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Posts posted by Wojo
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I voted Superman and then started to whistle the Raiders March.
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It's hard for me to rank the Trek scores, too. Depending on what I feel like, I can listen to any of Goldsmith's scores quite often, especially TMP and FC. But usually I just listen to them in order, I to X.
At least movies do number their movies intelligently, minus reboots. Look at video game numbering schemes.
SimCity; SimCity 2000; SimCity 3000; SimCity 4.
Unreal Tournament; Unreal Tournament 2004; Unreal Tournament 3.
Somebody needs to learn to count.
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Maybe it's about time we posted photos of our computers -- inside, outside, whatever.
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I really liked a certain kind of KOSS earbuds that had tremendous bass response. Then I got an earache and bought a new pair of Panasonic RP-HS43 over the ear style earphones. They do what they have to.
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Is the second one, of the shadowy figure playing the violin, from An American Tail, Marian?
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I see your point, Jason. The Motion Picture is very much a feature film, but it does have an episodic feel to it. Decker and Ilia amount to "guest stars" who were created out of the blue just for this movie: they get introduced, serve as major plot catalysts, and then are effectively written out of the show at the end. When the threat is resolved, the story ends, which makes the movie a self-contained standalone piece that leaves no major plot threads dangling for sequels but certainly leaves the door open for sequels, especially by having the crew smile at the camera, Kirk say what he does, and give the final tagline about the continuing human adventure.
But with those points aside, the effects, drama, music, cinematography, scope of antagonists, and sheer runtime alone all contribute to make this movie more than a single TOS made-for-TV episode would have been.
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I just got the Batman cartoon set on Jan 2, but I haven't touched it yet because I'm waiting to rip it. I don't listen to anything before I rip it, because I've had some of my older CD players scratch my CDs. The Jedi disc of my 93 Anthology set got scratched on the Death of Yoda track that way, which a newer drive will ignore, but older CD players let you know the scratch is there.
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Okay, I just discovered that with CDex it's also possible to rip two tracks as one, without a break.
It's a lot more reliable and easier to do it this way using CDEX, as opposed to ripping each file individually and trying to sew them back together. I ripped many smaller tracks from Rhino's Ben-Hur as a combined super-track using CDEX and it sounded great. Sometimes pasting individual tracks together leaves subtle gaps at the beginning and end that are noticeable when you know where they are, even if you crop the silence from the beginning and end before you cut/paste. Crossovering/mixing them when you paste them together eliminates the gap, but it's a lot more time consuming.
I've got two 500 GB hard drives coming in the mail, but I won't have a terrabyte total since I plan to set them up as RAID 1. I've lost two too many hard drives (112 gigs of data total) so I feel the redundancy is worth it. This will not be a replacement to legitimately backing up data to a seldom used hard drive and to DVD data discs, but I can only do so much with the limited hard drive space and processing ability at the moment. Then I can start re-ripping my collection into FLAC to co-exist with my existing almost-converted MP3 library, which will be downrevved to 128.
After I play Fallout 3.
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I actually thought that the previously unreleased tracks from The Last Crusade only sounded marginally better than the bootlegs I've had for eight years.
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El Cid. Truly fantastic score. But kinda expensive, so if you're not familiar, you might not want to risk a blind jump into such a great modern recreation of a 1960s score.
This was either post 500,000 or 500,001. Which is an irrelevant number because this is not the original incarnation of the message board.
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But if a movie sucks, I hope that wouldn't drago down an otherwise excellent score for you. I mean, Cutthroat Island is pretty mundane B-grade popcorn drek (though I kinda like it just for that reason), but its score is totally awesome. But the score doesn't make the movie better.
Otherwise, I also like Across the Stars. It's not as good a love theme as some others he has written, but for a love theme that sounds vaguely similar to The Imperial March in sections, it's quite effective. It just can't make the painfully awkward love scenes in that movie any better.
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Listened to The Last Crusade earlier today, and now it's Mark Griskey's score to KOTOR 2. Well, one with some tracks that are poorly truncated. Oh well, other tracks are still standouts.
