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Memoirs of a Geisha


indy4
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Making one decision and standing by it forever is just not human nature. What if you took that attitude with everything in life? You might never get accustomed to broccoli because you hated it when you were a kid. You might never notice how pretty that girl in your algebra class really is if you look past the glasses. You might choose the wrong college and not see the need to transfer. You might end up in a dead end job with no prospect of enjoyment or wealth. You might... I mean, you get the idea. :)

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If one day you change your mind that's great, I'm just saying you shoudn't be forcing yourself to change it and that it definately shouldn't change because someone tells you "oh but listen to that trumpet, it's awesome".

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Williams was impressed with the book and immediately thought of cello to portray the character of Sayuri, of course not knowing that he would be scoring the film at any point. He knew that Spielberg had acquired the rights to the novel so there was an inkling of it being made into a film. Williams also thought of Yo-Yo Ma from the beginning, actually sending the book to him and talking to him about the possibility of scoring the film and the idea of cello. And later when the film was announced Williams did what by his own words he has done never before: He actively sought to score the film, asked for the assignment. This certainly shows how inspired and impressed Williams was by the story.

First let me say how wonderfully insightful your post was. Nt that I needed any explanation, as I'm one of those who fell in love with this music the second I've heard it.

Anyway, just thought you may like to know, that acording to what I've read, it was Williams who brought this one to Spielberg's atention. Williams got two copies of it after reading it, and sent one to Ma in the east coast, and another to the office next door, Spielberg's one.

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There is only one way to make me leave!

I listen to music for enjoyment, I'm not gonna waste time with something I don't like.

Williams scoring a whole bunch of Memoirs of a Geishas till death does he part?

Anyway, just thought you may like to know, that acording to what I've read, it was Williams who brought this one to Spielberg's atention. Williams got two copies of it after reading it, and sent one to Ma in the east coast, and another to the office next door, Spielberg's one.

Can he afford the shipping for that?

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Usually if an album clicks with me, it's rarely before my third or fourth listen.

It's always been the third listen for me as long as I can remember, that's when I feel certain that I want to get into it deeper or just put on the "once a year or so" shelf. Theoretical shelf.

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I agree with most of the sentiments here. Music, for me, is always more effective after it has grown on me (some scores more than others). I remember being bored to death by my first listen of Saving Private Ryan, but after a while is has grown on me a lot. Even KotCS didn't give me shivers the first time around. Now, sometimes I can tell from a first listen that I'm going to grow to love a score (such as in the latter example) based on the type of music, but sometimes the only way to really know if I like something is to give it some time.

For me, if a cue knocks my socks off on the first go then often times it will lose effect over time. For instance, I remember before I was really into collecting soundtrack I heard the trailer music for The Two Towers ("Requiem for a Dream/Tower"), and it amazed me. I searched for a release of it, and I finally found it, but these days...I don't remember the last time I listened to it. Even some of Williams' works, such as Jurassic Park, seem to lessen in awesomeness over time (though JP is still a good score to me).

I also agree with those praising the Geisha Williams/Ma duets--absolutely gorgeous, I think.

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Williams was impressed with the book and immediately thought of cello to portray the character of Sayuri, of course not knowing that he would be scoring the film at any point. He knew that Spielberg had acquired the rights to the novel so there was an inkling of it being made into a film. Williams also thought of Yo-Yo Ma from the beginning, actually sending the book to him and talking to him about the possibility of scoring the film and the idea of cello. And later when the film was announced Williams did what by his own words he has done never before: He actively sought to score the film, asked for the assignment. This certainly shows how inspired and impressed Williams was by the story.

First let me say how wonderfully insightful your post was. Nt that I needed any explanation, as I'm one of those who fell in love with this music the second I've heard it.

Anyway, just thought you may like to know, that acording to what I've read, it was Williams who brought this one to Spielberg's atention. Williams got two copies of it after reading it, and sent one to Ma in the east coast, and another to the office next door, Spielberg's one.

