Gurkensalat

It is not unusual for movie titles to be translated and/or changed in Germany. Most people watch the movies German dubbed. Sometimes the title are completely changed. "Once upon a time in the west" changed to "Spiel mir das Lied vom Tod" ("Play the song of death to me"). Captain america 2 was "The Return of the first Avenger" in Germany which is especially funny since they changed an English title to another English title!

It's interesting hearing the opinions of Tintin, particularly the freedom of the camera movement. Both Tintin and The BFG really play with film conventions and push them past what's possible with real life filming, distorting gravity but remaining in reality just enough to not feel cartoonish. Maybe he did Tintin too late, too far into the life of CGI animation, for people to notice what he was trying to do.
 
I think if those films were made by a director by any other name they'd seen as far more revolutionary. I'm not defending Spielberg here, as he's distinguished enough to not really need it, but I do find that even when he does take risks and continue to contribute to the cinematic vocabulary people don't really care that much anymore. He's become an institution where he was once a rebel. You could probably say the same for Williams actually.

This is one of the things that makes it a rather elaborate score. There is ALWAYS something going on musically. Its like Williams is pulling out tricks from his bag non stop. Specially impressive when you think most composers impress once in 4-5 scores.

I don´t understand the aversion in this thread. Tintin is a brilliant score which showcases the orchestration palette and intrinsic motiv construction of John Williams at his best. The main titles track alone with its combination of element of totally disparate musical styles is genius. The only thing missing is a knockout longdrawn theme, but nothing is perfect and it would probably not fit the style of the film. Tintin is one of the few Soundtracks i can listen over and over and never get tired of it; always discovering new small interesting details.

I don´t understand the aversion in this thread. Tintin is a brilliant score which showcases the orchestration palette and intrinsic motiv construction of John Williams at his best. The main titles track alone with its combination of element of totally disparate musical styles is genius. The only thing missing is a knockout longdrawn theme, but nothing is perfect and it would probably not fit the style of the film. Tintin is one of the few Soundtracks i can listen over and over and never get tired of it; always discovering new small interesting details.

I don´t understand the aversion in this thread. Tintin is a brilliant score which showcases the orchestration palette and intrinsic motiv construction of John Williams at his best. The main titles track alone with its combination of element of totally disparate musical styles is genius. The only thing missing is a knockout longdrawn theme, but nothing is perfect and it would probably not fit the style of the film. Tintin is one of the few Soundtracks i can listen over and over and never get tired of it; always discovering new small interesting details.

I don´t understand the aversion in this thread. Tintin is a brilliant score which showcases the orchestration palette and intrinsic motiv construction of John Williams at his best. The main titles track alone with its combination of element of totally disparate musical styles is genius. The only thing missing is a knockout longdrawn theme, but nothing is perfect and it would probably not fit the style of the film. Tintin is one of the few Soundtracks i can listen over and over and never get tired of it; always discovering new small interesting details.

It's surely no coincidence that parts of TFA soar as high as anything Williams wrote for the prequels/original trilogy (Jedi Steps and Finale, everything associated with Rey's Theme) but long stretches of the underscore feel uninspired, in a very KOTCS way. This reflects the film itself and Williams seemed to match inspired writing with the inspired parts of the film.
 
Contrast that with The BFG where every cue feels like it has Williams' undivided attention, with some of the most complex, densely orchestrated music I can remember him writing. It almost begins transcending 'film score' in parts.
 
We know there was heaps of unused music that sounds more boisterous than much of the final film's score (alternate Han's Death, Parade Grounds), so that's on JJ. It would be interesting to have a recording breakdown of cues he wrote before and after his operation though

I found some of this in the BFG.
 

That BFG score is a real masterpiece in my opinion...

That's so not true. It might not have the cohesiveness or heart of Hook however it's a master of orchestration and plenty to listen to.

I've pleaded to both Mattessino and Lukas Kendall to do a stand alone SUPERMAN THE MOVIE 3CD set (This was before the blue box was temporarily OOP and then another pressing was done) However, a new 3 CD set reissue (with the OST edit remastered ) commemorating the film's 40th Anniversary in 2018 would be great!

