GerateWohl

Thank you. Now I have an excuse.

+ good education + taste

Maybe to that a quote from John Williams himself from an interview where he was asked where he takes the ideas from to write hundreds of hours of movie music: Writing a tune is like sculpturing. You get four or five notes, you take one out and move one around, and you do a bit more and eventually as the sculpturor says "In that rock there is a statue, we have to go find it." There's a story that says it all. Paul Hindemith, the brillant German composer, was offered the chair at Yale University as Professor of Composition. He turned it down. Then they offered him the chair as Professor of Music Theory, which he took. So they asked him why, and he said: "I can teach music theory. But only God teaches composition."

And Admiral Holdo is the best Star Wars character since Han Solo.

I kind of expected that.

My favourite piece:

Are string quartets allowed?

To sum it up: Finn/Rose bullshit : Did not bring anything forward in the story. Incomprehensible code breaker plot. Just to keep them busy. Poe/Holdo plot: Weak story if conflicts are just based on people not talking to each other for no reason and later for no reason secrets revealed. Learned nothing from nothing. Space chase: Felt like the plot of a mediocre clone wars episode, but there we saw better. Rey/Luke story: See Poe/Holdo. Rey/Kylo plot: The only thing worth watching in the movie Bonus: Kylo Snoke twist was entertaining. Bonus malus: In Canto Bight the outofthisworldliness of star wars got lost.

Not unlikely. For sure.

I always asked myself if Williams was inspired to this piece by Patrick Doyle's "Non nobis domine" from Kenneth Branagh's "Henry V" due to the similarity in tone and mood and subject.

I regret not having purchased the Joel McNeely recordings of Bernard Herrmann's scores for North by Northwest, Citizen Kane and the rejected score for The Torn Curtain.

I am still struggling with Geisha. It came out around five years after Ang Lee's Crouching Tiger, Hidden Dragon with this marvellous score from Tan Dun. And even though the movies are quite different the score of Geisha reminded me stylistically very much to the score of the chinese movie and I liked the first score better. So, I could not get that exited about Geisha. My love for the Book Thief score broke out when I finally managed to watch the movie and to see how the music actually colours the scenes.

Sorry. I don't know. I am new here.

My current personal top six: 1. Jerry Goldsmith: The Dress waltz 2. John Williams: Fawkes the phoenix 3. Joe Hisaishi: Howl's moving castle: 4. Dario Marianelli: Winston and George 5. Joel McNeely: The seduction of Leia 6. Abel Korzeniowski: Ghost Waltz Anyone other favouites? I think, the love theme from Dantes with Wolfes is a great slow waltz, too.

That was probably because both, Peter Jackson and Shore have both a background of brillant cheap horror movies that bound them together. Just listening to M Butterfly. That is a great score to listen to.

I consider every theme that John Powel wrote for Solo more interesting.

What a dour piece of movie. Perfect match I would say.

For my taste too many reference to old stuff. Too much mentioning of womprats. And, come on, the music at the arrival on Tatooine was really crap. I am absolutely not fine with the soundtrack of the show.

I forgot that one. You are right.

RIP. I must confess, my favourite roles of him was in Robin and Marian and in the first Highlander.

I think, these Star Wars polls would become more interesting if you left out the OT candidates. OT always wins.

I am also not interested in this thievery discussion. But what interests me is the way how and when quotes from other musical pieces are credited and when not. It seems to be handled quite differently in different cases. Sometimes on the CD's you have credits like *contains segments of Prelude No. 5 of ..." sometimes it is not mentioned at all. That confuses me to say the least. There seem to be no rules at all. I mean in classical music there is a certain traddition of using themes from other composers and classical music experts would be insulted if they would be patronized by crediting those thing in a cd release. If it is not something like Rachmaninov's "variations on a theme of Pagganini". And actually most modern film composers hardly following any traddition of classical music writing and not putting any effort in originallity always using the same three unrecongizable same tunes for everything are surely not to be regarded in that discussion.

I have no avatar. That's the issue. I am going to get one. Promised.

He also did a cover of Michael Nyman's "Time Lapse".