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A.I. Artificial Intelligence (2001) - 2015 3CD set from La-La Land Records


Jay

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Interesting that Williams allowed "Cybertronics" to open the score on this new album. Whenever I reordered the promo or OST to fit chronological, I always tried to put something before it as I felt it was kind of an awkward way to start the score.

It's Spielberg's fault for not asking for any music for the opening logos, title card, info scroll, or prologue. Williams should have just written something anyway :P

Moving AI Theme instrumental from the end of the first disc to the start of it isn't bad.

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Nah, Harry Potter and the SW prequels are better

The Patriot too

Than A.I.? Really?

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The listening experience is just right. One interesting thing. I am on track 17 and I don't think I have heard a trumpet, trombone, tuba yet. My point is this is a very reserved score. Part of what I love so much about his old scores is how they develop and evolve over time. It seems track 17 (the rising moon) is the first time we get the big orchestra and this is about 50 minutes in. I love the restraint because when the big guns fire, it packs quite the punch. I also find the ghost of kubrick looms large. The first track feels like a nod towards the 2001 Gayane (Adagio) by Khachaturian. This is the best soundtrack purchase I've made in a long while.

On the whole I feel Williams made quite a few homages to Kubrick's musical eclecticism in this score. And yes the delibrate dramatic progression and restraint as you say are very evident in the music and I would not expect anything less from the composer. Williams also subtly interplays with the synthesized elements and the orchestral acoustic elements throughout to imply the dichotomy of mechas and humans respectively.

I love that little comical moment for Gigolo Joe towards the beginning of the Journey to Rouge City track. Those little things only Williams does so well

There is also the brilliant opening oboe solo when David sees the moon that just has that Williams magic to it. One of my personal favourite little moments that was yet to be released before this set.

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I think this is Williams best score of the 2000s. It's definitely among his best of all his film score output.

Not the very best, but among the very best, for sure.

Wow, I already got mine!! That was fast. I ordered it yesterday at noon and got it now. Listening bliss :) :) :music:

How about a nice pic of the set? :)

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Listening now...this is freaking gorgeous! I hope they give WOTW the same treatment. Also, I notice the roster of the players have a lot of the same people attached to SWVII.

What's missing from WOTW?

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The Mecha World is definitely my favourite. After that it becomes fuzzy

Karol

Mecha World is rather underrated, I agree. One of the best "journey music," no doubt. I love how JW brilliantly and intensely illustrates the cascading waterfall...it's almost heavenly music.
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Listening now...this is freaking gorgeous! I hope they give WOTW the same treatment. Also, I notice the roster of the players have a lot of the same people attached to SWVII.

What's missing from WOTW?

Quite a few sections actually.

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Listening now...this is freaking gorgeous! I hope they give WOTW the same treatment. Also, I notice the roster of the players have a lot of the same people attached to SWVII.

What's missing from WOTW?

Quite a few sections actually.

Anything substantially different from the rest? It's one of the few JW scores that I don't regularly listen to.

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Listening now...this is freaking gorgeous! I hope they give WOTW the same treatment. Also, I notice the roster of the players have a lot of the same people attached to SWVII.

What's missing from WOTW?

Quite a few sections actually.

I don't mind original album's length actually but would prefer to leave out some bits and include other unreleased material. I feel that there is about 10-15 minutes of material that wanders around with no real purpose. Escape from the Basket is a curiously assembled track. Not sure what is the point of editing several cues like this into one long sequence like this? Portions of this could be easily left out but would rather have Wood Walk instead somewhere in there.

But for that purpose I need the complete thing anyway.

Karol

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The listening experience is just right. One interesting thing. I am on track 17 and I don't think I have heard a trumpet, trombone, tuba yet. My point is this is a very reserved score. Part of what I love so much about his old scores is how they develop and evolve over time. It seems track 17 (the rising moon) is the first time we get the big orchestra and this is about 50 minutes in. I love the restraint because when the big guns fire, it packs quite the punch. I also find the ghost of kubrick looms large. The first track feels like a nod towards the 2001 Gayane (Adagio) by Khachaturian. This is the best soundtrack purchase I've made in a long while.

