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The Adventures of Tintin on CINEMATIC SOUND


Erik Woods

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It's strange that from the tracks I've heard, and I would believe in all the score, Tintin's theme is never completed like other themes, eg. indiana jones theme.

Structurally speaking for the music theorists, is like the first half of a "sentence" with the 2 renditions of the basic idea which constitute the presentation, but we never hear the continuation.

That's true but that kind of short form is acceptable in an animated film, I'd say. There's so much happening in those that you need to jump straight to the point, so to speak.

Karol

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It's strange that from the tracks I've heard, and I would believe in all the score, Tintin's theme is never completed like other themes, eg. indiana jones theme.

Structurally speaking for the music theorists, is like the first half of a "sentence" with the 2 renditions of the basic idea which constitute the presentation, but we never hear the continuation.

Maybe Williams has the sequel in mind for that. Wouldn't that be a profound way of filmscoring?

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Besides, I'm not trying to convince anyone of anything.

This is NOT Indiana Jones IV all over again.

Yup. Got you there. ;)

Oh for fucks sake you gormless tit I was just stressing my own feelings towards the music. Anything more than than that you've read into it yourself you stupid internet person.

Go away. You're spoiling it, you anally retentive fuck!

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It's strange that from the tracks I've heard, and I would believe in all the score, Tintin's theme is never completed like other themes, eg. indiana jones theme.

Structurally speaking for the music theorists, is like the first half of a "sentence" with the 2 renditions of the basic idea which constitute the presentation, but we never hear the continuation.

That's true but that kind of short form is acceptable in an animated film, I'd say. There's so much happening in those that you need to jump straight to the point, so to speak.

Karol

yes, it didn't bother me, just pointed it out. Of course it would be great to hear too a concert arrangement of the theme.

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I get the same feeling. Wouldn't it be incredible if Williams has already "completed" the theme, fleshed out its continuation, and kept it in the drawer for the sequel?

/And evidently I'm too slow for this thread, nevermind :P

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It's strange that from the tracks I've heard, and I would believe in all the score, Tintin's theme is never completed like other themes, eg. indiana jones theme.

Structurally speaking for the music theorists, is like the first half of a "sentence" with the 2 renditions of the basic idea which constitute the presentation, but we never hear the continuation.

Maybe Williams has the sequel in mind for that. Wouldn't that be a profound way of filmscoring?

well, i don't think it goes so deep.

Most themes of Williams in the last years aren't complete like in the old days which adopted classical forms (complete periods or sentences), so I think it's under this general veil. ( I hope I put it well, english isn't my native language)

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It's funny how Haddock's theme sounds and feels almost exactly like the burglar's theme in Home Alone. Karol

At first I made that same connection, but now that I've the theme so many times it has started to get a life of its own. I don't hear it anymore actually.

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Escape From Karaboudjan sounds a bit like Warehouse Escape in the beginning, then some Padme Falls-esque music, and some more KOTCS -like material... 2:02 sounds sooo familiar...why?

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It's funny how Haddock's theme sounds and feels almost exactly like the burglar's theme in Home Alone.

Karol

You make it sound like a bad thing.

Lee- who remembers the sublime similarities between Hook and Home Alone.

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It's strange that from the tracks I've heard, and I would believe in all the score, Tintin's theme is never completed like other themes, eg. indiana jones theme. Structurally speaking for the music theorists, is like the first half of a "sentence" with the 2 renditions of the basic idea which constitute the presentation, but we never hear the continuation.
Maybe Williams has the sequel in mind for that. Wouldn't that be a profound way of filmscoring?
well, i don't think it goes so deep. Most themes of Williams in the last years aren't complete like in the old days which adopted classical forms (complete periods or sentences), so I think it's under this general veil. ( I hope I put it well, english isn't my native language)

But - as opposed to even Williams' modern themes - Tintin's theme feels a bit too short, unresolved. It probably won't happen, but it wouldn't totally surprise me if Williams has something planned for the melody.

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My opinion so far.

It's very...very...very good.

But it won't be a classic score as well remembered as Jaws, Raiders, Jurassic Park or even Harry Potter.

There are a lot of neat themes, but they are not the type that scream out to you while you are sitting in the cinema.