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Why stop at four when you can just make a second trilogy? A better one!
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These are the days when three films in a series are considered to comprise a trilogy.
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If the main story of the movie has not been resolved, you have a cliffhanger. If the plot threads have been wrapped up, you just have an ending. It is not relevant if there is any more story left to be told. They can always find more story to tell. What is at hand is the story presented during that movie.
Neither Batman Begins nor The Dark Knight is a cliffhanger. Both movies end their stories as presented during the movies. Leaving Wayne Manor rebuilt is not a cliffhanger, and neither is Gordon's narration of Batman's self-imposed exile, because the perpetrators have been brought to justice.
Episode III is not a cliffhanger, either. It resolves the events of the prequel trilogy, and sets up the next trilogy. Really, none of the prequels have cliffhanger-type storylines, because cliffhangers don't wait five to twenty years to resolve their stories.
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The re-recording of El Cid was perfect right out of the gate. The Indy box set gets better the more tweaking you do to it.
But my best two purchases of 2008 have nothing to do with film music. The first was my car. The second, well...the best is yet to come.
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Why did they even make T2 if Reese admits they broke the time machine in T1?
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I think the reason for this is that many movie trilogies originate as "experimental" first movies. What I mean by that is, there may or may not be a framework in place to make sequels, but it depends on how the "first" movie performs at the box office. That's why Back to the Future I, Pirates I, and Star Wars all function as standalone movies. They are enriched by their sequels but they do not require them. If the first movie does well, it gets a sequel or two. When two sequels are planned, they benefit by having the middle chapter end in cliffhanger in order to make the third act a must-see. If you read enough Shakespeare and other classic lit, this is probably the format for a three-act play anyways: Intro, Climax/Cliffhanger, Resolution.
In a sense, the Star Wars story has a much deeper cliffhanger at its heart. Yes, "killing" Han is a nice touch, but the true cliffhanger is Vader's revelation, which totally threw the story on its head. It left audiences wondering if and why Obi-Wan had lied, if Vader was a liar, and what Luke's next move was. The carbonite story was Harrison Ford's way out of the story, but Lucas brought him back anyways.
I am pretty sure the Matrix trilogy employed this trilogy tactic, though I never saw parts 2 and 3 and don't want to.
In books, The Lord of the Rings utilizes this somewhat, too, only in that The Two Towers offered the cliffhanger ending of Shelob "killing" Frodo. But Sam figures it out, and rushes to save Frodo, and To Be Continued rolls across the page to lead into ROTK. Other than that, Fellowship functions as a prolonged introduction, but not a standalone story. And in the movies, the resequencing of events does not lend itself to cliffhangers of any kind.
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I like being able to crossfade or mix tracks. For some reason I never did that before. I would always take it on faith that I would shave enough silence from two tracks so they could butt up against each other with minimal gap or skip in between. Now I can make them slightly overlap so one track can fade out while the other is going strong. That's an absolute necessity in Temple of Doom's first 20 minutes.
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From the actual CD, I edited together Alarm! with Scherzo for Motorcycle and Orchestra. I also tacked The Catacombs (bootleg) onto the beginning of Ah, Rats!!!, a short bootleg segment onto the beginning of Escape from Venice, and the Blasphemy bootleg segment onto the beginning of To Berlin, which itself was cut from Marcus Is Captured.
The editing guide does describe how to put The Boat Scene onto the end of Indy's Very First Adventure, and also glue most of the finale tracks into each other. This is something I didn't see the need to do.
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I think now that we all have ripped our own superior copies of the Indy Box Set, we should package them up and mail them to each other around the world. Just to recreate the long arduous wait endured by King Mark as his box sat on the Canadian border for three weeks.
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Eh, the whole soundtrack to Gettysburg already sounds like this. I used to love that score so much, and now it just sounds...empty.
But hats off to the keyboardist, he is phenomenal.
JWFan Thematic Tournament- Semifinal 2
in General Discussion
Posted
Yea, here's your 50/50. The computer will randomly eliminate half of the choices, leaving one and the correct choice. Um...Pick The Imperial March.