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Everything posted by oierem

  1. That's right. The fact is that GRRM is unable to bring his story to an ending. The way the story has grown, it's literally impossible to finish it in any decent way in two more books (I can't believe how people who think the final seasons of GOT were rushed can't see this: there were three GOT seasons after season 5, whereas there are only two more books after book 5!) Whether you liked the ending of GOT or not, the truth is that they managed to finish the series. As it is now, GOT has clear first, second and third acts. ASOIAF currently is somewhere towards the middle of the second act, with a huge amount of characters and storylines. It would need at least three or four more books (and many convinient twists) to wrap it all up.
  2. -Dobby's theme is barely there in the film at all because the first big statement is unused (because it really doesn't fit the scene) . And as for his last scene you just hear a very brief and disguised statement of the theme. -Lockhart's theme only appears in three of his many scenes (and they are straightforward reprises, without much variation) -The Chamber theme is the big offender, because it should've been used instead of the three-note motif from PT every time it appears. But even if I get why some of the themes where not more frequently used (Dobby or Fawkes only appearing in a handful of scenes), the fact of the matter is that the film has no new clear thematic identity and keeps reprising material from the first film. And not just thematic material, but straight copies of underscore. (and of course, the fact that most of the climax uses tracked music....)
  3. In my opinion, the "theme associated with the Rebels" isn't really associated with the Rebels at all (except for its very first appearance), and it's actually a theme for our heroes of the story (and strongly associated with the Falcon).
  4. Order of the Phoenix and Deathly Hallows 2 are among the best films of the saga, in my opinion. But Yate's directing is always horrible when it comes to blocking (as others have said, everyone just stands around looking bored) and editing (lifeless and slow).
  5. oierem


    He also says that "low below" is Hook's theme.
  6. Then I would consider it a lazy effort, and a "partly unispired" score (I'm strictly referring to the parts that aren't original). Williams is known for writing very original and interesting sequel scores (as well as some clearly unoriginal ones, I know). It's hard to say what would've happen if he had had enough time to write Chambers properly. But I can't truly say the Chambers score, as a whole, is a great one because it's heavily dependent of the previous score, and the new themes are not developed enough (the Chamber of Secrets theme being the most clear example). The droid factory tracks previous music. It's not something Williams (or anyone else) wrote. You are wrong about the scene being added very late, though. Williams did compose music for the scene. It just wasn't used for whatever reason (the lenght of the scene changing, or, most probably, Lucas wanting a different more thematic/dramatic approach to the scene - the original cue is very wacky and almost comical). I don't know that, but it was recorded in LA, so it's not a standing orchestra like the LSO, right?
  7. What bothers me is that, from what I know, it was possible for Williams to do both scores properly - just adapting the schedule a little. Chamber of Secrets was recorded in September 2002. Wasn't it possible for Williams to write CMIYC from late September to November? The film was released in December 2002, and it's not a film that required a lot of music, and certainly nothing very heavily orchestrated. Three years later, Williams would record Geisha in August 2005 and still had time to write Munich before the December 2005 release!
  8. Yes, but it's only the first five notes of the melody (and with different chords), and it's not the same melody that is reprised as Shmi's theme in AOTC.
  9. The direct copy/paste only happens in Superstructure Chase, which I find appropriate as a way to finish the trilogy going full circle. Sail Barge Assault (the new version) had to be composed in between sessions because the original piece was rejected, so Williams ended up using every material he could to create the 5-minute action cue in just a couple of days. (However, it is NOT a copy of Here They Come)
  10. I ABSOLUTELY agree with you. Even though I'm a huge fan of John Williams' film music, I don't particularly like his concert programs (other than, as you say, as a light celebratory occasion). As you say, Williams has the ability to tell a story through music in his film scores, but he rarely does that in concert. I find that some of my absolute favourite scores (Star Wars, Hook...) are very poorly represented by the standard "highlight" concert pieces. I too wish that Williams would at least play several cues of the same score, creating a coherent suite. My ideal concert program would only include music form three or four film scores, at at least 20-30 minutes of music for each (either as a suite or as a continuous piece).
  11. I agree. A lot of the times, tracked music works really well within the films themselves. And I fully support that directors should have the freedom to use the music the way they see fit. The fact that music itself is an art form that can work without a film doesn't change the fact that film music is supposed to serve the film the way the director wants, and not the other way around.
  12. They did go to real locations for KotCS. They just didn't go outside of the US.
  13. It is taken from the concert recording, just not the same take used in the album.
  14. Star Wars was spotted in early January 77... recorded in early March 77. Empire was spotted in early November 79... recorded in late December 79/early January 80. Jedi was spotted in November 82 ... Recorded in January /February 83. Phantom Menace was spotted October 98 ... recorded February 99 Attack of the Clones was spotted October 01.... recorded January 02 Revenge of the Sith was spotted October 04.... recorded February 05 Clearly, the first two scores were composed in a shorter time period, just under two months. It's also fun to notice that there were things that hadn't been shot yet when Williams started recording the music, and therefore needed some editing. I think using the London Symphony was both an asset and a problem though, since the recording sessions had to be conducted way too early (which mostly affected the prequels, but the OT also suffered a bit) I think you're wrong about the copyists though.... I assume copyists could start working while Williams was still composing the later cues. I don't think he finishes composing until right before recording sessions begin. Consider that recording sessions are spread over a couple of weeks, so I guess the cues that were composed right before the first session are recorded towards the end, giving enough time to the copyists.
  15. Exactly. As music fans, it may be hard for us to accept it, but that's the truth. Filmmakers want (and, in a way, need) to have freedom to edit/change/replace the music as they see fit, same as they edit the performances (which doesn't mean they don't respect the actors!). That's totally out of context. It's a normal reaction from filmmakers to a screening of a rough cut. It's a work in progress. And they've probably watched each scene a hundred times already - they aren't going to be self-congratulating, they're going to be critical about what they've done and analyzing what they need to improve. That's how artists work. When Lucas first showed Star Wars to his filmmaker friends back in 1977 the reaction was... not good. And we all know how that turned out...
  16. The thing that baffles me is that there is a whole section of the fight, before "The Great Dual", which in the movie is scored with more Duel of the Fates (including the section that was replaced in the final edit of the official "Duel of the Fates" track), but, as far as I know, Williams didn't write any music for the scene, right?
  17. There are multiple problems with the Fantastic Beast franchise, but the most important of all, is that there doesn't seem to be any real need for its existence. It's a typical product of studios/producers/authors not knowing when to end something, and wanting to milk the cow as much as possible. But the fanbase is to blame as well: fans always want more, more sequels, more spin-offs. As Dumbledore says in one of the books, humans tend to want things that are worst for them. I always defend an artist when he/she decides that it's time for a series to end. And I'm really glad that Rowling never decided to write an 8th Harry Potter book at least!
  18. You're missing the thrid map cue of Raiders: Indy on the submarine.
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