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The one cue blows you away each time.


Kevin

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Neil I am sorry, I try to respond something to your post, but I can't help I just burst out in laughter, you make me laugh.. wounderful, If I wouldn't know better I would think your post was written by a 8 year old child :blink:

I know stefan is not an idiot.

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1) Jurassic Park - Theme, where the tutti theme starts

2) Star Wars - Throne Room

3) Flight to Neverland (opening)

4) Raiders March (opening)

5) Superman March, where the theme kicks in.

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I've been discussing her opinion. I went after the opinion. She chose to come after me, the poster. There is a huge difference there. She can like "Anakin's Betrayal" all she wants. I didn't call her names over that, nor would I. I respect her opinion but I refuse to tolerate name calling. That's not what happens in a good discussion.

Neil

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I respect her opinion but I refuse to tolerate name calling

Sorry Neil, but according to the reply you gave, you don't respect it. And no one's name calling. Yet.

Koray's right - you're just provoking people.

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"The Enterprise"

"Godzilla Under The Sea"

"The Battle Of Yavin"

"E.T.'s Adventure On Earth"

"Love Theme From Superman"

"The Hunt" (Planet Of The Apes - Goldsmith)

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"The Enterprise" has always been a favorite...never knew so many others loved it as much.

Also:

"The Ultimate War"

"Hedwig's Theme"

"Look Down, Lord"

"The Shark Cage Fugue"

"The Battle in the Snow"

"The Mine Car Chase"

"Scherzo for Motorcycle and Orchestra"

Non-JW:

Main Theme from "The Day the Earth Stood Still" (Herrmann)

Overture from "Pee-Wee's Big Adventure" (haha) (Elfman)

Battle in the Mutara Nebula - such an obvious but creative "borrowing" of "The Battle on the Ice" from Prokofiev (Horner)

The Battle on the Ice (Prokofiev)

Lux Aeterna (Ligeti)

La vita e bella (Piovani)

Dracula - The Beginning (Wojeich Kilar)

...and like a million others.

This is probably more than anybody really needed from one person...! :blink:

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I respect her opinion but I refuse to tolerate name calling

Sorry Neil, but according to the reply you gave, you don't respect it. And no one's name calling. Yet.

Perhaps your definition of name-calling differs from mine. I see her responding with "idiot" to one of my posts. What would you call that?

And yes I absolutely provoked a discussion about music. That's what this board is about. Sadly, the music part of that seems to have been lost in this thread.

Neil

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If I were playing the my-personal-taste-is-tantamount-to-undeniable-fact game, Neil, I'd interject here that "Anakin's Betrayal" is twice as good as "The Enterprise." But I'm not. So I won't. :blink:

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I just gave "Anakin's Betrayal" a listen. It sounds so generic. The choir makes it seem like every "Lord of the Rings" knock off, trailer music written today. This guy wrote Superman?

Neil

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I've never heard music written specifically for trailers that dealt with such complex melodic ideas, or that managed to sound so...not cheap. And I've waded through a fair amount of generic trailer music.

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Whoo! I have too many favorites to pick just one, but I'll pick two from each of my favorite composers :blink:

"Arrival of the Mothership"

"A Drive" a.k.a. "A Hard Decision"

"A Bomb in the Hotel"

"Korben Under Fire"*

"Dr. Tyrell's Owl"

"Closing Titles from The Bounty"

"Bank Robbery (Prologue)"

"The Bait"

*=bootlegged

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I just gave "Anakin's Betrayal" a listen. It sounds so generic. The choir makes it seem like every "Lord of the Rings" knock off, trailer music written today. This guy wrote Superman?

Neil

ifindyourlack128584733593503986.jpg

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I think Neil's hatred of Lucas and the prequels colors his judgement about the scores. Lament (my preferred name) is an absolutely fantastic piece of music, one of my all time favorite Williams cues and the pinnacle of what I consider a great score. Disagree with that if you want, but it's certainly miles ahead of any generic trailer music.

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The Enterprise and Leaving Drydock from: Star Trek: The Motion Picture.

The Battle Of Hoth from: Star Wars: The Empire Strikes Back.

Escape / Chase / Saying Goodbye from: E.T..

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Perhaps your definition of name-calling differs from mine. I see her responding with "idiot" to one of my posts. What would you call that?

And yes I absolutely provoked a discussion about music. That's what this board is about. Sadly, the music part of that seems to have been lost in this thread.