No problem with any future JW Expanded scores... as long as they don't merge them with other composers scores in a boxset.
 
With a big boxset like Superman, you lost me.
 
Moreover, I still wait a solo release of the latest remastering of Superman The Movie.

And here a picture from a few minutes before the beginning. Same seats as last year with Raiders: last row, middle.
 
 

Went to the Lucerne Premiere yesterday. It was great, the orchestra really top form, I heard no wrong note, which is something with this exhausting soundtrack. 

Went to the Lucerne Premiere yesterday. It was great, the orchestra really top form, I heard no wrong note, which is something with this exhausting soundtrack. 

Surprised there isn't more enthusiasm for Tintin.
I admit I didn't vote for it either (Indiana Jones does outweigh it), but otherwise I do consider it pretty high on the wishlist.
Aren't there supposed to be rather a lot of alternate tracks from the early recording sessions?

"I think we'll have beer with the dinos."
 
No it doesn't.

Stalling aroound is in the bonus track section!!!
 
NOOOOOOO!!!
 
 ;P

We already had an Indiana Jones set in China for the opening scene. Maybe it wasn't the best one, but it was my favorite one. Indy killed so many guys, including hanging that one fucker who tried strangling him from a ceiling fan with his whip. He punched a serving lady in the face, he had one of the greatest sidekicks of all time and he swung into a mine cart while the Raiders March magnificently reminded us all that this guy was the coolest mother fucker around.
 
That's how I want Indy to be. Either that or River Phoenix with amazing hair. Not some old jackass.

I like Tintin. Both score and film too.
Very much, in fact. One of the most surprising and good films I've seen in a long time.
Bring on the sequel already!

Found myself whistling the Tintin theme walking home from walk, one of William's best motifs, also slightly unusual I might say? I don't know how but sounds different.
 
I somehow think this is the best modern Williams score that the collective consciousness somehow missed the boat on?
 
Two reasons
1. The film was a washout frankly, atleast in North America. Can be called a flop and not widely seen or known.
2. And the second more important reason - this is perhaps, note for note, the most complicated score that Williams has written - apart from Adventure continue and some other samples, it is simply too complex to play at concerts - too intricate. 
 
Scores also gain popularity through piano transcriptions and such - again too complicated for that. There are just too many notes, the tempo is often very fast and there's a lot going on.
 
Also the music is brutally chopped in the film. It STILL manages to make a big impact in the film, but it is still fairly chopped. (the amount of syncing Williams is trying in this film jeez - almost mickeymousing but again it is very difficult to hit SO MANY sync points in the score to match the images).
 
I think all these factors lead me to believe that somehow people slept on this masterpiece. I think it is his best score since Harry Potter 1. It has over a dozen themes and motifs all incorporated in a very complex web. And the technical sophistication is in someways the highest in his career.
 

Now would be the perfect moment, with all the upcoming Live performances.

I often listen to BFG in the car and always discover new nuances and details. it is such a finely crafted, exquisite score. Sure, there are similarities to other JW scores, but if I would never have heard one other JW score before, I would be totally blown away by this and see it as the best score of the decade, just for the quality of the composition and instrumentation. And even with the knowledge of all the JW scores before, I like it very much. And I am slowly becoming convinced that since 2010 we are witnessing a second golden era of JW scores with Tintin, War Horse, TFA and BFG, second only to his 1977-1984 phase.

I often listen to BFG in the car and always discover new nuances and details. it is such a finely crafted, exquisite score. Sure, there are similarities to other JW scores, but if I would never have heard one other JW score before, I would be totally blown away by this and see it as the best score of the decade, just for the quality of the composition and instrumentation. And even with the knowledge of all the JW scores before, I like it very much. And I am slowly becoming convinced that since 2010 we are witnessing a second golden era of JW scores with Tintin, War Horse, TFA and BFG, second only to his 1977-1984 phase.