Muad'Dib

Clever spam.

Yeah, I get what you mean. And maybe it is really hard to turn traditional animation into 3D unless it is drawn a certain way, like Roger Rabbit-style by Richard Williams. Or a type of animation like his Thief and the Cobbler:

Hey Luke, there's something important I need to tell you...

...you're it!

Random bit of cool info... I just found an unseen ending to the Mr. DNA sequence! Check out the first video at the link below. The 2nd vid is a pencil test version!
http://kurtzanim.wordpress.com/entertainment/jurassic-park/
It's worth noting these guys also did the animated cereal box animations for Minority Report, as evidenced in this lovely video:
http://kurtzanim.wordpress.com/film-titles/

I've been meaning to post this damned thing for the last two months and I keep forgetting, so while I remember here it is:
http://www.youtube.com/watch?v=25imcJh12Do

Great shot from the film:

Speaking of Spielberg's iconic shots, check also this interview with Janusz Kaminski:
http://www.vulture.com/2012/11/how-steven-spielberg-cinematographer-janusz-kaminski-got-these-shots.html

"It has too many notes"
"It has too few notes"
"It's different to his older output"
"It's a retread of his older output"

[media=]http://www.youtube.com/watch?v=xVrOy87S0Qg
can I... just have a moment...

This is being recorded for an upcoming release on the Naxos label.

Better than a parrot on his shoulder.

"Gandalf de Grey ...?"

War Horse connects with me on a pure and sheer emotional level.
Lincoln feels more reflective.
War Horse is like you've got a new girl and you're in love, and the wonderful emotions hit you all at once, while Lincoln feels like 3 years later when you're married. The emotions are still all there, but there is a calmness and understanding about them. That's how I would put it.

Forget it, Data. It's Chinatown.

I found out who shot Lincoln

I'll definitely stay out of the predictable fights over this...
I'll just say that for me it's a great score, genuine and heartfelt. Thank you , Maestro Williams.

I think there's isn't a single piece of sample that hasn't touched the very core of my soul. They are *that* good.
Some of the people that got this score early are saying this is what they expected from Johnny. Maybe a little, but a lot of these samples have really surprised me, and in a great way! I wasn't expecting the more light-hearted cues and that incredible chorus on track 15! I mean, wow!!! That's jaw-dropping stuff.
And the hymnal stuff moves me to tears, it's simply beautiful. Also, I can't wait to hear more of the solos in general, particularly the cello one, which sounded simply spectacular.
Now I really can't wait!!!

"Don't go there, girlfriend! Mmhm!"

Erik Woods of Cinematic Sound Radio has received his copy

https://www.facebook.com/photo.php?fbid=10151108135741235&set=a.10150109225326235.287728.71726691234&type=1

Looks like you are missing the picture!

http://filmmusicreporter.com/2012/10/16/james-horner-to-score-carlo-carleis-romeo-and-juliet/
Now the question is: how many Prokofiev's lifts we'll hear in this one?