Steef calls people "idiot" all the time in jest, it's obvious she wasn't attacking you. She said as much by referencing Stefan. You implied that she didn't understand the question with your first post, that's not challenging her opinion or her answer to the thread topic.

There are definitely different standards for different people around here.

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I think Neil's hatred of Lucas and the prequels colors his judgement about the scores.

"General Grievous" is a cue that I enjoy on the ROTS album and probably could repeat over and over again.

But it's no "Enterprise".

Neil

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I think Neil's hatred of Lucas and the prequels colors his judgement about the scores.

"General Grievous" is a cue that I enjoy on the ROTS album and probably could repeat over and over again.

But it's no "Enterprise".

Neil

Fair enough. And no, it's not. But few things are.

Personally I enjoy Leaving Drydock just about as much as The Enterprise.

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I believe the General Grievous cue was well received amongst members here at the time of the score's release.

It actually sounds like Williams realized for a moment he was scoring a Star Wars film.

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I liked General Grievous at first and didn't like Grievous and the Droids much. That opinion has now reversed. The former doesn't seem to go anywhere or have a structure like you'd find in an Indy action cue.

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"General Grievous" really grew on me, to the point where I can now declare an unbridled passion for it. It definitely has structure, it just doesn't lie in the notes but rather the rhythm (as I mentioned in a previous thread). It is so intense and pounding...it's fantastic.

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Well, let's not forget that "General Grievous" is actually three cues combined into one, with part of the second one reprised at the end. So there can't really be any expectation of intentional overall structure. That's not to say that any of the three separate cues really have their own explicit, organized structure, either...but each has its own motif that it develops and expands upon in interesting ways. I personally find the first one to be extremely inventive and enjoyable, particularly at the beginning; the second one tends to annoy me with the shrieking woodwinds and that weird trumpet melody; and the third one returns to amazingness, introducing a brilliant 7/8 motif that could have worked very well as a secondary theme for Grievous in the entire film. I prefer to listen to them as separate cues, or at least with the second two separated from the first, and with the missing bar or two between them.

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I also happen to understand Steef's sense of humor. I'm not sure Miss Padmé has one.

Neil

Those who haven't been here very long can't understand Steef's humor. I too understand his humor since I've been around long enough to know it.

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For me, Harry in Winter - Patrick Doyle - The Goblet of Fire

i hate that cue .It's the same thing played over and over for 3 minutes .No shred of cue development

I agree. I've never been impressed by the score; quite uninspired and boring imo. But this one cue is furthermore extremely schmaltzy; I actually consider it annoying. Guess taste is really nothing to argue about :-)

Swimming from Water Horse is on my list of extremely good pieces that I can listen to over and over again. Others would be The Blue Planet from (surprise) The Blue Planet by George Fenton, Buckbeaks Flight, Father's Study, Journey to the Island from Jurassic Park, Prologue and Main Title from Dune (Toto), Cerebro (or whatever the cue was called) from X-men 2, Discovery of the Treasure from CutThroat Island, etc, etc...

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For sheer power:

"The Crusaders in Pskov"- Alexander Nevsky

"Wreckage and Rape" (the first part at least)- Alien3

"Death and Transfiguration"- Hancock

"Opening Titles"- Vertigo

"Urlander's Mission/Main Titles"- Dragonslayer

"Main Title"- Spartacus

There's more but these come to mind at present.

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Well, let's not forget that "General Grievous" is actually three cues combined into one, with part of the second one reprised at the end. So there can't really be any expectation of intentional overall structure. That's not to say that any of the three separate cues really have their own explicit, organized structure, either...but each has its own motif that it develops and expands upon in interesting ways. I personally find the first one to be extremely inventive and enjoyable, particularly at the beginning; the second one tends to annoy me with the shrieking woodwinds and that weird trumpet melody; and the third one returns to amazingness, introducing a brilliant 7/8 motif that could have worked very well as a secondary theme for Grievous in the entire film. I prefer to listen to them as separate cues, or at least with the second two separated from the first, and with the missing bar or two between them.

I love the first cue, the second cue is my favorite of the three, and the third is my least favorite (though still good).

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Discovery of the Treasure from CutThroat Island, etc, etc...

I was listening to this vastly overrated score today .Yes this cue is the only one I put aside so far to include in a random cue compilation

General Grevious is the only cue from RotS that bores me

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"Grievous Speaks To Lord Sidious" is indeed a great cue. Especially the first minute. My least favorite RotS cue is probably "Grievous and the Droids," which is bad at all.

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