    Interestingly, Williams uses Princess Leia's theme at the moment Ben vanishes, deferring to the purely musical effectiveness of the sweeping melody over any apparent thematic relevance, although the theme does reinforce the connection between the Princess and the old Jedi suggested by her holographic message.

  3. 2 hours ago, Bellosh said:


    well it's not like this is unprecedented.  His theme is present during Lando, Leia and company escaping Bespin.



    now obviously i think it's a reference to Luke's presence on Bespin and his training....but Yoda kinda hinted he was gonna fail.  So do we signify Yoda's theme here with 'giving it a valiant effort, but come up short'....even though Yoda has already said 'there is no try'.....so in that sense, conceptually, does it make sense?  i'm not sure I care, cause it simply works.  And I don't think it always has to be dissected like that, even though it's fun to.


    I think JW just likes to use these themes in different ways at times, and I'm okay with it.  We get brilliant statements of said themes.

    You are right about connection to Luke. But TROS still makes no sense. Reprise of the moment when Luke is lifting X-Wing for Rey is absolutely understandable, but not this one in finale.

  4. Why the heck Yoda's and Luke and Leia themes are detached from the characters in the track Reunion?

    Since when Yoda's theme means victory and Luke and Leia theme now belongs to other characters, this is because that girl can be daughter of Lando?

    Makes no sense and this is the most head-scratching moment of TROS for me in terms of the score.

  5. I think that it's pretty nice database and reviews sometimes can contain interesting stuff.

    But most of the time reviewer writes bullshit, some ratings for the albums are joke and the fact that the people on this site rarely can stand a score with electronics is a joke.

  6. I'm pretty much new to this expanded release and I know that it's reputation here and in Filmtracks review is kinda bad.

    What is exactly wrong with it?

    How they even f-ed it up if JW was involved and this is La-La Land and they are have a very little list of fails, to my knowledge

    And I also remember some criticisms of Murphy here, what's wrong with him?

    For me he is a guarantee of superb recording and mixing quality.

    Hook is 30 years old score now and it sounds insanely well, and how he mixed Prequels, for example, just blows my mind. LSO and Abbey Road rules, he rules too.

  7. 2 hours ago, Naïve Old Fart said:

    JW is among the most bought, the most well-known, and most beloved of all composers who's ever lived - in any category.

    Is he the greatest film composer?

    No. Second greatest, maybe.

    The accolade of "Greatest Film Composer Of All Time" belongs to Bernard Herrmann.

    Herrmann suffers from the same things as any other "old" composer: lack of works avaliable in digital, not that good sound quality and e.t.c.

    And I think our good old Johnny Williams is easily beats him

  8. 12 hours ago, Sandor said:

    I wrote this years ago:


    I think history will remember John Williams as -by far- the greatest film music composer of all time.


    Even if he wasn't, his most famous themes will endure and I think the best known composers are -for a larger public- so well known because of the familiarity with certain pieces. Like Mozart with Eine Kleine Nachtmuzik or Beethoven with Für Elise and his Fifth Symphony.


    Of course Beethoven was much more than those works. But it is thát music that makes the first connection with new generations, even before they know his name or learn to speak for that matter. It's like an aural torch that passes from one generation to the next.


    The six years olds in my school know Für Elise. They know the opening of the first movement from his Fifth Symphony. But when I ask them who composed those pieces they don't know. Then I tell them it's Beethoven and they all go: "I know that name! So that's Beethoven!". Perhaps some of them will discover his Missa Solemnis or his 3rd Symphony, but they heard his Fifth first, because it's so deeply imbedded in our culture. There is no way growing up and avoiding hearing 'Happy Birthday' or 'Silent Night' at one point. Everyone gets exposed to it and those melodies stick, at times much longer than the memory of the composers behind them.


    The children at my school know nothing however about Shostakovich or Clara Schumann. Those composers will be discovered by a much smaller percentage of the next generations and I'm afraid that without that musical torch in a couple of hundred years they will be mostly forgotten, no matter how good and profound their work is.


    I fear for Goldsmith as well. One of the greatest film score composers of all time will be remembered mostly in name, because Goldsmith doesn't have significant aural torches that will find recognition with the "common man" of the future. Our generation knows Rudy is a very good score, but the next generation will only read about it. They won't hear it; only if they go looking for it. Goldsmith doesn't have melodies and compositions (not yet anyway) that have become part of our cultural heritage, not even his Star Trek Theme which is universally known by our generation, but is not being transmitted to the next I'm afraid. Nothing that I could play in class will make the children go: "Oh, so that's Goldsmith!". I think for future generations composers like Jerry Goldsmith, Frans Waxman or Bernard Herrman -no matter how insanely good they were during their careers (don't get me wrong!)- will be discovered by film music enthusiasts and modern music analysists only. They will be read about a lot, more than they will be listened to.


