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About superultramegaa

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  • Birthday 12/01/2000

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  1. What style changes happen in LOTR 2 and 3? It all seems pretty cohesive and on point to me. Now you want to say The Hobbit and LOTR have significant differences, that I understand.
  2. Same here. I think that's actually a variant on the ending of the family theme (0:23 of Leaving Hogwarts) which is partially why it's so emotional. The John Williams trilogy of HP scores are so close to being my favorite trilogy from him. If Prisoner of Azkaban had just one reference each to themes like family, friendship, and the 3-note motif, and if Chamber of Secrets had a little less temp tracking, it would be the best, easily for me.
  3. Giacchino's too dry and generic at times. I almost always recognize Powell and his style, at least since the 2010s. Desplat's good but not even close to those two.
  4. Yeah, I pretty much disagree on a fundamental level. I agree that the samples could be better (they've already improved greatly in Half-Blood Prince), and some themes seem somewhat forced, but most of the time, the Order's score is a dramatic upgrade from the one we got. I'm getting very sick of this argument that this project doesn't change the tone at all from the Chris Columbus scores. This score has parts that sound that way, but it also has elements of the Prisoner of Azkaban score everywhere, and even some of the dark scoring that the post-Williams composers like Desplat and
  5. Yeah, I'm going to throw my hat in the ring for this competition, just because I think it'll be fun to score in a superhero style, but man that clip makes that show look like badly acted, cheesy, wannabe dramatic horseshit.
  6. I agree on the fact that he wouldn't have kept the Chamber of Secrets Malfoy theme, and that he might have had a unique sound for the latter 2 directors, but I don't think he would have dropped thematic material every time. I think Prisoner of Azkaban had more to do with the director's efforts to innovate rather than Williams' personal preference. Besides, I think this project is more focused on the ideal situation Williams' work could have been throughout the series. Not necessarily a 100% accurate depiction of what the reality of the music would have been. That's why I adore the
  7. I personally think its uses in Revenge of the Sith are underrated: I love when Williams takes the usually hopeful Force theme and manages it to make it completely dark and disturbing. It fits so well for a lot of Anakin's moments.
  8. I love the first 2, but I can't call them part of the greats. There's still some generic-sounding moments, and you can still feel the modern Hollywood / Zimmer influence here and there. I legitimately think the 3rd film's music is one of the greats however. The choral work is gorgeous, the new themes are better than ever with the most elaborate harmonies of the series, to my knowledge, and the old ones are used so well and so precisely. When "The Vikings Have Their Tea" comes in by "Once There Were Dragons" after being absent for the whole film, I got the same feeling of warm nosta
  9. I always think of Solo, Hubris Choral Works, and HTTYD 3 as examples that show that Powell could be one of the greats. Unfortunately, his best scores are frequently mixed way too low for most audiences to recognize their quality, and much of Powell's filmography is filled with a lot of generic, forgettable blandness, or music that's well made but not unique. His career has highlights, but his best work is either associated with a specific franchise, or is a collab with another composer (John Williams, Zimmer, Harry Gregson-Williams). Solo is a great score to me, but not on the leve
  10. "Music is like sentences. A question and response. People who want free Erhus don't understand this." - Hans Zimmer, probably
  11. He's busy calling the FBI to hunt down which employees used cracked versions of his libraries and software.
  12. I don't know. Potter Scoring Project is doing a pretty good job of it. Plus he could always do what he did with The Force theme in Revenge of the Sith and distort the themes in different situations. Hell if you really think some of the themes wouldn't work in the form they're in now, he could always turn them into a minor key.
  13. Honestly, when it comes to JW sequel scores, I'll take a Chamber of Secrets over a Prisoner of Azkaban any day. Sure Prisoner of Azkaban is technically better, more inspired, and more original, but Chamber of Secrets at least feels like it belongs in the same musical landscape as the first film. Plus I'll take thematic development over technical achievement any day. I would have agreed and liked Prisoner of Azkaban better, if Williams hadn't dropped virtually every theme that had been developed in the first 2 films. The new themes are great and all, but the loss of the friendship,
  14. I love Spider-Man 2, and agree it's a wonderful maturation of the themes, but Spider-Man 1 has always been a classic for me. I imagine this isn't a popular opinion around here, but I think every note, and every track in the film, is perfect in Spider-Man (2002). Each for completely different reasons. My example is always the film version of the track "The Fire". It could have just been another epic / heroic track with slight suspense, but how it starts off right out the gate, as suspenseful and terrifying, building up perfectly to what seem to be dissonant resolution in the trombo
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