Nick Parker

Anyone else get emotional warm-and-fuzzies over speculating on a new Williams project in 2022?

EDIT

This discussion really hones in on how important it can be for composers to engage with actual players, and how unfortunate it is that so many composers now have to rely on virtual instruments. There's something truly remarkable to be said for how a player-- a specialist in their instrument--can take the broad strokes given to them by a composer, much like an actor and a director/screenwriter, and imbue the part with dimensions that a composer just can't conceive of.

i just want to see williams go goddamn ballistic on social media when sugarland express is announced

Rule 49 of the Internet: never click on a video with a Photoshopped Rian Johnson thumbnail.

Without a grasp of masochism, more like.

Haha, I didn't realize this wasn't considered common. But you've already heard swung rags!

You're a robot! You're a goddamn robot!

Nothing's wrong with them, just never been really compelled by what they've got, musically. What I have been compelled by lately though is Thundercat's "Them Changes"! I love how the chord progression and off-kilter tone offsets a story about heartbreak. And true to my forum title...boy do I love that bass.

On the tangentail subject of Pink Floyd, I've been fixated on these ten seconds for the last few days: The nonstop major chord phrases cascading into that B minor resolution, the bass synth punctuating them until it finally holds at that chord, the lyrics (I also love how the music opens up with the words "clear blue sky")......... I'm not a Pink Floyd fan, but this might be one of my favorite little musical moments ever.

Oh for sure. It doesn't compare to AVP:R, though, because no viewer's mind could be protected enough from that movie's diseased, penetrating violations.

That's more apt, because that's all I ever was...and that's all I'll ever be. .... Same, and even 3 is a stretch.

Oh snap! How?

I meant to reply to this with my earlier post, but it got erased in my draft. That's like just calling John Williams the conductor of the Boston Pops, but yes, the one and the same. That's one thing I kinda love about another set of space prequels made in the 21st century. As a strict prequel to the original trilogy, they suck pretty hard, and if you think about the details too hard they could actually lessen your appreciation of certain preexisting events and characters (what, so Yoda nearly kicked the Emperor's ass, lost to a very particular circumstance, said "This maclunkey, fuck" and just hid away on a desolate swamp for twenty years?) But Lucas also wanted to use them as an opportunity to explore something far more ambitious than laser ships and connecting the dots: he used the foundation he had set decades ago to tell the story of how a democracy descends into fascism. Does it gel with the previous movies? Hell no. But I enjoy them in a way similar to how I enjoy Rosencratz and Guildenstern as an existential riff on Hamlet. That said, in Scott's defense, the original Alien was packed with symbolism of its own (some of which makes the movie way more disturbing to watch as an adult ), and I've always rejected the obnoxious reduction of it as a "slasher in space". Hell, even Aliens pulls off a Vietnam allegory. So I _do_ think that the series is more explicitly ripe for the philosophical musings that Prometheus sets out...the major difference is that with Alien, it works on multiple layers, and can be enjoyed on each one. Prometheus?...not so much.