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MikeH

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  1. Like
    MikeH got a reaction from Martinland in John Williams 90th Birthday Gala Concert at The Kennedy Center, Washington DC, June 23rd 2022   
    This is not a 90 year old man. This is an ageless and timeless wizard! 
  2. Like
    MikeH got a reaction from Once in John Williams 90th Birthday Gala Concert at The Kennedy Center, Washington DC, June 23rd 2022   
    This is not a 90 year old man. This is an ageless and timeless wizard! 
  3. Like
    MikeH got a reaction from Will in John Williams 90th Birthday Gala Concert at The Kennedy Center, Washington DC, June 23rd 2022   
    This is not a 90 year old man. This is an ageless and timeless wizard! 
  4. Haha
    MikeH reacted to Tom in Indy 5 to begin recording Tuesday morning!   
    No, so he had to bring in Holt to write the action cues.  
  5. Like
    MikeH got a reaction from Cerebral Cortex in John Williams 90th Birthday Gala Concert at The Kennedy Center, Washington DC, June 23rd 2022   
    This is not a 90 year old man. This is an ageless and timeless wizard! 
  6. Love
    MikeH got a reaction from Raiders of the SoundtrArk in John Williams 90th Birthday Gala Concert at The Kennedy Center, Washington DC, June 23rd 2022   
    This is not a 90 year old man. This is an ageless and timeless wizard! 
  7. Like
    MikeH got a reaction from TownerFan in John Williams 90th Birthday Gala Concert at The Kennedy Center, Washington DC, June 23rd 2022   
    This is not a 90 year old man. This is an ageless and timeless wizard! 
  8. Love
    MikeH got a reaction from BB-8 in John Williams 90th Birthday Gala Concert at The Kennedy Center, Washington DC, June 23rd 2022   
    This is not a 90 year old man. This is an ageless and timeless wizard! 
  9. Love
    MikeH got a reaction from Brando in John Williams 90th Birthday Gala Concert at The Kennedy Center, Washington DC, June 23rd 2022   
    This is not a 90 year old man. This is an ageless and timeless wizard! 
  10. Like
    MikeH reacted to crumbs in Natalie Holt's OBI-WAN KENOBI (2022)   
    And the difference is painfully obvious most of the time. Not only the basics of orchestral writing but the mastering/recording sounds completely different as well.
     
    It became pretty obvious after episode 4 that we were dealing with two totally separate scoring approaches, practically competing with each other from scene to scene.
  11. Love
    MikeH reacted to pjhackman in John Williams 90th Birthday Gala Concert at The Kennedy Center, Washington DC, June 23rd 2022   
    My spouse Edwin Wendler and I had a great time last night. We even met a poster from this board. At the post concert birthday dinner we talked to many and got several photos. Here are two of Daisy & Anne. John was 9 seats away to our left. 
     
    The “Superman” match set to photos/video of JW was the highlife for us. “Dear Basketball” had me in tears as some of the voice over from Kobe talked about good-bye and other words which hit us harder since he’s no longer here. Also John’s beautiful score brought out more tears. Had Anne sign my 2CD Vienna concert CD. Edwin and her chatted in German for a moment.
     
    We sat right in front of Alan Silvestri and Thomas Newman and Mike post was next to us. Wow!
     
    A perfect evening!


  12. Love
    MikeH reacted to MrJosh in John Williams 90th Birthday Gala Concert at The Kennedy Center, Washington DC, June 23rd 2022   
    Love the happiness and energy in Williams' expressions.
  13. Like
    MikeH reacted to Mr. Gitz in Natalie Holt's OBI-WAN KENOBI (2022)   
    I can’t even begin…
     
    I’m going to sound like a “get off my lawn” a-hole here but it’s really disheartening to see Star Wars start to take on the RCP aesthetic. I guess it started in Mando. But in Mando is kinda works since the show is a new thing and not tied too much to the past. But this series? This series and it’s music was just a huge let down, so off the mark, so…wrong, it baffles me. It felt cheap. It felt generic. 
     
    This score is just emblematic of scores in general these days. God I sound like a “back in my day…” old fart. But damn it! It’s kinda true. We no longer hear strong memorable themes. Why is that? It seems mood and tone rule the day.
     
    Instead of “Where have all the cowboys gone?” The song should now be “Where have all the memorable themes gone?”
     
    The MCU is 20+ films deep and I couldn’t hum a note of it. Now of course there’s more to film scoring than that but…
     
    is there a single “new” composer getting major opportunities that hasn’t come out of the Hans Zimmer factory or utilizes his general approach to music? Where are all the composers to get excited about?
     
    The John Williams & Howard Shores of the world aren’t getting any younger. 
     
