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GAME OF THRONES


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3 hours ago, Incanus said:

Oh they are doing some kind of tour for the music.

 

Are you sure? Because the only actual statements about music on this poster are that they'll be performing the main title 850 times on eclectic instruments. And so people don't get bored, they're setting up a shitload of speakers to spice things up with battle calls and screams.

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A Game Of Thrones short story will be published this fall as part of Book Of Swords, an anthology edited by Hugo and Nebula award winner Gardner Dozois

 

The book’s description states that it will include “a new story from George R. R. Martin set in the world of A Game of Thrones!"

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  • 3 weeks later...

Has anyone told them that the point of using an orchestra is to not restrict yourself to a single featured instrument? Even if it's a concerto with a soloist, there's a reason it's usually called "Concerto for XY and orchestra".

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Oh please.  I want woodwinds to make a comeback - where they fit - but are we really lamenting this? This is a show that needs a certain sort of music.  I think they got the colors right, even if the music itself isn't often special. 

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I think it underestimates the versatility of the flute and other woodwinds.  And it's not like GoT is a monochromatic show, in terms of mood.  I can think of many places where traditionally delicate woodwinds would've made an effective counterpoint to the usual sound of the show, underlining lighter or more positive moments.

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Look into our past woodwind threads and you'll find I agree completely that much of their blacklisting is due to underestimation of their capabilities - the assumption that they're no use outside of what is essentially the Williams idiom. 

 

Bass flutes, bass clarinets, contrabassoons, might suit the aesthetic of this show.  But from the perspective of someone who appreciates the process of crafting and often limiting a pallate to suit a project, I think axing woodwinds here wasn't too egregious, certainly not as much as it has been in other places. 

 

 

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10 minutes ago, TheGreyPilgrim said:

But from the perspective of someone who appreciates the process of crafting and often limiting a pallate to suit a project,

 

 

I like this kind of thing too when it makes sense.  But this is hours and hours and hours and hours of music applied to a sprawling, wide-ranging story.

 

It might have been a more interesting decision to limit the palates for certain locations to develop distinct timbres for, say, North Westeros vs. the South or something.  I'm hardly an expert on the GoT scores though, the music's never seemed interesting enough to dig into deeply.

 

I just think saying "no flutes, ever!" for a show this big is kinda silly.

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25 minutes ago, TheGreyPilgrim said:

Oh please.  I want woodwinds to make a comeback - where they fit - but are we really lamenting this? This is a show that needs a certain sort of music.  I think they got the colors right, even if the music itself isn't often special. 

 

I think that's beside the point. The very nature of their conversation about music says some telling things about Djawadi's process. Flutes are dismissed here based on a single idiom of a very flexible instrument and a cello is painted as some innovative centrepiece for the score, when the music barely touches on the range of that instrument. It's just kind of amusing to hear such a basic way of discussing music. Why not say "We don't want anything that sounds like Williams" instead of banning flutes, or talk about modes, moods, and textures (obviously from a non-musical standpoint). Granted the interview isn't necessarily an accurate illustration of their process, but its nonetheless amusing to read. I think that's what people are arguing about here, not another woodwinds-revival lamentation.

 

Also while Djawadi can be quite effective in the show, and he's been growing as a composer over the years, let's not fool ourselves that the GoT scores are works of much colour.

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I think this "flute ban" is being taken a bit too seriously and literally. I'm sure Djawadi's allowed to use flutes in the score if he wants to, certainly nowadays! I would guess that "No flutes!" was just an over-simplified way of saying that the main themes should avoid the idyllic/rural/Celtic character associated with so many fantasy scores in the past.

 

You can hear upper woodwind contributions in this setting of the Baratheon theme from Season 1, for example.

 

 

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On 2/17/2017 at 4:08 PM, Disco Stu said:

My favorite Jeffrey Jones performance (although I also love him in Deadwood).  Too bad he was essentially blacklisted after he turned out to be a pedophile!

 

It's too bad a pedophile isn't given good acting opportunities?  dafuq?

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1 hour ago, Jay said:

 

It's too bad a pedophile isn't given good acting opportunities?  dafuq?

 

I was being sarcastic. More a shame in general that he's a creep because he was such a great character actor

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  • 3 weeks later...

So is this poster hinting that Dany's dragons will make it north of the wall this year?

 

Oh wait, winter arrived so its snowy everywhere except Dorne now right?

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I think the implication of the final episode of last season is that it will be snowing everwhere now.  I think right in Episode 1 King's Landing will be snowy.  But yea, who knows for sure until the first trailer

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I don't think that the Citadel's determination of the onset of winter automatically coincides with sudden snowfall all over the continent! And I would imagine that, from a practical point of view, snow can be a pretty troublesome phenomenon to conjure up during filming (particularly in the sort of location that they would be using for King's Landing). I would expect a dull and dreary King's Landing this year, with maybe some snow in the later episodes as winter takes a firmer hold.

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Actually, I was wrong. There is a trailer for the announcement of the premiere date (but no new hashtag).

 

 

2 hours ago, Jay said:

So is this poster hinting that Dany's dragons will make it north of the wall this year?

 

There's also this:

 

 

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