indy4
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Posts posted by indy4
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Ryan Gosling is great.
Ben Affleck, to me, has always been overrated as an actor even though he's a decent director.
I'm the opposite re: Affleck. Ridiculously overrated as a director, but seriously underrated as an actor.
Well, I'm not surprised. We seem to be opposite on a great many things.
Your confidence is your weakness.
Your faith in your friends is yours.
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Leonardo Dicaprio is a good actor, and is almost always in great films. It's gotten to the point where if I see a trailer with Leo in it, I know the movie will be good because of his selection. But I don't think he's as good an actor as everybody claims.
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False endings galore!
Are false endings surpassing boom-tzzzz'es on the list of Williams' signatures?
There's a bunch in Music for Brass as well
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Thanks Lester!!!
It's a freaky piece. I'm not sure if I like it or not. I wonder if Williams writes his concert pieces to sound as far away from his film music on purpose
He doesn't. They usually sound exactly like his scores, just without a picture for you to associate it with.
I like it!
Really? I wouldn't say they sound exactly like his film musci. His sense of style is certainly strong enough that you can tell that the same composer wrote it. But I think there are some pretty significant differences as well.
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And to be honest, EOTS isn't exactly a 'challenging' score with its cooing choruses and (often) broad jubilant melodies (there are dissonant passages in RAIDERS, too). So why in god's earth it should be a huge departure i don't know - it even has the customary scherzo!
I agree. The score is great--and just as well thought-out and intelligently composed as any Williams score. But it's only slightly less accessible than his greatest hits. That's not an insult (I consider it a compliment to say that he is capable of writing music that is both throught-provoking and accessible simultaneously), I just wouldn't call EotS that much of a stretch from his earlier 80s scores.
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Bought it on iTunes...based on the samples the performance sounds great! And I was a fan of the original.
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I finished the book today. I found it a really enjoyable and interesting read, and highly recommend it to anyone at all interested in John Williams' career, from an historical and artistic perspective. There's also a variety of sources cited that I'm excited to try and find--I would love to explore certain quotes and topics more, and I'm glad the book provides articles titles, etc!
There's also some clever interpretations of pieces of Williams' works, and a controversial argument about Hans Zimmer and modern film music (which I did not entirely agree with--still a great read!).
Excellent job!
- Once and eaudissino
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Wow, that's one block from where I live! No excuse to miss this...
You should record it
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Dudamel hasn't written many scores either. It's a really odd pairing. Maybe they want people with all levels of experience.
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I found this interesting:
The audience rating for E.T. The Extra-Terrestrial was not accidentally overlooked. I look forward to addressing this at another time.Surprised nobody else has brought this up. To me it seems to suggest that Matessino is working on a release for E.T.?
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Wow, tickets already sold out!
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Is this thread for the most disappointing release, or the worst?
Because the worst would have to be the SW OT reissue, right? Absolutely nothing of value there, whereas all the others as least gave us more music, even if they were shoddily produced.
If we're talking most disappointing/biggest missed opportunity, then definitely TPM UE.
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How does one vote?
Yeah, I can't figure it out either...
Go to the current page at http://consequenceofsound.net/2014/06/whos-the-greatest-film-composer-of-all-time-round-two/. At the bottom there's a drop-down menu. If you want to go straight to the vote, go to page 8. If you want to read the little blurb and see the samples for each composer, go through each page.
Here's my predictionWilliams beat Herrmann
Vangelis beats Carpenter
Reznor beats Glass
Morricone beats Shore
Elfman beats Bernstein
Rota beats Mansell
Williams beats Vangelis
Rota beats Reznor
Morricone beats Elfman
Williams beats Morricone
Williams beats Rota
I think I got that straight...
Might as well save time and give it to Williams now. I doubt there'll be a lot of nuance in a page that includes Reznor but shut out Kamen and Horner.
I don't know the type of people that read this particular site - but I could see Morricone giving Williams a challenge. But yeah, other than that it's easily Williams' to lose.
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How does one vote?
Yeah, I can't figure it out either...
Here's my prediction
Williams beat Herrmann
Vangelis beats Carpenter
Reznor beats Glass
Morricone beats Shore
Elfman beats Bernstein
Rota beats Mansell
Williams beats Vangelis
Rota beats Reznor
Morricone beats Elfman
Williams beats Morricone
Williams beats Rota
I think I got that straight...
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Ordered!
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Completely disagree. Compare the cheerful woodwind variation that takes us out of Marion's theme in the end credits to the aforementioned desert chase variation...I don't think supes ever gets that varied
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I have no doubt that John Williams' Mrs. Doubtfire would have been better but it's hard to complain, as 1993 gave us two of the Maestro's best scores.
Maybe JW's Mrs. Doutbfire would have been a combination of JP and SL?
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What about the Raiders ostinato's development in the Desert Chase? In this instance it seems as independent, if not more, than the Superman ostinato
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The supes ostinato is also in scherzo for motorcycle and orchestra
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Both ostinati primarily function to propel the main themes forward. But they are also much more prominent that JW's other march ostinati (excepting perhaps 1941). They are almost as recognizable as the primary themes of each score, and play an important role in defining each character. But which is better?
Consider some of the adrenaline pumping moments that heavily feature these ostinati:
3:44 of "End Credits" from Raiders
4:58 of "Desert Chase" from Raiders
1:13 of "Prelude and Main Title March" from Superman
I ended up voting for Raiders, but it was a very tough decision. Could've gone either way.
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This isn't even a ride?? Wow. I need to visit.
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I saw Maleficent the other day. Aside from being incredibly predictable, it was reasonably enjoyable. Great SFX, and pretty good acting. Music was either good or passable throughout.
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Hmmm...so what does this mean for the score?
It could mean the film will be pushed back to summer 2016, which would make it conflict with JW's score to BFG timing-wise (as opposed to conflicting with the Cold War thriller).
It could mean JW will start writing the music before the shooting is finished. This might result in a more edited-to-pieces score in the film, but it could also mean the music on its own will be more musical than a tpical film score. I think something like this happened for Hook and the pirate battle in Tintin, and they turned out more than fine.
OR it could mean the script will be rewritten to feature Ford less and the score will be unaffected...I hope this does not happen...
Williams conducting new arrangement of "Star Spangled Banner" in Washington on July 4
in JOHN WILLIAMS
Posted
I was actually pretty disappointed by the arrangement. Nothing new here...most of the parts that deviated from the standard Star Spangled Banner arrangement were from JW's wind band arrangement or the version he wrote for the World Series a few years ago. Maybe I was getting my hopes up too high for a new approach, after hearing JW's wildly inventive Scherzo for Piano and Orchestra.
I much prefer the World Series version...that had some really unexpected twists