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Nick Parker

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Everything posted by Nick Parker

  1. The approach Williams took for Irina really isn't that different from Indy if you think about it: the music is bright and heroic, which are not traits you'd really give to the character, particularly in Raiders. However, the theme perfectly encapsulates the experience they (Spielberg and Williams) wanted to give to the audience, and there are multiple times where Indy personifies this feeling of adventure and heroic feats...if adventure has a name? Irina?...Williams was just trying to find something to latch onto, 'cause there are practically no instances outside of the opening sequence, as said above, where she displays any sense of seduction, nor does the film capture that tone at all. Plus, Williams found her sexy.
  2. Did I ever tell you that you know the way to my heart?
  3. I remember taking a trip to some canyon forests in Arizona back when I was first getting familiar with the piece as a teenager, and all I could hear when I looked at the beautiful sights before me was that first movement!
  4. I know whachu mean. To address your question, @Edmilson, I think an "evil" score would depend more on the life condition of the composer(s) beyond any subject matter or inspiration. To slightly expand on my initial post, I see one of the deep causes of evil to be a lack of empathy based on fundamental ignorances of the connectedness of life...and I'm drawing hella blanks on thinking of any music, let alone a movie soundtrack!, that feels, or as Not Me Nick posted, has a spirit, coming from that place.
  5. Been so long since I listened to it, but aren't there little pauses when the movements change?
  6. The scherzo has always given me major Jurassic Park vibes. Let's look at what he says, when the interviewer asks about Williams' "Romantic aesthetic". In other words, his natural proclivities and instincts have _always_--and we can hear this multiple times with pieces such as Essay for Strings and Prelude and Fugue--leaned to the voice we hear in his concert work. So you're asking a person to forsake themselves so they can write something to appeal to a certain kind of audience. The film work he's done is an outcropping of what is a deeply personal voice, not the other way around. This isn't me being elitist, this is me drawing the conclusion from Williams' own words. And as several of us--including Williams in this very interview--have pointed out, his film and concert music have overlapped with each other over the decades, to the point where you can recognize the time he worked on something by their similarities with another: Tintin and Oboe Concerto, Tributes and TPM, so on and so on.
  7. Like Williams said in the interview, his concert works and film works form a symbiotic circle, what happens to one of them will affect the other. You must understand this.
  8. Even though John Williams has scored plenty of tense or dark moments, I don't consider the vast majority of his music in those instances "evil". He has such a sense of underlying humanity that his music for these moments, consciously or not, capture a pervasive sense of compassion--something he actually explicitly comments on in the ROTS doc. There's a huge difference in my mind between scoring evil and writing an evil score. I'm trying to think of a score that sounds truly, irretrievably brutal, sadistic, and unfeeling. Oh crap I forgot we banned the Oxford com This pretentious asshole has been banned for 24 hours.
  9. So you're saying one of us needs to show up there one day and play Star Wars on a piano until he walks in? This interview was very sweet! The interviewer got Williams off on the right start by talking about his daughter, I think Williams responded to the human element from there.
  10. On a musical level it's really damn slick and effective, but narratively it doesn't do so much for me because, due to the nature of JJ's approach, the score _has_ to set up the sequels in such a cliffhanger way. That interplay feels like a portention of what is to come, but Williams doesn't really do much with it in the other two scores, even when arguably the link becomes even _more_ appropriate by the end of the trilogy.
  11. The interplay between Anakin's Theme, Across the Stars, and the Imperial March at the end of the AOTC credits tells the whole story of the prequel trilogy in just a single minute of music. I believe the word for that is...uhhh, checking.... Genius.
  12. I gotta be real and say the Electro Suite is the most enjoyable piece from Zimmer that I know of, I get a real kick out of it and the deft way that it incorporates all these disparate sound elements cohesively.
  13. Fair, the theme itself doesn't get too much obvious airtime until the climax. The general timbres and harmonies are what I define as the thematic material in this one, not much in terms of motivic melodic identification. A good number of melodic moments, but not used in a motivic way. But I want to pour this score into a bathtub and dunk myself in its mood and atmosphere...where's my ladle?
  14. Listening to Mancini's Lifeforce for the first time in many years. Sweet jesus, definitely magnum opus material. Crazy that a film like it got a score such as this! This track alone is enough to jettison the score into one of my favorite music works ever...it's got so much going on: the thrill and mystery of the unknown, the slowly unravelling dread that comes from satisfying the wrong curiosities, all done with the devout patience and momentum of a true master. Goddamn, goddamn, this is how you do an orchestral setpiece! There are also some great moments of urgency and bravado to round out the score and really dial it in as Mancini's answer to the ever burgeoning list of space opera scores at the time. The sound of 80's LSO smears its recognizable hand grease all over this score: thick, pungent brass chords with strings that pierce the atmosphere to aggressively present low winds makes you remember why this was the orchestra that everyone tried to get for their films. Highly recommended!
  15. Damn, I didn't mean to put such a spotlight on one person! I'm sorry, @The_Trout. My ultimate point was to make sure that this is addressed to the right person: haven't seen you in so many years, nice to see you again!
  16. She has 361 posts, but I only see like 12 posts dating from 2015, so that's why I was confused and thought it was a sperate account.
  17. You're already abusing your power of mod by gaslighting me with your authority!!!! Naw but seriously I'm thinking of a member who I swear had the same username like over ten years ago, with a link to their webcomics.
  18. Did you have an account here years and years ago, and produced E-comics?
  19. People write me off as a weirdo, but I will always maintain unless completely convinced otherwise that Anakin's Theme appears in Anakin's Betrayal, in a manner very similar to the Jewish Theme in Immolation. .....in Schindler's List, of course.
  20. Interesting that you feel that way about his concert music, I feel like the sensibilities that drive his film and concert music are very, very close. A great intersection between the two is his ballet of La Strada, including the suite based off of it. One of my favorite melodies ever gets really good workouts in it: From 1:23 on It was really disappointing to hear Dumbo and not get that again.
  21. Casanova is probably my favorite single score of his, but his output, especially his concert music, is sooooo vast, you're really digging into a whole 'nother world. This is also another great compilation:
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