indy4

Thanks!

Yeah, I really like the synth use in Titanic.

I've never heard this arrangement. Are the arrangements on this album by JW, or Previn?

Images is definitely something different for JW, but I'm not sure how new it is in the grand scheme of music?

I don't know enough about music to say with any certainty that these are JW's most inventive cues, but here are my picks: - Escapades from CMIYC - "The Motorcade" from JFK

I saw LA Confidential the other day...the main theme reminded me a lot of Bernstein's main theme from On the Waterfront.

I too contributed a bit.

Good thread topic. I think it's because the traditional big sweeping love theme come from a historic period that was much more sexist than we are today. Composers that reach back to this era are just doing what composers did in the 1930s and 40s, and there's some sexism inherent in the approach. The other reason could be that main characters are usually men, and in that sense any costar is only important due to his/her relation to the main character. That's more of a (probably unintentional) sexism on the storymaker's part. Although, that wouldn't explain why (for instance) Short Round gets his own theme but Willie is stuck with the love theme. It's definitely an unfortunate side of more conservative composers, something that I've been struggling to grapple with recently.

My understanding is that - at least in America - it's generally better to get a PhD than a Masters in humanities or social sciences (although it largely depends on the individual and the educational offer). PhD's are often paid, and Masters rarely are.

Hmmm I don't like this idea

The Main Titles are also clearly based on "Dance of the Sugar Plum Fairy."

Too late.

ET 2: Nocturnal Fears

Isn't that movie Spielberg may be working on about the Spanish consquistadors supposed to be one of the greatest unmade movies?

The variation in "Imperial Attack" seems interupted by the Holst hits--like the empire is disrupting the rebel's chance at freedom.

But beyond the pre-recorded flute stuff?

Does Soundings use synths?

And Steven bryant

I made a thread about it last year, if anybody is actually interested: http://www.jwfan.com/forums/index.php?showtopic=23371&hl= One that I only recently noticed was from Shostakovich's 10th Symphony and Jurassic Park. 7:03 sounds a lot like a some of the action music from JP (I think it's in T Rex and Finale)

According to the wiki article on Third Stream, it needs to include improv to technically be a part of the genre. http://en.wikipedia.org/wiki/Third_stream

I'm curious what we think of the way JW used synths in the 90s. While they were always a part of his vocabularly, they became much more prominent starting in 1990, in scores like Home Alone and Presumed Innocent. I'd say this lasted up through Sleepers in 1996; after that synths started to take more of background role, supporting the rest of the orchestra more than anything else (even though they are still given some exposed features, especially in sci-fi source music). If we look at the following scores from the period 1990-96, I think most would agree that synths get more prominent feature here than they do in the average JW work: Home Alone Presumed Innocent JFK HA2: Lost in New York Jurassic Park Nixon Sleepers Any speculation as to why this phase was so short? Was it due to demands of directors/producers? Or was JW just trying to experiment a bit? And do you see this as impacting JW's use of synth after 1996? Random question that's only tangentially related: does JW ever use synth in his concert works?

Just understanding how your part fits in with the rest of the orchestra. I don't think the conducting would be that much harder than most JW action cues

chase through corusant. not so muhc the individual parts as much as trying to put them all together

It's also got the Dies Irae, linking it to Luke's decision to leave after his folks die

My French is a little shaky so somebody please confirm...but it looks like the script for Tintin 2 is finished! http://cinema.jeuxactu.com/news-cinema-tintin-2-le-temple-du-soleil-le-film-de-peter-jackson-22956.htm