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Docteur Qui

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About Docteur Qui

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    Sure Jan

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  1. This is why I come to JWFan, for little treats like this. I had not noticed this at all previously but I can hear it clear as day now. Thank you @Ludwig and thank you @Falstaft!
  2. I just listened to all of Ach-to Island and the end of Battle of Crait, they sound note-for-note with the originals (aside from the inferior performance and obvious mix differences). I don’t hear any transcription errors. I still have nightmares about the Silva Screen/Prague transcriptions of Indiana Jones tracks, if you want a really bad transcription listen to The Basket Game from that album. Yikes. (here it is for reference:) https://open.spotify.com/track/6cN6YK9KgI0qdFDrNto66f?si=RCqVFokTRKK1XPxBJ9hKYg
  3. The reworking of Han Solo and the Princess is one of the most delightfully thoughtful and meta pieces JW has ever written. I see the whole work as a resolution to the deeply passionate, intense and tragic longing of the original. It’s literally the story of Han and Leia as they are pushed apart by a personal tragedy and reunited again in their later years. The instrumentation itself implies maturity and a more muted emotional expression, deep cellos and and woodwinds taking more of a role than the brilliant high strings and shiny brass of the original. Then there’s the melody itself, with the second phrase no longer oozing with impending tragedy but resolving in a more conventional matter, still bittersweet and tinged with sadness but leaving us with a full stop instead of a question mark. The fates of these characters is now known, the story complete. I recommend listening to the Art of the Score podcast on ESB, they touch on this arrangement when they explore this theme and come to a similar conclusion.
  4. Yeah that's completely fair enough. But I thought the real tragedy was when she turned, her death was just the logical conclusion of that action. Might've helped if Kit Harrington had the chops to pull off the death scene, or we had more time with them together.
  5. I detach myself from most media these days. Makes for much more entertaining viewing, and you don’t have to get caught up in the emotional discourse surrounding it. Star Wars has taught me well in that regard.
  6. That’s not to say that there weren’t problems with the last few seasons. I particularly disliked Arya’s storyline in Braavos (how do you make an assassin storyline so boring?) and the Terminator-Waif. And the build up to Bran being the king was pretty paltry. But the big episodes in season 8 were thrilling and well-realised, culminating in the genuinely shocking and disturbing destruction of Kings Landing.
  7. Are people still complaining about Daenerys? I thought it was as well-handled as it possibly could’ve been, and the best part about the last season. If they’d laid any more breadcrumbs about her ultimate fate it would’ve been labelled too obvious and predictable. I genuinely think a lot of people were just upset they’d been rooting for a self-aggrandising genocidal maniac for the majority of the show. Which was the entire point.
  8. You know when I found out that there was over 11,000 entries I was, as a composer, overwhelmed with despair. How could I compete in an industry with so many others? Then I saw the vitriolic reaction a good half of them had to the winner and I suddenly felt a lot better about myself. The sheer lack of awareness is staggering. The whole thing is a microcosmic producer/director/composer relationship in a nutshell; they're literally disagreeing with the judgement of the show's creators and think they know better. They'll never break in with that attitude.
  9. The most puzzling comment I keep seeing is some kind of variation of this: “It’s all well and good that they chose something that went outside of the box. But I just wish they’d told us we could do that in the competition rules” Fundamentally explains the problem in my opinion. These people don’t know what “outside of the box” means. Reminds me of people who complain about filmmakers subverting expectations, and then point to Marvel films as “subverting done right”. If Marvel did it, it wasn’t subversion.
  10. Did he really alter them, or just add in his own? For what it’s worth I didn’t mind the winning entry. It made that terrible scene so much more enjoyable. oh my lord, those YouTube comments are hilarious. so many cranky people. I never entered, I knew as soon as it reached 1000 entries that anything I did would be unlikely to win, it didn’t seem worth my time.
  11. Maybe I’m just biased because it was so poorly executed in the show. The guy in the scene isn’t injured, he’s drugged up with a substance called “genre” that changes his hallucinations/emotional reactions suddenly to align with common film genres, like noir, romance etc. It’s a nifty idea but atrociously realised in the show. The scene was originally tracked with Wagner’s “Ride of the Valkyries” for some reason. The editing is glacially slow, the acting is flat-out weird and there’s no other cars in the middle of this supposedly high-octane sequence because they clearly only had 3 or 4 of the futuristic cars in their budget.
  12. Fascinating that they chose possibly one of the most anaemic action sequences ever put to television for this competition.
  13. The first 6 notes of the main theme are exactly the same notes as the ostinato.
  14. If you’re done with this discussion then just be done with it, stop responding to him. I made the choice 18 months ago (god has it really been that long?), and my life is better for it. Free yourself!
  15. Potter. Hook is incredible, but it’s an exhausting listen. It’s probably the most extra score JW has ever done.
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