Last films I watched:
Ivan the Terrible, Parts I and II (1944 and 1958) - 8/10
Probably Eisenstein's most Shakesperian work. The sets, the wardrobe and the light/camera work are simply amazing, a marvel to watch, and a lesson to any aspiring filmmaker. The music is fantastic too, athough not as brilliant as Prokofiev's previous work on Alexander Nevsky, but still great nonetheless.
It's insteresting to see how Part I presents Ivan as an almost God-like figure while Part II starts humanizing him and showing his darker aspects, as well as showing how ambivalent politics can be.
Stalker (1979) - 9.5/10
What can I say? Brilliant work by another fantastic Russian filmmaker, the great Tarkovsky. Another lesson in filmmaking, this is how everybody should approach their movies.
The ambiance created by this sort of post-apocalyptic world combined with the most subdued science-fiction I have ever seen in my life turn this picture into a near masterpiece. The only downside is that it should be even longer! The movie really left me wanting to explore more of this fascinating world.
Poltegereist (1982) - 8/10
What fun, what joy! I think it's been a long time since I purely enjoyed a film as much as this. It really had a Spielbergian feel, and it's no wonder since a lot people say he directed a lot of scenes himself. I reminded me of The Fury a lot, only this time the film itself was much better But it's still the same kind of enjoyment, a film that scares us but still has the guts to don't take itself so seriosuly and have fun too.
And what a brilliant score by Goldsmith. Particularly brilliant during the climax. Great stuff.
The Mission (1986) - 7.5/10
Overall it was good, but I was expecting so much more. In the end it left me a little dissapointed... Having heard Morricone's masterpiece work for years, I pictured this movie a lot differently. The result is a little clunky, and not directed as well as it could have been.
Irons is great, but I feel DeNiro is a little out of place, and I have the feeling he wasn't very well instructed regarding to what the hell was going on with his character (a little more development with his brother would have been nice...). Ennio's score and the gorgeous landscapes are the saving grace of this film, but again, it could have been so much more...
The Legend of 1900 (1998) - 9/10
You can never go wrong with Italian cinema. This is such a loving-crafted film that you can't help but enjoy the wonderful ride. Once you understand it's basically a fairy-tale, you can enjoy it peacefully. It's a film about music, with music... I can't really put into words, but if you're a music lover, you'll love this one. I'm sure.
Another winner by Ennio, too.
Thor (2011) - 6/10
Another dissapointment. I was expecting so much more from uncle Kenneth -being a fan of his acting and directing work-, but overrall the film bored me. I have no connection or knowledge with the source material, but I would have really liked to see more development regarding the brothers relationship between themselves and their father. In fact, the whole film felt rushed... Some quieter moments would have helped it a great deal, at least in my humble opinion.
It had the same feeling of "meh" as I had with Captain America, especially during the second and third acts. The first act of that one was okay, but once he actually turned into Cap, the film practically had nothing else to say, and it showed.

This is seriously one of the best Williams-related videos I've ever seen

http://www.mtv.com/v...rrestrial.jhtml

I wish stuff like this was available for everything he's written

Looking forward to seeing him live in less than three weeks.

I think?
So exactly how sure are you whether Williams' scores are 'predictable' or not? Just because Seven Years In Tibet and Memoirs Of A Geisha have an Asian flavour, doesn't mean they're copies or anything remotely like that. But I guess this is how you reason: Seven Years In Tibet and Memoirs Of A Geisha = Asian-style scores = (must be) identical scores. I doubt you're even familiair with the music. Angela's Ashes, Schindler's List and War Horse = dramatic scores = identical scores (they both feature strings and stuff like that).
You couldn't be more wrong man.
Exactly what would it take for you to appreciate a score like War Horse from a innovative perspective? When Williams had scored if for 17 drumkits? When Williams had used Joe Satriani to play the electric guitar solos? When he had asked Lady Gaga to sing the theme song? War Horse was Williams reinventing himself quite a bit. Not in Earth shattering ways, but Williams returned to a more simple, pure melodic approach with non-complex, basic chords and harmonies. This is vastly different from, let's say, Angela's Ashes or Schindler's List. The 'Remembering Emilie' theme alone is written in an idiom seldomly chosen by Williams. It's the simple and direct melodic structure that gives War Horse a sense of fresh air and sets it apart from many other of Williams' dramatic scores.
But I guess it could only find your approval if Williams had done something radical like adding hip-hop beats. Only then would someone like you call it 'unexpected'.
The same goes for Tintin. It is fresh and the first time I heard it I thought to myself: "This is Williams doing something I've never heard before". The unpredictable nature rests more in the nuance of the action material and the slight stylistic changes from his previous scores.
I feel Williams' music is always changing. Not revolutionary, but evolutionary. That's why Williams probably couldn't write Star Wars today and he couldn't write Memoirs Of A Geisha back in 1977.
He's truly a remarkable composer who doesn't deserve this 'Williams is too predictable'-crap. The man is as diverse a composer as they come.