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THE POST - SCORE Thread


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6 minutes ago, Jay said:

 

Indiana Jones and the Kingdom of the Crystal Skull

 

A.I. Artificial Intelligence (though later we learned it was written by his son, and whether or not its truly "source" is questionable too I suppose.)

 

The Adventures of Tintin: The Secret of the Unicorn (though I suppose he only arranged it, not wrote it)

 

The Carousel music from The Fury and 1941?

 

And some 60s comedy scores?

What is the source music in Indy 4?  don't remember at all and just checked the ost tracks and still don't remember.

Well, the Carousel music in The Fury, you would say it was part of the underscore.

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1 hour ago, Jay said:

 

Indiana Jones and the Kingdom of the Crystal Skull

 

A.I. Artificial Intelligence (though later we learned it was written by his son, and whether or not its truly "source" is questionable too I suppose.)

 

The Adventures of Tintin: The Secret of the Unicorn (though I suppose he only arranged it, not wrote it)

 

The Carousel music from The Fury and 1941?

 

And some 60s comedy scores?

 

CE3K, TOD...

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1 hour ago, filmmusic said:

What John Williams ost (not expansion) included source cues written by him (besides Star Wars)?

 

Earthquake is another one.  Something For Remy, Something For Rosa and Miles' Pool Hall are all (album versions of) source music cues heard in the film - in a restaurant, in a supermarket and in a bar respectively.

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3 hours ago, filmmusic said:

I believe indeed it's one of his weakest scores.

I can't find something weaker from 1970 and on. I would say it's in the same league as Munich, but that has those 2 extraordinary themes that elevate it!

I don't really understand what league you consider Munich to be part of... or do I just not want to?

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I just meant your general opinion on the music itself.  You said you didn't remember it; Now that you've listened again, what do you think of it?

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Just now, Brundlefly said:

I don't really understand what league you consider Munich to be part of... or do I just not want to?

Munich, if it didn't have those 2 masterful themes, the rest is really an underscore without much musical interest..

1 minute ago, Jay said:

I just meant your general opinion on the music itself.  You said you didn't remember it; Now that you've listened again, what do you think of it?

Don't love it, don't hate it.

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4 minutes ago, filmmusic said:

Munich, if it didn't have those 2 masterful themes, the rest is really an underscore without much musical interest..

Same league as Schindler's List and Lincoln.

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3 minutes ago, Brundlefly said:

Same league as Schindler's List and Lincoln.

??

Of course not.

Schindler's list is a masterpiece on the whole (I don't hear any "underscore" in there), and well, Lincoln, has many quite good themes, and even the underscore is more interesting musically than Munich's underscore.

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14 minutes ago, filmmusic said:

??

Of course not.

Schindler's list is a masterpiece on the whole (I don't hear any "underscore" in there), and well, Lincoln, has many quite good themes, and even the underscore is more interesting musically than Munich's underscore.

Munich is full of creative underscore and is devoid of gap fillers and repetitions.

The best 2005 score and another masterpiece of Williams' "Badass Age"!

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I wouldn't say that exactly, no.

 

If you compare each FYC cue to each OST cue, every case is different.

 

IE in one case, the FYC track might be looped or extended by tracking compared to the OST cue.  Or the OST cue might be edited down from the full recording.  Or the OST track might segue to some other cue from some othe rpart of the movie that isn't on the FYC.  Or the OST might segue to some album-only extension he recorded.  Or, the OST track might be the "same" music, but a different take that he preferred over the take chosen for the film.


It's pretty complicated and there might not be a definitive breakdown for a while.

 

 

 

The "major" points to note are

 

  • "First Class Seat" on the FYC doesn't seem to be on the OST at all
  • "Wild About Harry" & "Let's Publish" on the FYC are WAY longer than "Deciding To Publish" on the OST
  • "The Oak Room, 1971" & "Two Martini Lunch" on the OST are not on the FYC at all
  • "Mother and Daughter" and "Setting the Type" seem to start with their FYC counterparts then continue on with some kind of album-only extension (or segue to another cue entirely that just wasn't on the OST

We basically need to see the film to learn more about this music.

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5 hours ago, filmmusic said:

Munich, if it didn't have those 2 masterful themes, the rest is really an underscore without much musical interest..