    And now John Williams…


    This man has enough torches to ensure that people will remember him for generations to come! The six year olds in my school know the themes of Indiana Jones, Star Wars, The Imperial March, Harry Potter, Jaws, Superman, Jurassic Park, etc. Those themes have been integrated in our culture and are frequently used in theme parks, TV commercials, etc. People will hear his music, whether they like it or not. Williams is also very lucky that his music is attached to culturally iconic and important films and characters. Darth Vader, Superman, Indiana Jones and Harry Potter will be around much longer than Jack o' the Green or Rick O'Connell.

    When Williams dies, people will become more and more aware of the amazing career he has had. That one man could be responsible for so many 'famous film tunes'. That one man could so successfully create the musical equivalent of iconic imagery like the characters of Darth Vader or Superman. He will become the hallmark for all film music and the ‘Michael Jackson’, ‘Beatles’ or ‘Elvis Presley’ of the genre, perhaps the only one. People will grow up and one way or another get in touch with the Star Wars Theme or The Raiders' March. People will continue to whistle the Superman March on the streets and the Jaws Theme will be hummed at every beach. And perhaps it's the interest in the originator of those melodies that will instill in some people a desire to discover Williams' Angela’s Ashes or JFK scores.


    At least I hope so.

    Can't even say anything about this. Simply so great that I have no words.

    12 hours ago, jojoju2000 said:

    He's the Only Film Composer that has received the RPS Gold Medal, an award reserved for the serious classical musicians, composers, and conductors. 


    He has conducted the Vienna and Berlin Philharmonics. 


    Heck, he's more than the greatest film composer ever. He's a great composer period. Of any medium. 



    I'm pretty sure that you can find some purists which will say something like "ew he is a movie composer so it doesn't count" Dumb

  9. 6 minutes ago, Bespin said:

    I was a long time John Williams fan, and since the last 5 years maybe, I started to discover other composers and to expand my score collection.


    I started with the most obvious choices: John Barry, Danny Elfman, Eliott Goldenthal, Jerry Goldsmith, Bernard Herrmann, James Horner, James Newton Howard, Trevor Jones, Michael Kamen, Henry Mancini, Clint Mansell, Dario Mariannelli, Ennio Morricone, Thomas Newman, Rachel Portman, Nino Rota, Marc Shaiman, Howard Shore and Alan Silvestri.


    But you know, I made the complete discography of just one movie composer...


    And it was because it looked like a challenge to me... I had to understand the complexity of this discography, the impressive number of his collaborations with other artists or composers, the albums he recorded as a conductor too... I mean the career of this composer is just simply unbelievable...


    Then, for me John Williams is not only responsible for the return of big hollywoodian romantic classical works in movies... but he's also the last of his kind. It's the Bach of our time. Like Bach, he digested all the music that came before him and then elevated it to a higher standard and never-heard-before mastery.


    Yes, John Williams is the best film composer.

    I completely agree with you. Original SW is kinda restarted movie music. And the fact that this man in his 90's and can write like 2 or 3 hours of original material is simply mindblowing. Hans Zimmer and his RCP hacks really can only dream about this.

  10. I know that this topic have been beaten to death but anyways.

    Honestly, I'm not very familiar with older scores, I mean earliest scores outside of the early Williams works like Jaws that I've listened were John Barry Bond scores.


    And what about the later years, Williams is definitely unmatched. He have strong director-composer relationship with Spielberg, plus amount of the legendary themes that came from him is insane. He also was pretty good about the movie choices, and even his average score is still above all others.

    I love every era of his action writing, since I'm blockbuster guy when it cames to the soundtracks. The way he handles leitmotifs is unmatched too, just look again on the SW, where every score feels like grand operatic event, this is especially true to the ROTS finale. When it cames to leitmotifs the only scores to match it IMO are LOTR and HTTYD trilogies. Schindler's List have played key role in my liking some softer scores, but this is still not my cup of tea a bit (this score is still brilliant and among the very best too) But like the movie itself, it is so heartbreaking that sometimes I'm really find hard to listen it in full. I've seen the movie only once, same reason.


    Plus the fact that he scored so much franchise movies and established so many thematic material in them, I mean Jaws, Superman (Returns would be nothing and dull if it was everybody else except Ottman, he did so good, and I imagining sometimes about alternate universe, where Williams scored both Superman 2 Director's Cut and Returns), Star Wars, Indiana Jones, Jurassic Park, Home Alone, Harry Potter, damn.