On the whole I feel Williams made quite a few homages to Kubrick's musical eclecticism in this score. And yes the delibrate dramatic progression and restraint as you say are very evident in the music and I would not expect anything less from the composer. Williams also subtly interplays with the synthesized elements and the orchestral acoustic elements throughout to imply the dichotomy of mechas and humans respectively.

The Khachaturian reference is pretty clear, imho, and likely very deliberate from both Spielberg and Williams. However, the chromaticism of the piece reminds me more of Bartòk's redolent first movement of Music for Strings, Percussion and Celeste.

One of the things I always loved about this score is how Williams tackled minimalist writing, likely to represent the robotic nature of the main character and the overall world of mechas. Shades of John Adams loom on "The Mecha World", as well as some Steve Reich influences (esp. in the use of mallet instruments), while Philip Glass seems to be a reference in the ostinato in "Abandoned in the Woods". However, Williams filters all these influences and makes them all his own, producing a unique sound.

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If anyone receives a shipping notification from SAE, will he say so?

I'm anxious! :unsure:

I haven't received notice yet. The website still says pending.
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They usually take their time. Wouldn't take their "status" as any confirmation.

Karol

I have received packages from SAE before they have sent me "Shipped" e-mail.

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If anyone receives a shipping notification from SAE, will he say so?

I'm anxious! :unsure:

We're in the same boat buddy!

The listening experience is just right. One interesting thing. I am on track 17 and I don't think I have heard a trumpet, trombone, tuba yet. My point is this is a very reserved score. Part of what I love so much about his old scores is how they develop and evolve over time. It seems track 17 (the rising moon) is the first time we get the big orchestra and this is about 50 minutes in. I love the restraint because when the big guns fire, it packs quite the punch. I also find the ghost of kubrick looms large. The first track feels like a nod towards the 2001 Gayane (Adagio) by Khachaturian. This is the best soundtrack purchase I've made in a long while.

On the whole I feel Williams made quite a few homages to Kubrick's musical eclecticism in this score. And yes the delibrate dramatic progression and restraint as you say are very evident in the music and I would not expect anything less from the composer. Williams also subtly interplays with the synthesized elements and the orchestral acoustic elements throughout to imply the dichotomy of mechas and humans respectively.

The Khachaturian reference is pretty clear, imho, and likely very deliberate from both Spielberg and Williams. However, the chromaticism of the piece reminds me more of Bartòk's redolent first movement of Music for Strings, Percussion and Celeste.

One of the things I always loved about this score is how Williams tackled minimalist writing, likely to represent the robotic nature of the main character and the overall world of mechas. Shades of John Adams loom on "The Mecha World", as well as some Steve Reich influences (esp. in the use of mallet instruments), while Philip Glass seems to be a reference in the ostinato in "Abandoned in the Woods". However, Williams filters all these influences and makes them all his own, producing a unique sound.

Indeed. I love how he takes all these familiar minimalist techniques and utilizes them to form a sound of his own. And this minimalist sound would permeate through a good many of his scores following this (from Memoirs, to Minority Report to even Star Wars). Love it.

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AOTC better than A.I.?

AOTC has its moments but I find it to be the worst SW score and one of Williams' most annoying. That love theme is the corniest thing he's ever composed and the Battle of Geonosis sequence was so terrible, he didn't bother writing anything for it.

We all hate TPM, but I think it's a better film than this schlock.

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If anyone receives a shipping notification from SAE, will he say so?

I'm anxious! :unsure:

We're in the same boat buddy!

The listening experience is just right. One interesting thing. I am on track 17 and I don't think I have heard a trumpet, trombone, tuba yet. My point is this is a very reserved score. Part of what I love so much about his old scores is how they develop and evolve over time. It seems track 17 (the rising moon) is the first time we get the big orchestra and this is about 50 minutes in. I love the restraint because when the big guns fire, it packs quite the punch. I also find the ghost of kubrick looms large. The first track feels like a nod towards the 2001 Gayane (Adagio) by Khachaturian. This is the best soundtrack purchase I've made in a long while.

On the whole I feel Williams made quite a few homages to Kubrick's musical eclecticism in this score. And yes the delibrate dramatic progression and restraint as you say are very evident in the music and I would not expect anything less from the composer. Williams also subtly interplays with the synthesized elements and the orchestral acoustic elements throughout to imply the dichotomy of mechas and humans respectively.

