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Tom Guernsey

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Tom Guernsey last won the day on March 27 2022

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  1. Cool. First time I’ve been excited for a Pixar score in a while!
  2. He certainly could have done with being a bit more selective at times. He was an incredible composer, but sometimes inspiration runs dry and a lot of those films were much shittier than the scores!
  3. Exactly and I would say that DW has done that much more effectively than NuTrek most of the time. NuTrek tries to hard to elicit a response to the characters and their situation so it all feels rather overwrought (more so on Discovery than Picard I would say). Still, old Trek didn't have universe destruction of the season threats, it wasn't really meant to be about that... even classic big threats (Borg, Xindi, Tom Hardy) were only aimed at Earth, not the entire galaxy/universe.
  4. That's too blunt, I think there's a lot which is great if you enjoy atonal/dissonant/avant garde/experimental music but if you like his more mainstream orchestral/choral/romantic/epic/western stuff, the other stuff can be quite challenging. There's always quite a number of his scores which are like extensions of other scores - i.e. the music and style mine a similar vein, even if the material is a bit different (The Mission/City of Joy, for example, the choral writing is really quite similar). However, unless you really do get something out of all of his styles, you do need to be more discerning in your picks!
  5. I would agree to some extent but there are few enough of them spread through its history that it never feels wearing, plus old DW was too low budget to show the universe exploding in glorious 4K so it never really felt as visceral as now when they can show a realistic planet explosion. I do agree that NuWho has got a bit too carried away with Galaxy/Universe threatening events, but has largely dealt with them much more imaginatively than NuTrek and weaved them in at a more personal level.
  6. My usual approach when there's an expanded release is to avoid the original album so I can get the freshest take on the expanded album when I get it, but in this case I would have to confess to not really knowing much about it and so gave it a quick listen. Have to admit that it didn't exactly blow me away, but I'm willing to give the expanded album a go as the original album is short and over 10 minutes is taken up with non-AS music so I hope there's some decent stuff that just didn't make the original album.
  7. I'm excited for all these Ennio release but after the crushing disappointment of Arabian Nights and the challenging nature of some of his more dissonant/out there scores, I'm being a lot more selective these days. Definitely going to be going through samples rather than just blind buying everything that comes out! He was a great composer, but there's an awful lot and some is considerably less enjoyable than the rest. However, kudos to Quartet for their diligent Ennio releases as I'm sure they will sell well with his considerable fanbase.
  8. All great suggestions... you might find some inspiration for some off the beaten track suggestions from an episode of Sound of Cinema (https://www.bbc.co.uk/sounds/play/m000kmz1) which goes through a selection of his music beyond Spielberg and Lucas. I always wished someone would do a JW: Rare and Unreleased that was more or less a compilation of the kind of thing featured on the above show. So, no Spielberg or Lucas, but also no Harry Potter, maybe even ignoring the Home Alone scores, but just all those less well known films he's scored, including things like Irwin Allen (ideally a suite from some of the TV shows as well as the themes, as well as from the movies). I feel tempted to put together my own, but never got round to it.
  9. Walking down the high street, scaffolders listening to the radio and the DJ says something like "...and later we'll come face to face with John Williams...". Slight pause and wonder if I've misheard. The radio station sounded like Radio 1 (national UK pop music station for those not in the UK) or Island FM (local radio) so not like it was Radio 3 (classical station - I'd probably need to be smelling salts/CPR to be revived from the shock of finding scaffolders listening to Radio 3). DJ continues, after surprising pause "he does... you know, the music, for films... like Star Wars, Harry Potter...". I had to hurry on so that's all I heard. I have no idea what it was all about, but yeah, random. Clearly the guy had no idea who JW was though lol.
  10. Yeah, exactly... you end up with massive disaster fatigue. Just hope Picard S3 doesn't do the same (just to get back on topic after I wandered off with Discovery comments!). I had forgotten the S2 of Picard is based around another massive threatening anomaly which the nice Borg magic away somehow... something, something...
  11. Maybe it was just the first couple of episodes that weren't that great, the third one was better even if it didn't really make a lot of sense, at least it felt like a Star Trek type story. I just think the setup of yet another devastating, galaxy threatening device (Burn Mark II) that destroys planets etc. seems quite tiresome. Doctor Who can have similar issues where the stakes are upped too much and it becomes tiresome. It doesn't help that the DMA is basically a black hole version of the Flux...
  12. It does seem a strikingly different approach to those shows releasing full scores for each episode the same week it comes out. I guess every show has its own production schedule but I can’t believe the level of post production complexity for the Orville is on a materially different level than Rings of Power etc.
  13. Madame Bovary (Miklós Rózsa) - Sadly the compromised sound, including bleed through sound effects, makes this quite challenging to enjoy despite being clearly a fine Rózsa score. I'll probably stick to the Bernstein conducted version with the RPO which features the best parts of the score in glorious sound and performance. Spaceballs (John Morris) - Morris typically plays it fairly straight laced, not really parodying JW particularly closely, but more just the overall tone of a 80s fantasy/sci-fi orchestral scores which mostly sounds legit rather than from a comedy. I didn't expect that the above Rózsa would have much in common with a Mel Brooks score but the love theme sounds like a long lost Rózsa love theme much more than it sounds like Leia's theme or Han & Leia's theme, far more old fashioned, but quite lovely. I noted that Steven Spiel... I mean Sam Fabelman had a few choice soundtrack LPs in his bedroom. I spotted Spartacus, El Cid and Ben-Hur. He clearly had How the West Was Won and Captain From Castile too as they are used as tracked music for his early movies. This inspired me to give the Captain from Castile re-recording that Newman himself conducted in the 70s, slightly oddly sequenced as a continuous 42 minute suite. Having said that, it sounds great and is arranged in such a way that it plays very effectively as a long tone poem. Some absolutely brilliant stuff outside of the well known Conquest cue (although it's a definite highlight). Given the age of the original tracks (late 1940s so presumably mono, if they exist), a full length re-recording would be most welcome, even though I don't think Newman really sells that well unfortunately.
  14. I would persevere with it, although maybe try the original soundtrack album which contains all the highlights to be honest. The film is well worth checking out at some point. On the side note or the crash but yeah it’s one of the most visceral and realistically horrifying plane crashes I’ve seen on film (especially compared to something like the finale of Air Force One which I know isn’t meant to be horrifying in the same way but shows how unrealistic it could have looked!). It was even more scary for me as the type of aircraft, the Fokker F27, was one of the mainstays of airlines flying to Guernsey during my childhood so I’d been on a similar aircraft many times which made the impact even more vivid.
  15. Much though I love STVI, I would have to agree that it has a somewhat constrained tv feel. It’ll always have a special memory of watching it on Christmas Day year ago when everyone had gone to bed, possibly the first time I ever saw it. However it does feel kinda cheap in places: Rura Pente should be an epic ice cavern but is all standard issue Star Trek pokey caves, while the Klingon courtroom is cool (and the scene is brilliantly filmed and staged) but they managed to recreate it on Enterprise’s tv budget years later. Still you can’t help but enjoy the nostalgia of the original crew’s last adventure together and the ILM effect are great, especially the battle at the end and lovely flying off into the sunset finale shot. It is a shame Cliff Eidelman’s career never got the lift off from this than James Horner did but it’s a great score. The slow buildup opening title is great - as I’ve said many times, that the only thing I’d change about ST:TMP’s score would be to use some of the V’Ger material for the opening credits for a full on ominous start and you only get the full epic burst of the main theme with The Enterprise (although I’m apparently in a minority of one in this view lol).
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