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Naïve Old Fart

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Everything posted by Naïve Old Fart

  1. I'd go a bit further than that. It is clear that Spielberg intended that mankind and the E.T.s. communicate with each other through music. The fact that J.W. called the piece "The Conversation", adds to this intent. A character, at one point in the film, says: "What are we saying to each other?", to which the reply is: "It's the first day of school, fellas". If one looks at "The conversation" as just that: a conversation, then the cue is elevated above scource music, and even far above incidental music, to a vital portion of the script - it IS being spoken, but in a language that only the instruments making and the computers interpreting the music, and the E.T.s could understand. For the ultimate source/incidental crossover, how about "The Long Goodbye"?
  2. I see where you are coming from, Quint. I prefer both "The Chamber Of Secrets", and "Fawkes The Phoenix". Does it honestly matter who is "better" than who? I like the music of J.W; he is my favourite composer, and nothing will change that, but I also like Goldsmith, Barry, Horner, Shore, Herrmann, Rosza, Walton, Vaughan Williams, Prokofiev, Tiompkin, Silvestri, Bernstein (both of 'em) etc., etc. It all comes down to personal opinion, and no-one can - no-one should - take that away from anyone. If someone says that Silvestri is in the same league as Herrmann, what they are saying is that they enjoy the music of the former, as much as the music of the latter. I believe that there is no shame in that, and that there should be no snobbery in the assessment of personal taste. As (I believe) Quincy Jones once said: "All music is just 12 notes: it's either beautiful, or it ain't".
  3. I am looking to get "into" Desplat, especially before D.H. I only have one c.d. of his (B.B.)and I like it. Oh, hold on, let me have a look in the Desplat section of my c.d. collection.......AHA! Found it. I remember now; I have "Hostage" that I bought a while back at a local charity shop for the princely sum of £1. I'll listen to it, and report back asap.
  4. "Saving Private Ryan". There is a lot of good music in SPR (the piece where Hanks is trying to stop himself from breaking down, after Wade gets killed, is particularly both effective, and affective) and I appreciate the way that there is no underscore in the battle scenes. Spielberg wisley lets the sights, sounds, and emotions of the scenes do their work without music, which is there to support the people of the film, and not the action. A brave choice, indeed. "Hymn To The Fallen" is a strong candidate for "the best single thing that J.W. has ever composed!" award.
  5. Whatever one thinks about the films, you cannot ignore the fact that J.W.'s music played a significant part in the success of the films, and has also permeated the public consciousness in the same way that his music has for countless other successful films (and in much the same way that Hooper's music has not). This could be an interesting side thread: many films have had great scores that match what's on screen, but how many have truely taken on a life of their own, away from the films that they support? As for the last great theme; I would have to go back to either "E.T"., or main title from "The Final Conflict".
  6. "Everybody Runs"/"Anderton's Great Escape", or "The Mecha World". "Window To The Past" is lovely, even if it does sound a little like an outtake from "Jane Eyre".
  7. "Training Montage" from SpaceCamp (it's a guilty pleasure of mine). "Miles' Pool Hall", and "Miles On Wheels", both from "Earthquake. All of "Cinderella Liberty". Did Paul Williams have something funny to eat the night before he recorded "Wednesday Special"? He sounds like he is in pain.
  8. I have been able to obtain an exclusive preview of the up-comming Sam Mendes/Bond 23 script: Scene 11. Int., M.I.6 control room. Bond, and his associate Tanner, are talking about Bond's impending mission. M. enters the room, and walks up to Bond. M: "Bond, have you got a minute?" Bond (over-cheerfully): "For you, M., I've got five!". I can hardly wait!
  9. I agree with these two postings...up to a point. "An interesting experience", it may be, but Wilson, Broccoli, et. al. aren't interested in making "interesting" films, they care about putting as many bums on seats as possible. I understand where they are comming from, but sometimes they get it wrong (case for the prosecution- "Quantum Of Solace"). I will defend the fact that the Bond films are (mostly) well made films, using the finest talent that money can buy. Personally, I think that "GoldenEye" was the first Bond film to actually be "directed", with real thought given to how each scene will lead into the next, the use of sound, the subtleties of each performance, etc, and much credit must be given to Terry Rawlings for a fine cutting job (compare his cutting of "GoldenEye" to the hatchet job of the early Bahamas stuff in "Thunderball"!). Mendes might make a good Bond film, but it would be the most "internal" Bond film ever. Now that would be "interesting".
