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lostinspace

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About lostinspace

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  1. great concert, having heard a bunch of other orchestras play the LSO are a cut above they don't seem to do many film music concerts so I guess this was a one off. Fawkes the Phoneix was a nice inclusion as was Dracula theme and Han Solo & the princess. The rest pretty standard. Close Encounters is always a highlight , BFG was amazing.. they didnt play Home alone but this had lots of weird sort of percussion effects and muted brass in it.. didn't disappoint! Only complaint some of the tempo changes were a bit too fast or slow but overall didn't disappoint and I did pay 500 quid
  2. Completely agree with you.. I remember being infatuated with JW output 2002-2005. aged about 15-18 at the time. The listening party for the POA soundtrack was incredible.. I remember not fully understanding it the first time but still recognizing he had huge amount of power in his pencil as my mind was taken to another world with each track. Every track on those soundtracks is a masterpiece. Even Munich is amazing, it is music written and performed with such conviction never sounded autopilot. Thesedays I still hear magic in JW eg. Tintin warhorse, TFA, book thief and recently TLJ but I thi
  3. i like Reys theme but he is just going through the motions, you can tell when he's out of ideas when he just uses the old trick of the trade changes key usually up a half step.. I like the Artificial Intelligence sounding horn statement in the middle. It fits the film ok but harmonically it's bland compared to Across the Stars, or say Anakins Theme. Does anyone notice how much it sounds like Jane Eyre?!
  4. Absolutely agree, but in this case I think the orchestration could be more interesting. If you double horns tpt strings it gets a bit tiring on the ear. I find it weird that he didn't hire an orchestrator maybe there was ample time... Nuances like that really do differentiate JW from all the Remote Control composers.
  5. It's not bad for a fugue... but god it sounds just like the NBC Sunday night football theme in parts. Sounds like something from Indiana Jones than Star Wars. Orchestration - I think there is too much doubling,, probably too much trumpet horn and strings... In the 70's he wouldn't double so much.....that way you get that Bach sound.
  6. Ok - I'm in agreement with most of you guys. The first 1:38 of The Jedi Steps and Finale is excellent - it sounds like Tintin/Birth of twins ROTS but it is magical.. but thats all there is folks 1:38 there is no development.. March of the Resistance trys to be some Fugue but unlike POA quidditch or Jaws shark cage fugue it fails. Technically masterful but doesn't compel repeat listens. Scherzo for X-wings is ok but I think again there are too many notes.. the original triology was never that "busy" with the counterpoint. I get the feeling he was asked to tone down the themes for this film.. t
  7. What about the overlays in the main title it's just a bunch of cues strung together? Where as with past films it was one piece. I also hear more similarities with Indiana Jones particularly the high trumpets (think Jungle chase from KOTCS).. I guess he was trying to cut through sound effects. One thing is clear though, all the new scores have far more notes in them than the original trilogy, maybe that's where the problem lies.
  8. My 2c on first listen.. It doesn't sound auto-pilot but "overall" I don't hear any magic.. a bit like Tintin. Functional but not really compelling me to listen again and again like original triology or prequels. The main problem I have when comparing to ROTS and AOTC is that in those I felt each track was entirely listenable interesting piece. With FA each track seems to be in 2 or 3 parts sometimes with direct quotes from original trilogy. Overall there seems a lack of identity moving from idea to idea to idea. This maybe intentional on JJ Abrahms part. When you go from idea to idea
  9. My 2c on first listen.. It doesn't sound auto-pilot but "overall" I don't hear any magic.. a bit like Tintin. Functional but not really compelling me to listen again and again like original triology or prequels. The main problem I have when comparing to ROTS and AOTC is that in those I felt each track was entirely listenable interesting piece. With FA each track seems to be in 2 or 3 parts sometimes with direct quotes from original trilogy. Overall there seems a lack of identity moving from idea to idea to idea. This maybe intentional on JJ Abrahms part. When you go from idea to idea the whol
  10. Couple of points: Be interesting to see if they add atrocious amounts of artificial reverb like in Tintin... why didn't he score it at Fox or some other stage with a more live sound? Even Fox is too dry I think ( avatar) but are I guess there are no other stages.. I think it's unrealistic to expect a radical change of style but if it sounds anything like the ESB or ROTS it's going to be good.. dark and moody... And what was the eerie pulsing chord pattern just when the video cut to JJ Abrahms.. it sounds like they might be using a continuum fingerboard which was used in KOTS. https://www.ece.i
  11. What about the first part of escape from city war of the worlds..? or. Everybody Runs from minority report. or Zam the assassin and escape coruscant. I always liked these pieces as they demonstrate mastery of conterpoint, almost closer to something Goldsmith would write. but I think the general public can't appreciate it. You have to dumb it down for the masses but I'm glad when you compare SW to transformers. Transformers pales, I doubt in 30 years that music (as good as it is) will have stood the test of time.
  12. This is mere speculation but my 2c. It will be reasonable for him to continue scoring films I think until 2017 asuming JW health holds up, but I doubt you can conduct after that age. To be still grinding out notes at that age is insane we should not expect too much. Health gets pretty fragile for most people in early 80s' and while there are exceptions, the potential for back strains... and other medical aiments is pretty high, the body also takes much longer to heal... As a composer myself I think you still get a lot of satisfaction out of hearing others conduct your music, but that has never
  13. I think people raise good points about the LA recordings... Munich, Jurassic Park, Air Force One (goldsmith), Far and Away, Tintin were all recorded at Sony stage but the mixing varies a lot Munich in particular but it works great in the film. Indiana Jones and Crystal Skull is a bit dull but to be honest the score is not really very good compared with JW level.. I never understood how on one hand the LA composers praise the LA musicians but on the other hand if they have the budget they prefer to record in London .. something about them looking down on you.. I know JW had a run in with the
  14. I tend to agree. The LSO are so far above any orchestra (except some in Europe Germany / Vienna). The brass are so well balanced mellow and accurate probably in part due to the late Maurice Murphy...THe strings sonorous when required (think Anakins Betrayl). The hollywood brass tend to sound brash and the intonation is not there.... (eg. tintin). To think what the LSO could have done with that score.. I'm not trying to discredit LA players, they are really technically superb. But from a listeners perspective technicality is only one aspect. The mixing is so different in POA and doesn't sound a
  15. Great interview, Powell is so direct and honest it is refreshing.. thanks for posting!!!
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