    I remember when Michael Giacchino once held so much promise when he bust on to the scene. LOST & Incredibles in the same year! Now it’s as if he works on auto pilot. He had a great 4-5 run and then it turned to meh. Everyone flipped for his Batman score but for me it was just a huge letdown. His theme was far too similar in its idea to Zimmer’s rising two note theme. Yay! More pounding Dun, Dun, Dun music!
     
    And by Merlin’s beard why oh why have composers abandoned “the March”? Anyone remember “the March”? It’s dead now. I think Alan Silvestri attempted a Captain America March, didn’t he? But it just didn’t quite get there.
     
    As for this Obi Wan show…It’s pretty amazing that 90 year old John Williams can write a 5 minute theme for a TV show & it blows every cue written in the last 12 months out of the water. And then the show doesn’t even adapt the theme properly and use it in it’s entirety. I’ve watched the CGI animated Star Wars shows and they did a pretty good job adapting JW’s work. Kevin Kliner. Why not give him a shot?
     
    Alas..I should say, the Hans Zimmer’s of the world have their place and sometimes those score produce brilliant work. But my god. It’s just taken over everything. 
     
    it’s as if producers and composers are terrified of coming off as “old fashioned” & “corny”. 
     
    I still remember the disconnect I felt when everyone seemed to be raving about Zimmer’s “Man of Steel” score. All I heard was unstructured noise and percussion with the occasional bland piano motif. I mean here is a character known for his awesome memorable themes from John Williams and then Shirley Walker yet in 2013 we get rising and descending tones and lots of drums. 
     

    Then again. Maybe it’s just me. I can’t even remember the last film score that totally blew me away. kinda sad. 
     
  14. Like
    MikeH reacted to HunterTech in Natalie Holt's OBI-WAN KENOBI (2022)   
    I don't know. I think if whole episodes are near entirely Ross for what's supposed to be a minor rescore/adaptation gig (especially when a lot of it doesn't involve the Obi-Wan theme), then I don't think it far fetched to believe there's more to the story. Especially with how quiet Lucasfilm/Disney has been about it, given they would have you believe Holt is the only person of importance (despite her admitting her own main theme got replaced, and had very little to do with the final one).
     
    And I say this as someone who's still fairly defensive of Holt, and would sooner blame everything on the higher ups than her specifically.
  15. Like
    MikeH reacted to Van_Etten in Natalie Holt's OBI-WAN KENOBI (2022)   
    Plain and simple reject and delay would do better.
  16. Like
    MikeH reacted to Alex in Natalie Holt's OBI-WAN KENOBI (2022)   
    Something tells me Kathleen Kennedy wasn´t as hands on with Kenobi as she normally is with Star Wars projects (what with Mando, Ahsoka, Andor in production etc) and so she let Chow just get on with it. Then, maybe, she came to have a look at what was going on, heard the score, went "What the f*** is this?", panicked, called JW, JW goes, "Yeah, no thanks, I´ll give you a theme, but that´s it", then they get Bill Ross involved to adapt the theme and write additional music. What a mess.
  17. Like
    MikeH reacted to Falstaft in Natalie Holt's OBI-WAN KENOBI (2022)   
    One of the things that irks me the most is the bait-and-switch its marketing perpetuated with Prequel era music. How many of us allowed ourselves to build expectations for hearing DotF, BotH, and friends after that first trailer--despite knowing full well that trailer music is rarely a reflection of the actual film/show score. 
     
    For a program that was supposedly a love letter to those who cherished the long-maligned Episodes 1-3, you'd think there'd be a willingness to draw from one of the few aspects of those movies that people unequivocally hold in high regard. But as it stands, we perversely got more Ep 1-3 musical references in Sequel Trilogy, which was at times insultingly blatant in its antipathy to the PT ("this will begin to make things right" -- ugh!), than in a show literally about the characters, themes, and unfinished business of TPM/AOTC/ROTS.
     
    What are we left with?: some repeated minor trumpet chords and goddawful choral sample that maybe was intended to evoke Battle of the Heroes, and a variant of the Obi Wan theme that, by sheer virtue of the consistency of Williams's melodic language, kind of resembles Qui Gon's motif if you really want it to.
     
    I've said it before, but how profound would a tiny hint of Across the Stars have been when Obi Wan was circumlocuting about Padme? This is what leitmotifs are for, stating in emotional terms what characters cannot in words, connecting events of the past to developments in the present, deepening a scene rather than simply underscoring it. How many other such opportunities for musical commentary, resonance, storytelling were missed?
     
    If there's one thing that's slightly reassuring, it's that it's not just film score obsessives like us that feel like something was off musically. I've seen a heartening, if simultaneously depressing, awareness of the issue in the broader conversation around the show as well.
     
