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Vanilla 1.1.4 is a product of Lussumo. More Information: Documentation, Community Support.

 
  1. Thor wrote
    DreamTheater wrote
    But it's Zimmer's? Because I don't think I've ever heard it on the boot (must've heard an edit of that) and I don't remember if it's during the end credits.

    Thor wrote
    Thanks for the info. Seems like the LLL is a decent way to go.


    No, it's not a decent way at all... it's the only way. Destroy that boot and order it at LLL before their 25 % off sale ends. But you'll have to hurry:

    This special sales event will definitely expire at 9:59pm (PST) on 3/15. It will NOT be extended beyond 3/15.


    Yeah, I wasn't thinking about buying a physical copy, due to the high shipping costs. Even with the sale, the total comes to about $30, and with poor Norwegian exchange rates, it's an expensive affair. I was more thinking about buying a digital version, if it's available.


    Nothing digital legally. Unless you ask for a copy for your site/podcast. It's a limited edition, they rarely if ever show up on digital (Varese Limited is a notable exception as it's only the CD pressing that's limited, outside of that it's available digital, but the scores aren't as prestigious as their Encore or Club stuff).
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorMartijn
    • CommentTimeMar 16th 2016
    Steven wrote
    Star Wars: The Force Awakens John Williams

    "I spent an obscene amount of my childhood lying on the shag rug of my bedroom, wearing headphones and listening to film soundtracks composed by John Williams.

    This was of course years before digital downloads, Blu-Ray discs and video on demand. There was only audio on demand back then, but Mr. Williams' scores -- without images or dialogue -- were complete and wondrous adventures. Deeply moving, profoundly exciting, epic in scope and majesty.

    He is, without question, one of the great storytellers of all time. His music grabs us by the heart and thrusts us into the deepest and most primal emotional states. His skill and humanity, his gift and his magic, are unprecedented. The impact that he has had on every film he's composed for cannot be overstated.

    When Kathy Kennedy asked if I would consider directing Episode VII of Star Wars, there were too many incredible enticements. Not the least of which was my love of the world George Lucas gloriously created. Star Wars was, and remains, a seminal and profound impact on my life.

    But there was more: The opportunity to work with the preposterously wonderful Ms. Kennedy, the iconic screenwriter Lawrence Kasdan, and the original legendary cast. But there was also the ultimate carrot at the end of the stick: the chance to collaborate with John Williams.

    Listening to Steven Spielberg talk about his long and deep friendship with Mr. Williams ("Johnny" as he refers to him) is a thing of beauty. Before production on The Force Awakens began, Steven told me that working with Johnny would exceed all expectations. That he becomes only more wonderful and lovelier the longer you work with and know him. That he is simply the best.

    In short, Steven (perhaps the most passionate and wonderfully effusive person I'll ever know) was so hyperbolic about what the experience with John would be that I was certain he was overselling it.

    And now, the collaboration behind us, I see just how much Steven undersold it all.

    Yes, John's score for The Force Awakens is achingly wonderful. The majesty and beauty of Rey's theme. The darkness and threat of Ren's. The lift and exuberance of the Resistance theme... it is all brand new and yet an inevitable continuation of his Star Wars oeuvre.

    I can define how perfect and powerful his score is, how much John improved every scene he touched. However, it is not possible for me, within the constraints of the liner notes, or anything else for that matter, to properly honor the man himself.

    We are familiar with and gifted by John Williams' staggering musical ability. But what must be said here is that he is as generous and gentle, as wise and funny, as caring and tireless as he is brilliantly accomplished.

    And, somehow, it's as if we knew it all along.