    Yeah, I know about Goldsmith and Horner, I like them, but Goldsmith scored pretty much not so big movies, Horner was much better in this case, but his self-plagiarism is kinda push away me a little. Fact here is that they did sometimes like a six movies in year and it all were pretty much meh. Horner in particular did 10 effing movies in 1993!


    I also like Silvestri, but I know that some don't like him, since he never evolved in terms of sound, but his snare-ripping action writing wins me every day.


    Elfman is my favourite too, but he has gone to mediocrity too quickly with some shiny moments, like Alice or Avengers 2. But Batman and Scissorhands are easily among very best of movie scores.


    It's really sad that David Arnold pretty much dropped movie scoring, because honestly I prefer his Bond scores to the Barry's, I know this is some kind of controversy, but still. The Living Daylights is the blast, though, because Barry managed to very successfully revamp Bond sound and themes in that score are great, plus this sick beat over any action sequence.


    Powell is clearly in the renaissance now, he clearly can made another one SW score and imagine if Gordy Haab will be scoring movies too, I know that he mostly emulate Williams, but still.


    And I also like Ludwig Goransson but he done very little in comparison to others so we need to wait and see.


    Brian Tyler also fine but he is more about combining RCP level of epicness with his much more melodic style.


    They all have very fine works, but problem here that in the most cases with movie composers overall there is John Debney situation: maybe one (or very few) really great score (Cutthroat Island) and tons of mediocrity.


    So am I wrong about JW? Maybe you can suggest some post-70's scores and composers that will change my opinion on this matter. But I doubt that there is another movie composer with the same quality level of Williams.

  11. Oof, too hard, I love all of them, but let's try, one per movie, I think:

    Backseat Driver (with film insert)

    Caviar Factory

    Ice Palace Car Chase

    African Rundown

    Pursuit at Port au Prince

    1 hour ago, WampaRat said:

    I’ve got Bond on the brain of late (looking forward to seeing NTTD tomorrow:) Ive been going back and listening to all the David Arnold scores. Man. What an immense talent. Overall, he captured the perfect synthesis of the classic and modern take on Bond.

    Arnold wrote some flat-out whoppers when it came to action set pieces for these films.


    “White Knight”
    from Tomorrow Never Dies


    “Miami International”

    from Casino Royal


    and my personal favorite
    ”Come in 007 Your Time is Up”

    There are a TON more.

    But what would you say is your all time favorite Bond action set piece by Arnold?

    I'm on the Bond craze too and damn NTTD is boring, I like it, but I have no idea how another Zimmer dun-dun style action score is compared to the likes of Arnold. I wish they had him on all five Craig movies, despite all this stuff with director choices and etc

  12. On 9/1/2021 at 1:07 AM, Anthony said:


    There's a little cue or extension after "License: 2 Kills", "African Rundown" has a couple of film inserts and "Blunt Instrument" has a different film ending...otherwise, no. The most substantial unreleased music is the film version of You Know My Name.

    Do you know how much of QOS music is unreleased except this rendition of Bond's theme from the end titles which can be ripped without problems? Or album is complete, minus that cue?

  13. On 8/31/2021 at 7:36 PM, Falstaft said:


    Need to update that vid at some point with examples from The Post and TROS. 






    We usually place the first instances of the "Ludlow Motif" towards the final San Diego scenes in The Lost World, but there are a few proto versions earlier on in TLW too, like:


    God I love this score.

    And what about the second year of Quidditch?

  14. 13 minutes ago, SilverTrumpet said:

    I thought I was way too in the nose on Star Wars changes but I had no idea of any of those.


    Is there any home video release of Attack of the Clones where Anakin's robot hand doesn't hold Padme's hand at the wedding?

    This was in the original 35mm print plus some more changes.


    I highly recommend to watch this vid


    And do you know about one guy who have visual comparison site with a shit ton of photos and descriptions? Insane stuff.


    Here is the link:





  15. 3 minutes ago, SilverTrumpet said:

    I think it's also the only version with no changes between the theatrical release and VHS/DVD/BluRay/4K, right? 

    There were three changes for ROTS at all:


    Transition wipe in one scene was changed on DVD but it was mistake that was corrected on 2011 BR.


    Added some plants on the roof of Kashyyk building in which Yoda was chilling for two scenes.


    Clone troopers have lines when they are attacking Utapau.

  16. 1 hour ago, SilverTrumpet said:

    Why is Revenge of the Sith fine compared to The Phantom Menace and Attack of the Clones, again?

    Because this is the perfect version. Audio mix and picture are top-notch on both 1080p Blu-ray from 2011 and both versions from 2020


    You can check this review btw



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