mxsch
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Posts posted by mxsch
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19 minutes ago, Jay said:
The director.
And if composer is absolutely against director's decision, it is still will be done?
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Who have a final word for the final edit of music in the movies?
Director, composer or editor?
And why some movies have their scores butchered to death, replaced and e.t.c.
For example, I can't understand why Kershner decided to omit some music in the Empire Strikes Back, maybe for suspense and stuff like that but c'mon Williams score is fucking perfect.
I also want to salute Williams and every other composer who can write such music in those tight schedules, it is pretty much genius.
Star Wars is definitely have no rivals in terms of thematic complexity, maybe LOTR and HTTYD, but they are still not on the same level, IMHO
And it's sad that there are so little amount of movies released with their scores isolated on separate audio track, I wish there was more.
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Yeah I know that OG album is always 1 CD that can fit only 80 minutes of music and this is composer's intent for the listening experience, blah-blah, but why not to present some cues in full, simply connecting them into suites without doing a ton of microedits and stuff like that? Why for example Battle Over Coruscant includes only a mix of first cue with The Elevator Scene added and I can write a ton examples like that.
We also can turn this thread into another discussion of absence of complete set of Skywalker Saga recordings and lack of complete Indiana Jones box set.
Disney already have missed two opportunities with celebrations of 45 anniversary of OG Star Wars and 40 years for Raiders
If they don't want to make a contract with La-La Land why just not to do it themselves? Just hire Matessino and problem is solved. I'm sure that all this SW expansions like Solo, Rogue One, OST's for Battlefront's, Fallen Order e.t.c. sold well
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14 minutes ago, Disco Stu said:
I hear the SFX in the GI Joe track (waaaay waaaay up in the treble), but not the Tomb Raider
Yeah it seems that I've misheard some weird synth passage as SFX in Tomb Raider
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53 minutes ago, Jay said:
I hear nothing unusual in that track either.
You got something wacky going on with your computer man
I've listened to this on like 5 devices so you just can't hear it
And this is almost unhearable without headphones
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17 minutes ago, Richard Penna said:
Where are the sfx in that track?
There's the occasional instance of orchestra/player/soundstage noise in recordings sometimes in quieter bits that you could be mistaking for movie sfx.
It is clearly a SFX, listen to this fragment. There are shooting, talking, computer noises, helicopter sounds and someting else
Whoever did this album assembly definitely fucked this up
I can't find this track from the sessions on YT for comparison but it is clean, except there are some strange artifacts on the whole sessions leak
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Okay but try this if we are now talking about Varese doing shitty releases and Silvestri
This track clearly contains SFX from the movie and I have no idea how it made it into the album. Even recording sessions leak is clean
It is the biggest fuck-up on the commercial album that I've ever heard
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On 10/10/2022 at 7:02 PM, Giftheck said:
Wasn't this done with the LSO? Something of a through-line since they also did Peter Connelly's Tomb Raider: The Angel of Darkness, which also released in 2003.
Sidenote edit: You saw Silvestri everywhere in the 2000s in a way that you see Giacchino everywhere these days.
It was done with Sinfonia of London
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How much music we don't have?
I know that sessions for TROS is like 3+ hours long and we have only hour and half, but what about TFA and TLJ, considering FYC and Live to Projection leak for the first and isolated score for the second?
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I'm looking for the scores which were rejected and they are should be interesting to listen and good enough. Can you suggest something like that for me, please?
For Example, I really like rejected Silvestri score for first Mission Impossible over Elfman's one.
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- Popular Post
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After a shit ton of postponements it's finally out.
Excellent arrangements of Bond songs, IMO
Always wanted a album like that, I know that there were some in the past but this one hits me in all the right spots
- MrJosh, JNHFan2000 and Yavar Moradi
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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...
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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.
- j39m and Cerebral Cortex
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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.
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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.
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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.
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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.
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Is there a similar breakdown for the part three?
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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
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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
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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.
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15 minutes ago, Bespin said:
Where do we begin?
Any score from 20 century and earlier than 70's not by any composer above which will change my mind
Or it will be better if you suggest some composer with really strong set of works.
Dumbest examples of plagiarism or self-plagiarism
in General Discussion
Posted
What are the dumbest moments of things like that you've ever heard?
Lorne Balfe's score for third Bad Boys comes to my mind, where he just copies music from the Modern Warfare 2 exactly in the same arrangement like in the game. And that track is written by him.