The Khachaturian reference is pretty clear, imho, and likely very deliberate from both Spielberg and Williams. However, the chromaticism of the piece reminds me more of Bartòk's redolent first movement of Music for Strings, Percussion and Celeste.

One of the things I always loved about this score is how Williams tackled minimalist writing, likely to represent the robotic nature of the main character and the overall world of mechas. Shades of John Adams loom on "The Mecha World", as well as some Steve Reich influences (esp. in the use of mallet instruments), while Philip Glass seems to be a reference in the ostinato in "Abandoned in the Woods". However, Williams filters all these influences and makes them all his own, producing a unique sound.

Indeed. I love how he takes all these familiar minimalist techniques and utilizes them to form a sound of his own. And this minimalist sound would permeate through a good many of his scores following this (from Memoirs, to Minority Report to even Star Wars). Love it.

Yes A.I. started something of a minimalism trend for Williams

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As disappointing as it is, I'd defend it over AOTC any day.

Attack of the Clones is a worse film, perhaps one of the the worst. All I'm saying is mate you don't need to use The Phantom Menace as a comparison. They're close enough.

Karol

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But TPM simply isn't as annoying as AOTC. I'd rather watch Jar Jar's antics and hear Jake Lloyd shout "yippie" over anything presented in that Episode Turd.

Episode Turd came out in 2005. Episode Eww is what we're talking about here.

Karol

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I have received packages from SAE before they have sent me "Shipped" e-mail.

I used to always get shipping emails from them in time. But as of my latest few orders, I don't get any, not before, not after the package arrives. I only just noticed today that my previous order has finally shipped yesterday (the one before the A.I. bundle, that one's still pending).

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Agreed. It's a wonderful set.

But TPM simply isn't as annoying as AOTC. I'd rather watch Jar Jar's antics and hear Jake Lloyd shout "yippie" over anything presented in that Episode Turd.

TPM > AOTC > ROTS

The Phantom Menace is the closest to being a good movie and Attack of the Clones has the "disaster factor" working in its favor. Revenge of the Sith is my least favorite. It's terribly paced and pretentiously over-dramatic.

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AOTC is ugly, terribly acted, nonsensical and utterly boring. TPM at least had some good production design. I mean, you can look at the thing and listen to John's music and be entertained. No so with AOTC.

(even this thread becomes a Prequel-basher. I love JWFan)


The Disc 2 version of Finding the Blue Fairy is the best version. The Titanic vocals are tolerable here.

Inside Dr. Know's kinda reminds me of EPCOT Future World music loop.

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AOTC is ugly, terribly acted, nonsensical and utterly boring. TPM at least had some good production design. I mean, you can look at the thing and listen to John's music and be entertained. No so with AOTC.

AOTC is ugly, terribly acted, and nonsensical, but I wouldn't call it boring. There's so much to gawk at. It's hilarious how miscalculated the romance is. Anakin is clearly a psychopath (and later in the movie, a murderer) yet Padme still falls in love with him for some reason.

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AOTC is ugly, terribly acted, nonsensical and utterly boring. TPM at least had some good production design. I mean, you can look at the thing and listen to John's music and be entertained. No so with AOTC.

AOTC is ugly, terribly acted, and nonsensical, but I wouldn't call it boring. There's so much to gawk at. It's hilarious how miscalculated the romance is. Anakin is clearly a psychopath (and later in the movie, a murderer) yet Padme still falls in love with him for some reason.

You're wrong! How could you even say that?!

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AOTC is ugly, terribly acted, nonsensical and utterly boring. TPM at least had some good production design. I mean, you can look at the thing and listen to John's music and be entertained. No so with AOTC.

AOTC is ugly, terribly acted, and nonsensical, but I wouldn't call it boring. There's so much to gawk at. It's hilarious how miscalculated the romance is. Anakin is clearly a psychopath (and later in the movie, a murderer) yet Padme still falls in love with him for some reason.

Prequel bashing deluxe. Wait till you see how hard episode VII sucks. At least nothing will be as bad, ugly and ruined as the Hobbit films!

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