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Posts
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Posts posted by Hlao-roo
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1. Apollo 13
2. The Spitfire Grill
3. The Land Before Time
4. The Journey of Natty Gann
5. Sneakers
6. An American Tail: Fievel Goes West
7. The Mask of Zorro
8. Legends of the Fall
9. The Rocketeer
10. Searching for Bobby Fischer
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Mighty Morphin Power Rangers: The Movie (Revell)
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Trevor Rabin scored Armageddon.
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NP: "The Trees" from The Spitfire Grill
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There is nothing that shaped my movie-going experience more than the musical genius of James Horner. He will live on through the ages.
— Rob Lowe (@RobLowe)
June 23, 2015 -
<blockquote class="twitter-tweet" data-partner="tweetdeck"><p lang="en" dir="ltr">RIP James Horner. One of my biggest influences and one of the main reasons I decided to become a composer. My thoughts are with his family.</p>— Neal Acree (@neal_acree) <a href="
23, 2015</a></blockquote>RIP James Horner. One of my biggest influences and one of the main reasons I decided to become a composer. My thoughts are with his family.
— Neal Acree (@neal_acree)
June 23, 2015
<script async src="//platform.twitter.com/widgets.js" charset="utf-8"></script> -
http://mashable.com/2015/06/22/composer-james-horner-plane-crash/
Horner's agency did not immediately return messages left Monday evening, and his lawyer told Mashable only that no one had heard from Horner since the crash was reported Monday morning about 60 miles north of Santa Barbara.
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Please no.
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"Healing" from Rosewood.
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Well I just think this is the best score Williams has ever written and probably ever will write.
No, there is another.
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For strictly personal reasons, '93. Started a fairly profound relationship with a certain composer.
Indeed, Horner's output that year was prodigious, with scores for ten films.
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You might have more luck at the following address:
Mr. William Ross
Gorfaine/Schwartz Agency
4111 West Alameda Avenue, Suite 509
Burbank, CA 91505 -
Brilliant track.
A brilliant score.
Indeed, John Neufeld's orchestrations are excellent.
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Giacchino has mastered Williams’ vocabulary in the service of making his own fresh statements. A lot of this fluency manifests on the level of tone color: Like Williams, Giacchino favors epic brass lines (especially in the gorgeously orchestrated horns) here, and he occasionally indulges in Williams’ penchant for wind and pitched percussion flourish as well. But it’s in the arena of melody that we see just how simpatico Giacchino and Williams really are. Much of the indelibility of the original Jurassic Park music is due to its brilliant simplicity. At root, the whole structure is built on the breathtaking power of disjunct motion in a melody—the space between the notes leaves us hanging in midair, which makes finally landing on the next note all the more satisfying. That—combined with Williams’ skill at elaborating basic melodic cells into grand suites of music (Jurassic Park’s “da-do-da-ba-ba” kaleidoscopes across that score much like Beethoven’s “ba-ba-ba-bum” does across the Fifth Symphony)—produced a tightly constructed masterpiece. Giacchino has smartly taken a similar tack here, elaborating on both his own and Williams’ fragments across the score—so deftly, in fact, that I found myself laughing out loud at a number of moments where the writing coyly suggested the return of one theme only to skip off in a different direction.
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Someone clue me in on those as well?
I think there was an interview where Williams humblebrags that he told Spielberg he needed a better composer than he to score Schindler's List (this was a 1993 Spielberg film about the Holocaust), with Spielberg agreeing but saying that any such composers were all dead. There's probably a link available somewhere on the site. As for the thing about Williams not reading scripts before scoring, that's news to me.
Cool, I didn't know that he writes 10 line sketches that are basically complete when they go to the orchestrator. I thought Pope embellished quite a bit; isn't that what orchestrators do?
Anyway, great factoid. Definitely so much different from what most composers do now!I also think it's cool to read he's old school and writes at the piano with pen and paper. But I agree with the author of the article: it's striking that a composer so readily amenable to movies with futuristic content would be so resistant to using technology in the compositional process. It's almost as though those two aspects are unrelated.
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I actually really like what I'm hearing from this score.
Agree. I don't care what anyone else says--this is the best JP score I've heard in a long time.
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So you have feet right? And then inches? What's after that? Whats the millimeter equivalent? And how many are there in an inch?
I don't know, but I blame Jeff Beal for the Mars Climate Orbiter explosion.
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When was the last time a John Williams score was micromanaged?
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You'll forgive me if I don't feel like reading anything from RealClear....
Why? They cull from a pretty broad spectrum of persuasions.
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You're right, Williams can't do autopilot well. Really, only Goldsmith could.
In fairness, Goldsmith had more practice.
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I would recommend Parnassus but that's not among the most popular.
All the more reason to recommend it. Thanks.
Who should take over on STAR WARS after Williams is gone?
in General Discussion
Posted
I'm sad that film composers don't change the world anymore.