  10. I'd heard of this, back in '86. He says to ripley "I can feel it moving". Perhaps Cameron took it out because he thought it too similar to how Vaequez and Gorman meet their fate. Personally, I like seeing Burke get his cum-uppence at the hands (or, rather, teeth) of an alien.
  11. At least I now know how David Warner gets a bloody nose! I've heard that approx. 45 mins was cut from "Avatar". The SE "Abyss" turns it into a completely different film, and I will not watch the original version anymore. Yes, Greg, the sound on "The Abyss" is amazing! The way the chain clicks in the moonpool when Coffey is pulling on it is great, and the underwater bullets ("the safety's on, the safety's on!"), always impresses me.
  12. Here's a thread that should have only positive responses, because it concerns the genesis of a love affair. The question is simple: how did you come to know the music of John Williams (or Jerry Goldsmith, or James Horner, or John Barry, or any number of your favourite composers, for that matter)? Me? I went to see "The Towering Inferno" at the cinema, in 1975, and I was hooked. I saw the film a further 4 times at the cinema, liking the music more and more, until my dad bought the album for me. As he gave it to me, he said: "I don't think you'll like this". Oh, boy, was he ever wrong. 35 years later, my love affair with the music of J.W. knows no sign of letting up, and I hope that it never does!
  13. "Star Trek II", "InnerSpace", "Twilight Zone: The Movie", "In Harm's Way", "Escape From The POTA". Although it was out a few years before, last year, I could finally afford the £90 or so to fork out for The Blue Box. I was not dissapointed... P.s., I would kill for a complete "Star Trek V", complete "Explorers", and complete "Empire Of The Sun".
  14. Sad news, but thanks for that, Alex. I thought that he did good jobs on both "Mad Max", and "Mad Max 2", putting the Maurice Jarre score for "...Beyond Thundredome" a little at odds with what went before.
  15. Afew thoughts on all of this. First, it has, without a Shado of a doubt, been a collossal, magnificent 5 years. Hats off to RTD, Tennant, Eccleston, and all, that made my favourite programme EVER such brilliant viewing. There were a few gaffs, but, on the whole, The Doctor was in safe hands. I look forward to Matt Smith taking over. I watched the trailer, and I like the "feel" of the new stuff. I especially like the re-designed, grey Dalek. The new assistant looks good (she could arrest me any day), the Weeping Angels, and River Song will make welcome re-apperances (how will S.M. get around the "you look so young" line in "Silence In The Library"?). The new logo harks back to the Pat. Troughton days, and I shall be interested to see the "new" TARDIS. Tennant bowed out on a real high, and, yes, I shed not a few tears at his going. What a programme!
  16. Why is the top down; I'm f**king freezing!
  17. You are quite right. Horner's last truely great score was for "The Name Of The Rose", 23 yeare ago! It's a 5 star score within the movie. On it's own I'd give it a 3-1/2. Although Horner's theme for Rose is quite beautiful. I've never heard it on album. In the film, the sinking music is effective standard Horner, but much of the stuff before disaster strikes borders on unbearable. I'd rather listen to the better Enya original. Over the hols., I watched "The Accidental Tourist". Oh, boy, this a 5-star film with 5-star performances, direction, editing, cinematography, and (need I say it) an absolutely superb score. It is Larry Kasdan's best film (with the exception of "Grand Canyon"). Over the years, my emotional ties to this film have grown stornger, and stronger, much like J.G.'s to "Islands In The Stream", I guess. A lot has happened to me since I first saw TAT, and, in some ways, my life mirrored that of Macon Leary. Happily, I am not as "closed in" as he was, and I have a job, a family, and, generally, a life that I like. It could be better, but then, whose couldn't? If you have not seen this film, then, like Claude Lacombe, "I envy you", so open a nice bottle of wine, curl up on the sofa, and savour a truely underated masterpiece.
  18. It might be, it might not be. Personally speaking, a film that hinges on a false testimony from a priest, is morally dubious, at best. I do like the score very much, though. Does anyone know why the electronic drums were taken off of the football sequence for the film, but are on the c.d? Is anyone fond of "The Hindenberg"? IMO, it is a nice, slow "Sunday afternoon" film, with a lovely David Shire score (very wise to remove the female voice, replacing it with solo trumpet), and some of the most perfect SFX I have ever seen. Because of this, I saw it twice at the cinema. What does JWfan net think of "Magic"? Forget Lecter, this (along with Stevens the butler) is Tony Hopkins' finest performance. A cracking study in disassociative personality disorder (what people mistakenly call "split personality").
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