Thank you Miguel. I did not know that Williams actually suggested this book to Spielberg. Perhaps Williams was already secretly wishing for Spielberg to be so impressed with the novel that he would try to make it into a film so Williams could score it. :P

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I agree with most of the sentiments here. Music, for me, is always more effective after it has grown on me (some scores more than others).

Again, that's how it works. You have to learn the music so that you can recognize it. It's one of THE reasons why people listen to music repetitively. Only then you can decide whether you really like it or not. What KS says doesn't make any sense.

Alex

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Again, that's how it works. You have to learn the music so that you can recognize it. It's one of THE reasons why people listen to music repetitively. Only then you can decide whether you really like it or not. What KS says doesn't make any sense.

Learn the music? There's nothing to learn. Play me something from a score I own, chances are I'll be able to recognize it. I listen to music repetitively because I enjoy it, not so I can discover something profound hidden inside. That doesn't make sense.

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Actually, in my opinion, it makes perfect sense. With a lot of great music, you simply can't grasp it all with just 4 listens. You listen to it repeatedly because you enjoy it, no doubt, but you will also discover new things in the music with each subsequent listen.

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Again, that's how it works. You have to learn the music so that you can recognize it. It's one of THE reasons why people listen to music repetitively. Only then you can decide whether you really like it or not. What KS says doesn't make any sense.

Learn the music? There's nothing to learn.

Amazing. :P This one is your best yet. What you are saying is that you know and understand a piece of music during the first listen.

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You listen to it repeatedly because you enjoy it, no doubt, but you will also discover new things in the music with each subsequent listen.

Certainly, but that's not the main reason to listen to music.

Again, that's how it works. You have to learn the music so that you can recognize it. It's one of THE reasons why people listen to music repetitively. Only then you can decide whether you really like it or not. What KS says doesn't make any sense.

Learn the music? There's nothing to learn.

Amazing. :P This one is your best yet.

You said "You have to learn the music so that you can recognize it." Like I said, there's nothing to learn. Naturally by listening to music over and over you'll be able to recognize it, it's called memorization.

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Actually, in my opinion, it makes perfect sense. With a lot of great music, you simply can't grasp it all with just 4 listens. You listen to it repeatedly because you enjoy it, no doubt, but you will also discover new things in the music with each subsequent listen.

Our brain tries to find the patterns, we can not help it. If you don't learn it (as KS claims), you can't recognize or remember it either.

You said "You have to learn the music so that you can recognize it." Like I said, there's nothing to learn. Naturally by listening to music over and over you'll be able to recognize it, it's called memorization.

The human brain LEARNS to remember something by repetition.

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:P

I think there is some music you can kick to the curb after one or two listens.

It just depends on the listener and what they want out of the music. Some music reaches a point where there's nothing more to pull from it. Of course the flip side is that you can find a score that you constantly discover something new or meaningful each time you listen to it.

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I think this thread (once again) shows that Koray is either an idiot savant, or an idiot!

Well, maybe he's a late-bloomer. It's either that or he's a 'rain man'.

Alex

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Like most Giacchino scores.

For me, his scores are more often the type that I NEED to listen to many times before I can appreciate. I've had mediocre to downright contemptuous opinions on some of his work in the past, only to find myself falling deeply in love with those same works later on. Made me very glad I gave them a chance.

But yes, some music really can just be kicked to curb after hearing it once or twice. It just has to be pretty dang bad for that to apply.

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But yes, some music really can just be kicked to curb after hearing it once or twice. It just has to be pretty dang bad for that to apply.

That's what I've been saying.

I don't demand instant perfection on the first listen. If it immediately connects, awesome, I love the score. If it's good, then fine, that's what it is. But if I don't enjoy the score at all I won't go back to it for awhile. I won't dismiss it completely, in a couple months or so I'll probably give it another go, and if nothing changes then it's not for me.

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