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DANG IT! I "Ripped" Somebody Off!


skyy38

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I thought that I was being as original as one could be , in the now, when I wrote my own version of REY'S THEME.

A colleague of mine told me otherwise.

So, here's a challenge, if JW Fans are STILL as intelligent as I give them credit for, in spite of all the "clutter."

WHO did I rip off from and WHAT movie, according to the short quote illustrated?

DSCN6922.JPG

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40 minutes ago, skyy38 said:

I thought that I was being as original as one could be , in the now, when I wrote my own version of REY'S THEME.

A colleague of mine told me otherwise.

So, here's a challenge, if JW Fans are STILL as intelligent as I give them credit for, in spite of all the "clutter."

WHO did I rip off from and WHAT movie, according to the short quote illustrated?

DSCN6922.JPG

 

Ernest Gold's Exodus.

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20 minutes ago, Cerebral Cortex said:

Going out on a huge limb here and am going to say you took some inspiration from Rey's Theme from Star Wars: The Force Awakens as masterfully composed by Maestro John Williams?

 

I rewrote REY'S THEME because I was not happy with Williams version, and therefore would NOT take any "inspiration" from it.

5 minutes ago, curlytoot said:

 

Ernest Gold's Exodus.


Congratulations Curly!

Thanks to you, THIS will be a very SHORT thread!

Nice to know that someone is STILL on the ball!

...and it's back to the drawing KEYBOARDS for me!

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While I will admit I think most people are overreacting when they call the TFA soundtrack "bad music," I do think we should also be willing to rationally consider the notion that the TFA score might just be the absolute worst sludge of musical grammar ever spawned from the bowels of human consciousness.

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12 minutes ago, crumbs said:

The Force Awakens score is shit! I wish Hans Zimmer and Michael Giacchino had scored the film together, it would've been god-like.

 

Williams needs to retire. His music is too confusing with all those different musical instruments happening at once. Hans Zimmer's music is so much easier to understand because every instrument is playing the same notes at the same time, all the time. It makes the music more memorable.

 

I do wish he would go back to a more pronounced classical melodic approach. Sometimes I have the feeling I'm only hearing embellishments without a strong core theme. I can't image KM is humming tracks from TFA when he's taking a shower. I could be wrong though ...

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So far KM seems to have been underwelmed by it. So you are wong.

 

When was the last time JW really went for an old fasioned classical melodic approach? Harry Potter? And that was a bit of a fluke already.

 

TFA comes rather close to it though. It's thematically very rich. Though not quite as instantly accessible as his original trilogy scores.

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15 minutes ago, Stefancos said:

So far KM seems to have been underwelmed by it. So you are wong.

 

 

 

That's what I suspected. Can't you read?

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16 minutes ago, Alexcremers said:

 

I do wish he would go back to a more pronounced classical melodic approach. Sometimes I have the feeling I'm only hearing embellishments without a strong core theme. I can't image KM is humming tracks from TFA when he's taking a shower. I could be wrong though ...

 

Well the aforementioned post was satirical but I agree with your sentiment. I was alternating cues from ESB with TFA today and the difference between Williams' 80's and 10's sensibilities is vast.

 

He built each cue from his older scores around a strong core idea, and the orchestration branched out from that idea with confidence in its simplicity. His modern action writing is admittedly rewarding after multiple listens and the orchestration is stunningly complex, but it feels unfocused and unsatisfying by comparison. It doesn't tell a story musically in the way cues like The Asteroid Chase or Rescue from Cloud City did. I think this stems from Williams not wanting to re-use his old themes unless asked to, and his seeming disinterest in writing new themes that have the simplicity of his 80's ones.

 

That said, I'll still take it over the headache-inducing garbage Zimmer writes, and Giacchino's enjoyable but far too simplistic surface-level writing.

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2 minutes ago, crumbs said:

His modern action writing is admittedly rewarding after multiple listens and the orchestration is stunningly complex,

 

Sounds like hard work - the last thing you'd expect from a SW score. ;)

 

I find it not complicated at all, rather leaner and to the point compared to the splendor of his scores to, especially, ESB and TOD. But then, all those rhythmically driven shenanigans are more of an answer to the demands of the filmmaking style and less part of a cunning plan to get overly complex in his dotage.

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True, he probably gave up on spending weeks writing perfectly timed 4 minute symphonic masterpieces after the advent of that little tool called the AVID.

 

His modern music is almost designed specifically for looping, tracking and editing to accommodate the reality of modern post-production. Now that I think about, The Phantom Menace was probably the last straw. That and Lost World were really the turning point in his action writing style and both films had notoriously messy edits.

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Williams needed to pull a Patrick Doyle's Stepmom with Goldsmith once in a while. Just imagine:

 

ALIEN

Composed and Conducted by John Williams

 

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I feel like they used to have a rivalry that forced Williams to write better music. Now that he's unchallenged and unmatched in the industry he's able to get away with writing generic garbage like Rey's Theme.

 

I only hope he can one day match the aural orgasm that is Jablonsky's Optimus vs. Megatron.

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3 minutes ago, Quintus said:

 

Anyone who says TFA hasn't got strong melodies or themes hasn't bothered to actually listen to it, not properly. We were almost completely dumbed down to accept short little ditties and basic pop motifs until John Williams returned with a couple of swaggeringly confident themes which while not being immediately accessible are an absolute delight for anyone who appreciates and enjoys long and satisfyingly rich composition in their thematic music. These themes are highly developed and almost feel extended, by today's standards. Pea brained X-Factor viewers don't know how to deal with that high quality shit these days.  

 

/hums Rey's theme 

 

 

I can accept that the type of people who write Youtube comments or even the geeks at TheForceNet arent able or willing to give this score the chance it deserves to really sink in. But that there are people on JWFan who seemingly can't be arsed to do so....

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15 minutes ago, Drax said:

Since I think Rey will turn bad and become Darth Reyder, while Kylo Ren becomes the goodie in subsequent films, I want to hear how Rey's Theme becomes a death march.

 

I was actually wondering something similar about The Resistance March this morning. I bet there's an alternate with snares somewhere. And I bet the alleged YouTube naysayers crowd would be lauding how badass it is, had it shipped with them. But Williams has been there, done that. 

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I rather like the fact that Williams eschews snares in that theme and minimizes the use of timpany. It's mostly brass and strings, yet it sounds as full bodied as it can be.

 

Kinda like Psycho sounds like a full ensemble score even if it only uses strings. Heave weight composers like Williams and Herrman can do that.

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