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blondheim

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Everything posted by blondheim

  1. The first chord sounds so much like the first notes of Mahler's 2nd or am I crazy? I definitely hear Wagner in the melody, Bruckner in the arrangement but Mahler in that opening chord. What a fascinating thing this is
  2. I was wondering about that! Thanks for clearing that up. It did seem like a lot to score both movies with the same orchestra at the same time. I'm not saying it hasn't been done, or can't be. It just seems like it would be very stressful and difficult to organize. August for Pagemaster makes a lot more sense.
  3. It's basically just a compilation of information gleaned from cd booklets, etc. It's led to some interesting revelations. If the dates for Pagemaster and Legends of the Fall are to be believed: Pagemaster - Apr 8-9, 11-13 1994 Legends of the Fall - Apr 8, 11-15, 18-19 Then the two scores were recorded by the London Symphony Orchestra at the same time! Which is pretty remarkable.
  4. Would someone who has the album mind revealing the recording dates for the sessions? I wouldn't mind being able to add Jumanji to my Horner timeline.
  5. You bring up some great points about themes sitting next to each other and how that proximity affects their relationship to their own individual concepts and then each other. It is one of the reasons I tout that The Last Jedi is such a masterful score. While I think there is much more new material than people give the score credit for, it is the way in which all of the thematic material is used, old and new, that makes that entry so brilliant. The Spark is a great example. Leia's themes passing one to the other like that really draws out the differences in the two kinds of love. Han Solo and the Princess sounding particularly romantic and poignant there. The two themes sat next to each other in Leia Breaks the News as well but it didn't have this effect. Which brings us back to your point. It isn't just the new material or how it evolves or how it lays over each other, but sometimes it is simply what comes next and how we get there. What stories we tell along the way
  6. The Dain material is painfully under-utilized. I know that is part of what makes it so special, like the love theme in The Shadow, but gawd, I want more of it. Ironfoot is one of my most played tracks. That bagpipe makes me swoon. Actually score-gasms are so few and far between. Shore's given us plenty, Ironfoot is a good'un Oh, I also offer forth the Dain material
  7. I think of all the films Goldsmith was attached to and I want Shore to score this regardless of its quality level.
  8. I never had a lot of DG recordings growing up, but more successful people in my periphery did and I always thought they looked very elegant and uniform all together as a collection and swore I would have one just like it when I finally made it myself. DG is not my favorite label of all time but I do appreciate their loyalty to their brand over such a long period. The yellow banner really is a staple and I am glad it is still around.
  9. It is a very nice cover. My John Williams DG collection is starting to look very nice and neat on my shelf
  10. Give it to me, warts and all
  11. The Reivers is nostalgic as hell. I must have seen that movie as a kid because the first time I heard that theme it felt like I had always known it. But then that of course is John Williams' talent.
  12. I would argue Clint Mansell really hit prominence with Requiem For A Dream. He would perhaps be my pick. I also wouldn't count some of these options, definitely Powell who had done a few big projects by 2000.
  13. I also can unfortunately relate to Sleepers more than one should have to
  14. This is tough but Hook because it takes me back to my personal childhood, which took place in 91 and not 82, as I was not conceived even in the mind
  15. Who else would be happy to see a crazy as hell Season 4?
  16. I haven't seen the film yet and I haven't listened to the album a whole bunch yet to be able to pronounce an opinion on its complete quality level but on a positive note, I will say that the noble Batman material that comprises the first half of his suite has grown on me quite a bit. And while the darker material for Batman hasn't quite clicked for me, I have noticed something else about the Batman theme that is Williams-esque. Besides having similar plodding foreboding chords as the Imperial March, when the darker Batman material stomps away, from underneath comes the rising first phrase of the noble material, never going anywhere else. That dark variation of the first phrase of the noble material acts the same way as the low horns over top of the plodding Jaws theme. This is nowhere near as brilliant, but it is an interesting take for Batman. To play his material like the shark coming up on criminals. While the material itself will still remain simplistic, perhaps overly so (I await the film to see how so), I do see some sense in this approach.
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