    None of this, by the way, is to disparage Holt's music, much of which is fine scoring indeed, and a welcome addition to the SW musical canon (especially Young Leia's theme, the Mapuzo arrival, and Tala's death). She was dealt a difficult hand, moreso than I think many of us fully appreciate.
  18. Thanks
    MikeH reacted to igger6 in Natalie Holt's OBI-WAN KENOBI (2022)   
    Good job using the three legacy themes (maybe four? I buy the Qui-Gon quote) when you did, but it redeems nothing.  This score was a train wreck for which Williams and Ross tried to lay across the tracks in the final two weeks, but even they couldn't save it in that timeframe.  Chow (and maybe Holt) grossly misread the needs of the project, and if I had to guess, I'd guess Kathleen Kennedy saw the writing on the wall and got Williams involved.  Think about it.  Powell says Williams was on board Solo before he himself was.  If his arrival on this show was anything other than a rescue mission, they would have been hyping it for months.  That his theme was used so liberally testifies to what a snot bowl the existing score must have been.
     
    But back to the sudden reveal of the 3.5 themes.  (I don't count the "Hyperspace" quote.  That was just kind of odd, given the rest of the score—like someone's amnesia cleared up temporarily.)  Saving lush and beloved melodies only for the final appearances of each character isn't intelligent and restrained; it's inane and self-defeating.  The point of writing melodic leitmotifs is to enjoy the melody while it's playing and associate it with the characters and situations it describes, both as the story unfolds and when you hear it again outside the work—not to salivate over chords and note pairs that may or may not be leading somewhere familiar.  (This can work, as in Rogue One's mid-movie Leia reference during Bail's dialogue, but noticing it shouldn't require Robert Langdon levels of scrutiny).  If the score didn't touch any other themes but the Force, Vader, and Leia—heck, even if it reserved those themes for the biggest moments, and even if they were orchestrated in some simplistic Holty way—it still would have been better than what we've been doing for five weeks, basically licking traces of snot from the corner of the bowl and speculating that it tastes a little like Leia's theme.
     
    And yes, if the themes were present but poorly executed, we would be absolutely complaining about poor orchestrations of legacy themes, but only because in that corner of the multiverse, it would never even occur to us that someone could score a big moment for a legacy character with anything other than the character's theme.  The complaints here aren't hypocrisy; they're a testament to the mind-bogglingly misbegotten approach that was taken on the first draft of this score.
     
    I have never been so eager for an immediate re-score of a project than I am for this.  Sheesh, somebody start a Kickstarter.  I have no idea how I might have reacted to it with music that was more in the Star Wars wheelhouse.  It probably would have covered a multitude of sins of plotting and acting.
     
    After this mess, the whole of Star Wars fandom owes Michael Giacchino a gigantic apology.
  19. Thanks
    MikeH reacted to Faleel in Michael Giacchino's Lightyear   
    Those are the bare minimum.
  20. Haha
    MikeH reacted to JoeinAR in Michael Giacchino's JURASSIC WORLD: DOMINION (2022)   
    We left the theatre Saturday and my husband's first comment was whoever did the music should have used more JW music and less.of his own. He then said jt sounded like music from Star Trek. I just laughed. 
  21. Like
    MikeH reacted to Edmilson in Michael Giacchino's Lightyear   
    This movie was pitched as "the movie Andy saw in 1995 that made him a Buzz Lightyear fan". However, had this movie been made in 1995, it would've had a much better score by people like James Horner, Michael Kamen, Bruce Broughton, Alan Silvestri, etc.
     
    So, why not pretend we're back to the 1990s and hire an older composer? Sure, Horner (the ideal choice) and Kamen aren't alive anymore, but this could've been an amazing opportunity for Broughton or Silvestri. Or Joel McNeely, David Newman, Mark Mancina...
     
    Choosing Giacchino seemed like an easier, lazier choice. "Oh, this guy has made a lot of movies for Pixar, so let's bring him back". But it could've been much more special with an old-fashioned composer.
  22. Like
    MikeH reacted to DiamondFire in Natalie Holt's OBI-WAN KENOBI (2022)   
    don't even get me started on it. I haven't figured out if I can change it and it was an ACCIDENT when signing up lol
  23. Thanks
    MikeH reacted to Not Mr. Big in Natalie Holt's OBI-WAN KENOBI (2022)   
    The system is more the problem than the composers themselves.  Producers, directors, and cultural zeitgeists
  24. Like
    MikeH reacted to Faleel in Natalie Holt's OBI-WAN KENOBI (2022)   
    THISSSSS!!!!! I agree completely!!! This is my problem with modern film music, the problem isn't synth vs. Orchestral, themes vs. none.
     
    Its no definition or standout moments.
  25. Haha
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