Marian Schedenig

Lots. I usually try to see the film at least after I have the score, though not as often now after I watched Air Force One for that reason. But I wouldn't know some of my favourite scores if I always had to watch the movie first. Marian - who watched the Star Wars and Indy movies only after having heard the suites.

TheOneRing.net has a frame-by-frame analysis of the teaser now. Marian - who can't wait for that movie.

Because I see her face. Marian - who doesn't like it.

Shame he did. I would have liked it more. Why? It had to be done by a Tolkien fan. I've read the books 9 times so far, and I'm still only beginning to discover how it all works. It's not just one novel, it's connected with everything Tolkien has written. You have to know and understand that all before you can make a movie out of it. I don't know one effect in the whole movie that's inferior to any ILM effect I've seen. John Williams would have overscored the film. In addition, I don't know if he's read the novel, but if he hasn't (and we all know he doesn't read scripts), there is no way he would have come up with a score that does the whole thing justice (assuming he'd started with the first film without knowing what happens in the second and third). Even if he knew the story - it's clear that Shore did a lot of research. I've said it before - I doubt that ANY other composer would have written a score that's as appropriate and as Tolkien in the way it works as Shore's. Why would people not have done that in that case? I'm still worried about that Ross business... :cry: Marian - who knows someone who says that the FOTR score is a cheap Williams copy, when in fact it's about as different from Williams as an epic score can be.

Oh yes! An absolute masterpiece. Not exactly Williams best score, but still his best one in a way. He's never really done anything else like it. The music is great, the performances (guitar!) are great, and the sound (HDCD) is plain fantastic. Marian - who also loves Home Alone and also likes the sequel score even better.

Look who's talking! I was a bit worried about the combination of Murphy and DSD - and the more glad that it worked in the end. Marian - who feels he's being stalked by the Canadian.

Hmm, when I read the Zahn books, I actually imagined her good-looking... :roll: Morn, I'm not exactly into Star Wars books either, but I've read the Zahn trilogy (the first, I think he did another one later?), and I must say it was truly excellent. If you liked the original movie trilogy, you should love these too. Marian - who'd love to hear a Williams-composed Thrawn theme.

Darth Sidious' theme, of course. It has officially been denied that it's the same theme, but it still clearly is. And I don't believe Williams would write something like that uninentionally. Marian - who thinks Williams is very clever.

James at the MM.com board suggested Malcolm McDowell as Moody. What do you think of that? Marian - who thinks he's a perfect choice.

Judging from his albums, Murphy's been going deaf for years. Except for the occasional highlight, like the Williams/Yo-Yo Ma album. Marian - who hasn't yet heard MR. "Mazda" concerto (Michael Nyman)

Amazon.at/de says "probably June 25". I hope I'll be able to find it in local stores on that day. Marian - who thinks it's criminal that Sum of All Fears won't be released here until AUTUMN.

I suddenly had her voice from Chicken Run in mind...."Put...the ramp...down". Marian - who's always impressed by Maggie Smith.

Oh, but it's been played by woods, strings, even the harp! Across the Stars - in a slightly different (though even more impressive) way, mixing all the themes into one single new theme.

Actually, the Borg theme is one of the few 4-note motifs that does NOT sound like the Dies Irae. The ancient motif from the Gregorian Chants, as used by Berlioz in his Symphonie fantastique, Goldsmith in Poltergeist and Mephisto Waltz (though I believe there Goldsmith's use of the motif is a variation on Liszt's use of it), Williams (masterfully) in CE3K, and so on. Marian - who loves Goldsmith's in-joke using of one of the Gremlins 2 motifs in Hollow Man.

SPOILERS continued.... Wow...I've never thought about that, but she looks *exactly* like I imagined Madame Maxime when reading the book. Stewart? Interesting. For an exercise at the university, my group had an assistant who looked exactly like I had pictured Moody... Miranda Richardson? Marian - most of whose favourite actors are British.

The most brutal (and possibly best) version is still in Aboard the Executor (shame this was cut from the film). A choral IM would be interesting, but I don't know if it would work. Like EvanED said. Now that DotF/IM thingy...

Yeah, length is the basic difference. The Theme from Jaws is mainly a motif, though there's a theme in it, too (that string melody). The 5-note thing from CE3K is a motif, too. I guess you can't exactly tell when a motif stops being a motif and becomes a theme though. Marian - who thinks most 4 note motifs sound a lot like the Dies Irae.

Has to be from ROTJ. The Forest Battle I believe. Marian - who hasn't even seen the trailer.

Well, AOTC's action tracks are a lot less thematic than those of TPM. Perhaps they didn't know how to edit unthematic action music. Marian - wondering.

Perhaps I just know too much *good* music. But Morn perfectly summed up what I think myself: It could be a lot better with better orchestrations, but it's still a fine, fun score. (And I think of all Trek movie scores, Horner's best fit the TOS crew). But nothing I play too often anymore. Marian - who wonders what a new Horner Trek score would be like. :roll:

Shawn' Murphy's excellent recording? That excellent recording has the most amount of hiss I've heard on a CD in a long time. Perhaps the arena/battle sequence wouldn't have worn out the audience if they had thought of some plot for it. As it stands, I found it horribly boring. No wonder Williams wrote wall-to-wall music for it, at least there would have been SOMETHING going on. And if they had scheduled the movie so perfectly in order to have plenty of time for everything, why did Williams have to write music for a cut that was completely changed afterwards? Marian - who also wants more music.

Where? :?: Some tracks have decent orchestrations, but many just have all the instruments playing the same notes.

Sure, and I'm glad at least the score will be in stereo on the DVD. Marian - who picked up Disney's Robin Hood on DVD today, which has the score in mono even though the film was remixed in DD5.1. (Dammit, I want that score on CD!)

Why don't you check out Prokofiev? Alexander Nevsky, Lt. Kije and Ivan the Terrible are film scores (and damn good ones). And while Romeo & Juliet is a ballet, it works like a film score. Technically hardly any difference between that and Star Wars. Me too. What...all 3 of them? Hmm...Sneakers, Aliens, Casper, Brainstorm, a couple of others... no, more than three. Regarding Aliens, I hated the use of Gayaneh in the movie. But on the album, where the score isn't as butchered as in the film, Horner actually incorporates the theme into the score, and varies it, instead of simply copying it. For me, it works quite well that way. I'm far more concerned by the Khan and Star Wars bits, which I find VERY annoying. Still, great score, and Don Davis apparently likes it, too. Marian - who picked up an album with excerpts from Khachaturian's Spartacus and Gayaneh yesterday.

I would love for you to explain to me what the heck that means. Back at that time, Horner mainly wrote melodies, and added a few instruments playing background music. One of the main reasons why I like orchestral music are the possibilities of orchestrations, and the fact that I can listen to good orchestral music over and over again and hear something new everytime. But in Khan, there's nothing new there to discover - it's too thin. Aliens already has far better orchestrations. Marian - who doesn't understand why Rosenman is so underrated.