Mr. Breathmask

We have standing tickets to the Saturday concert anyway. 

Surprise encore!
 
 
Didn't expect the first one. My feet are killing me, but this was amazing. I look forward to sitting down at tomorrow's concert. 

Surprise encore!
 
 
Didn't expect the first one. My feet are killing me, but this was amazing. I look forward to sitting down at tomorrow's concert. 

Surprise encore!
 
 
Didn't expect the first one. My feet are killing me, but this was amazing. I look forward to sitting down at tomorrow's concert. 

We have standing tickets to the Saturday concert anyway. 

We have standing tickets to the Saturday concert anyway. 

Touchdown!

We're leaving in five minutes. Yay! See you in Vienna, guys!

We're leaving in five minutes. Yay! See you in Vienna, guys!

We're about to drive for the airport. I'm actually kind of nervous. This is crazy. 

We're about to drive for the airport. I'm actually kind of nervous. This is crazy. 

I'm still hoping he'll add either Journey to Austria or The Austrian Way to the programme. Just because.

I'm still hoping he'll add either Journey to Austria or The Austrian Way to the programme. Just because.

The troll sequence is so prominently referenced in The Lord of the Rings, there would be riots in the streets if they hadn't included it in The Hobbit!
 
I mostly find the exposition in An Unexpected Journey to be hindering to the pace. Never mind that it takes Bilbo a goddamn 45 minutes to start on his quest. At least those 45 minutes are evenly paced, if slow. But when he finally leaves Bag End and the movie seems to start in earnest, we get the introduction of Azog and the flashback to the fight at Moria and the movie grinds to a halt again. It is also the first time the film really can't seem to make up its mind whether it's about Bilbo or Thorin - a problem that only becomes more prominent as we progress through the trilogy.

The troll sequence is so prominently referenced in The Lord of the Rings, there would be riots in the streets if they hadn't included it in The Hobbit!
 
I mostly find the exposition in An Unexpected Journey to be hindering to the pace. Never mind that it takes Bilbo a goddamn 45 minutes to start on his quest. At least those 45 minutes are evenly paced, if slow. But when he finally leaves Bag End and the movie seems to start in earnest, we get the introduction of Azog and the flashback to the fight at Moria and the movie grinds to a halt again. It is also the first time the film really can't seem to make up its mind whether it's about Bilbo or Thorin - a problem that only becomes more prominent as we progress through the trilogy.

But a film shot at a high frame rate played back at 24fps will still have the shorter exposure time inherent to the high frame rate. Which means less motion blur than we're used to, leading to a crisper look than usual.

I'm getting to see John Williams conduct an orchestra in real life. I still have a hard time believing this is something that will happen within three months from now. He could conduct Pirates of the Caribbean for all I care.

I watched A.I. again this week. It's a fascinating film, but I find it so disjointed and unsatisfying. It really feels like Spielberg inherited the first act from Kubrick, which raises all these interesting philosophical and ethical questions about love, simulation and the need for human connection, only for Spielberg to then get completely caught up in OMG IT'S A SCI-FI PINOCCHIO STORY and never saying anything interesting or definitive about these questions again for the rest of the film.
 
The score, however, is gorgeous.
 
It's been a while since I saw Minority Report, but I remember finding it a lot tighter and more thrilling. I'll probably revisit this soon, but for now I prefer this movie over A.I.

I guess. There's been an overkill of content lately and Star Wars just bores me these days. I even have a hard time getting into the ST scores.
 
Anyway, I got two tickets for this. Hurray! We'll be up on the balcony above the orchestra, but it looks like we'll have a good view of Williams conducting, so yay!

I don't recognize The Rebellion Is Reborn. Could that be from Episode IX? 
 
Oh. Its from TLJ. Never mind. 

I don't recognize The Rebellion Is Reborn. Could that be from Episode IX? 
 
Oh. Its from TLJ. Never mind. 

Our first long video is here!
 

 
4. Journey to the Island
2m3-3m1 To the Island
3m2 The Dinosaurs
3m2A The Entrance of the Park
 
After witnessing the shady deal between Dodgson and DENNIS NEDRY, we smash cut to a helicopter over a bright blue ocean. Williams’ first setpiece of scoring begins, kicking off nearly nine minutes of continuous score that is used in its entirety and lines up almost perfectly with the film. Williams showcases his many sensibilities in this track, starting with a playful tune for IAN MALCOLM's introduction. He then goes into full on bombast for the island approach and introduces the adventurous theme for the park. We’ll dub it the adventure theme for the purpose of this writing and it is indeed perfectly fitting theme park music. This is followed by an incidental piece for the car journey into the park, that plays around with the adventure theme.
 
Tense strings build as Grant spots something off-camera, before the theme from Jurassic Park (which I’ll refer to as the main theme) makes its first appearance as the visitors lay their eyes on a giant brachiosaurus. After Grant's astonishment, Williams rounds out the cue with a short march that takes us to the park’s visitor’s center. As Hammond takes our heroes inside, Williams lays a sped-up version of the main theme over a playful version of his march.
 
This track is notable for introducing the two big themes from the score (the main theme and the adventure theme) in their full force, before Williams starts offering variations. Thematically, this actually makes sense, since Jurassic Park is about to unravel. It may hold great promise at this point, but unlike a character’s journey leading from humble beginnings to a grandiose finale, this park is at its grandest during this sequence. So instead of introducing these themes in a reduced form and developing them throughout the score, Williams plays them for the first time at full orchestrated force instead.
 
Two minor edits were made in this video. First, the pause before the main theme starts is slightly longer than on disc, so I lengthened the pause accordingly. Second, the march for the arrival at the visitor's centre is slightly longer in the film and appears to be looped. I have trimmed the beginning of the footage for the cars' arrival by about a second to maintain the integrity of the track and the flow of the music.

There's at least two cues from the film that I know off the top of my head that are not on the Varèse release: there's a short cue for them exiting the elevator at the Sedgwick hotel and a short march for them preparing to face off with Gozer during the film's climax. I believe there was also a short cue on one of the bootlegs that supposedly accompanied Mr. Stay Puft's hat falling down to the street after he has been obliterated. This moment is not in the final film.
 
So it is possible some previously unreleased music has been dug up, but knowing Sony, I wouldn't get my hopes up.