 

Munich has some masterful underscore. It plays with tension brilliantly.

 

Leagues ahead of The Post at least.

 

Haven't heard the OST yet, but hope the score plays better in that form.

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Just got done listening. It's kind of a slow burn. At some points, it wants to heat up but before anything happens, it goes back to a slow burn. Haven't seen the film yet, but I imagine the score stays out of the way except for tension building moments and dramatic scenes.

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Surprisingly different christmas present. While surely no future Oscar winner, the propulsive murkiness - a mix of 'Nixon', 'Minority Report' et al. and Philip Glass - has interesting textures (though even for the brief running time there's a bit much dead weight) and refrains from the expected unctuous americana. 'The Presses Roll' is the best track.

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Just got through the OST. It plays much better in this form.

 

It's still Williams leftovers material meets temp-track influence, but there is more cohesion and personality than I initially gave it credit for.

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50 minutes ago, Skywanker said:

The Post music does not sound like from Williams. The Temp Track contained the music of young composers: Marianelli, Korzeniowski, Desplat. I am sure!

 

As long as it doesn't contain anything like Zimmer's "music"... :D

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1 hour ago, KK said:

Just got through the OST. It plays much better in this form.

 

It's still Williams leftovers material meets temp-track influence,

Generally i agree with this.

Also, if it had to be that kind of underscore that doesn't sound too intrusive, a bit harmonic variety would give it some more personality.

I listen to simple harmonies, especially in the "action" pieces (eg. The presses roll) that I am not used to from Williams.

I expected to be surprised even by an unexpected chord here and there, but I wasn't.

 

But I especially enjoyed the 2 source cues, which I consider the highlights of this soundtrack, and gave me what I expect from Williams.

The "Mother and Daughter" theme, has grown on me, but still it doesn't sound like a very carefully planned and thought theme.. eg. like the father's theme in CMIYC.

Generally this score left me with an impression that Williams was too tired after Star Wars, or didn't have enough time?

I think something like the latter happened? I haven't followed the production news on this.

 

edit: Ok, trying to write this, I burned the sesame I had in the oven, and that I would put to my salad.

I ate it anyway. I hope I'll be OK, because I've heard it's not good to eat burnt food! :P

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1 hour ago, filmmusic said:

Generally this score left me with an impression that Williams was too tired after Star Wars, or didn't have enough time?

 

The film had a very quick production (it was shot and post-produced in less than 6 months), but I don't think JW had a schedule more compressed than usual. He finished recording TLJ in June and he didn't start writing The Post before September. Also, the film didn't require much music so I think he had all the time he needed. I think the score reflects the nature of the film itself and Williams had to find a way to accompany and support the narrative through a score defined by sombreness. It's not the first time he goes for such an approach, I think it's in line with what he did in other occasions too.

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22 minutes ago, Taikomochi said:

Does anyone else hear this weird tapping noise all over the album?  Like at 1:17 in "Deciding to Publish"?  It's really obnoxiously loud.  That's not intentional, is it?  It doesn't sound like studio sounds or seem to correspond to any instrument playing, but maybe I am being naive.  It seems to be in almost every track.  Seems like they must have goofed badly when mastering this album to let that into it.

 

It's JW tapping his foot to keep the orchestra in rhythm.

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2 minutes ago, Arpy said:

Hmm this motif is popping up lately:

 

 

@0:25

 

It's a pretty generic Williams figure.

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1 minute ago, Skywanker said:

New Williams' scores do not have catchy themes. :( 

 

I thought The Book Thief had a very memorable and catchy theme.  On the other hand, that's my least favorite Williams score of the last decade.  Guess catchy themes aren't enough to do it for me.

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Rey's theme isn't catchy and memorable?  :huh: In fact, all the new themes in TFA are at least memorable.  If they were noticed in TLJ, then I would say the themes are memorable. :yes:

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Really nice score front to back. Mostly non-thematic material and the gentle Americana style is nothing new for JW. In a way this OST fits comfortably next to JW's Oliver Stone trilogy. The last track is quite powerful. JW exercises the exact right touch throughout the whole OST. Not a single note or instrument seems out of place and the string writing is fantastic, determined, pulsing, and nuanced.. Despite it's short length, this is an immediately satisfying score. 

 

 

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