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It's funny how Haddock's theme sounds and feels almost exactly like the burglar's theme in Home Alone.

Karol

Only in Capturing Mr Silk, where the orchestration is very similar. It stands quite apart in the other renditions

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But - as opposed to even Williams' modern themes - Tintin's theme feels a bit too short, unresolved. It probably won't happen, but it wouldn't totally surprise me if Williams has something planned for the melody.

Like the evolution of Anakin's Theme never happened.

The themes are good, but I can't see people walking out the theatre humming Snowy's Theme.

It's basically Azkaban quality. Maybe even slightly better. Yup, I really enjoy this one.

Karol

It is probably the best score since Azkaban.

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My opinion so far.

It's very...very...very good.

But it won't be a classic score as well remembered as Jaws, Raiders, Jurassic Park or even Harry Potter.

There are a lot of neat themes, but they are not the type that scream out to you while you are sitting in the cinema.

I think it's a bit early to say. I admit I never thought - upon first listens - that Harry Potter would become the (modern) classic it is now. But you're probably right in the end.

But - as opposed to even Williams' modern themes - Tintin's theme feels a bit too short, unresolved. It probably won't happen, but it wouldn't totally surprise me if Williams has something planned for the melody.

Like the evolution of Anakin's Theme never happened.

With Anakin's Theme, Williams had to works backwards. I think the concept of a theme evolving into another/more rich theme is something that caught his interest when composing The Phantom Menace. But the prequels never really gave him the opportunity/inspiration/freedom/time to go all the way with it. So it is imaginable that Spielberg/Jackson/Williams already agreed that Williams will score the sequel(s) and perhaps Williams thought: "This time I'm going to it right!". Of course I know Tintin doesn't undergo anything remotely similar to Anakin's transformation, but maybe Tintin - the moviestar - is designed to grow more into the role of a hero/adventurer as the series develop.

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Well there is only one thing that is really memorable in the samples is the heroic brass fanfare in Escape from Karaboudijain

Is that Tintin's theme?

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The Adventures of Tintin?

Nah, I don't feel this is a developed version of Tintin's Theme. More a stand-alone musical piece with some appearances of the theme.

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The Adventures of Tintin?

Oh don't aggravate KM. He would have wanted to hear something along the lines of Raiders March development.

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I bet a lot of the kick ass renditions of Tintin's heroic theme will be in the unreleased music.

Or maybe Picking Pockets was the Raider's style arrangement of the theme

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I personally think the whole plethora of other themes in the score make up for the simple and direct main idea which suits the rather direct and simple idea of the main character very well. This is not to say that I would not have wanted to hear a longer development of the idea in the score. But it works as a heroic exclamation quite well.

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It's more like Double Trouble or Buckbeak's theme. Very simple. I'm sure most people were disappointed with POA at first when they realized there is really only one long theme in that score.

Karol

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He already extends it a bit near the end of the Falcon track (about 30:30 in Erik's podcast), which sounds great, but is most likely just a momentary exclamation, not an integral part of the theme.

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He already extends it a bit near the end of the Falcon track (about 30:30 in Erik's podcast), which sounds great, but is most likely just a momentary exclamation, not an integral part of the theme.

I guess that is one of his most heroic moments in the film where his melody reaches the highest point of heroism and extension. It kind of strengthens slowly throughout the album becoming more and more pronounced with each new variation.

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I think Williams and Spielberg perhaps learned from the Indiana Jones series: if you bring the main theme in too early, it feels a bit obligatory and forced in later installments (read Spielberg's notes for the TLC soundtrack for example). Just a thought.

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The Sir Francis and the Unicorn samples are good a bit a bit MVish.

I think Williams and Spielberg perhaps learned from the Indiana Jones series: if you bring the main theme in too early, it feels a bit obligatory and forced in later installments (read Spielberg's notes for TLC soundtrack for example). Just a thought.

It's very unlikely Williams will score the sequel

Hopefully he''ll compose a full concert arrangement of Tintin's Theme to play at the Boston Pops and we'll get at least a crappy bootleg recording

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omg. This score is something I've waited for for SUCH a long time. This is Williams at the top of his game indeed! These themes are magnificent. I can't imagine how well this all works in contexts with the film. No generic action music here!

I can't get enough of this right now. It's been on repeat for hours.

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