    Go lie on a rug, put on your headphones, fire up one of Mr. Williams' scores, any of them, and close your eyes. What you'll hear isn't just the soundtrack to a film -- wonderful, transportive, impossible music. What you'll hear is the soul of a man, a sublime man to whom I've been grateful for a long, long time." - JJ Abrams


    Yeah, I guess it's not bad.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorSteven
    • CommentTimeMar 16th 2016
    biggrin

    Amen to that.
    •  
      CommentAuthorDreamTheater
    • CommentTimeMar 16th 2016 edited
    I'm actually hesitant to put TFA on since my last listen (which wasn't the best)... It's been over a month and that's not normal behavior for a Williams and SW fan like myself. In fact it's downright unacceptable behavior. sad
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
  2. LOST IN SPACE

    New release, a test listen. Excellent score without a doubt, but I'll happily stick with the first Intrada. Apart from the opening action cue (half of which is the main theme previously released) I don't hear a whole lot that is necessary, since the original one has a perfect presentation (IMO).
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
    •  
      CommentAuthorSteven
    • CommentTimeMar 16th 2016
    The extra material is incredible. For anyone who likes this score and wants to check it out, do so. It's great.
  3. I ordered the new one yesterday.
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorErik Woods
    • CommentTimeMar 16th 2016
    NP:The Dark Knight - Hans Zimmer and James Newton Howard

    I'm afraid to go back in the archive to read what I initially said about this album, but since then this score has grown on me significantly. Today I consider THE DARK KNIGHT to be one of THE best superhero film score I've ever heard. I can't get enough of Joker's motif. I love Newton Howard's Two Face theme. I love all of the returning ideas and motifs from the first score. I think it also helps that the movie is just a fantastic piece of filmmaking! Great stuff!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorMartijn
    • CommentTimeMar 16th 2016
    Really? REALLY?
    Ugh!

    A horrid amalgam of noise and irrelevant mismash.
    Loved the movie. Really, really excellent. Absolutely loathed the soundtrack. Still do.
    What an incredibly missed opportunity.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorErik Woods
    • CommentTimeMar 16th 2016
    Sorry you don't like. I clearly remember my knee jerk reaction to it when i first heard it, but it's been a grower and I simply love it now.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorThor
    • CommentTimeMar 16th 2016 edited
    It's not my favourite Zimmer sound (that belongs entirely in the 90s), but like Erik it has grown on me quite a bit since I first heard it. But within the more contemporary Zimmer sound that is sorta in this tradition, I vastly prefer INCEPTION or INTERSTELLAR to this.
    I am extremely serious.
    •  
      CommentAuthorMartijn
    • CommentTimeMar 16th 2016 edited
    I'm either growing less flexible (although judging by the many other things going on and changing -often at my own initiative- in life, I kinda doubt that), or I just really, really, really know my own taste very well these days.

    While I will retry material from, say, twenty to thirty years back I didn't like (or didn't appreciate enough) back then, I find that anything from about 10-15 years back I did not enjoy then, I do not now. And if I hated it then, if anything that hate has developed into a billous cloud of sulphuric acid obliterating every suggestion of any potential point of light.

    Zimmer's sadly misguided and waferthin efforts -at the behest of Nolan, who is a fine, fine director, but should stay the hell away from any consideration to anything connected to any concept of music at pain of DEATH- have NOT withstood the test of time well. If I had a button that could erase any cultural element entirely from the face of history, the Batman soundtracks would be HIGH on the list for consideration.

    Ahem.
    So.
    Yeah.
    Didn't like it.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorThor
    • CommentTimeMar 16th 2016 edited
    Oh you ol', bitter geezer! wink

    Curiously, I've had a somewhat opposite development. Yes, I'm still very much aware of my taste, but the 'exploratory gene' seems to have been triggered immensely over the last few years (I'm 38 years old, for those who don't know), and I'm now rediscovering things from even the last 15 years that I didn't like back when I first heard it. In terms of different types of films or musical styles, my taste is now wider than it has ever been. Not only set in a few select idioms, like back in the 90s.
    I am extremely serious.
    • CommentAuthorTimmer
    • CommentTimeMar 16th 2016 edited
    I don't care for Zimmer's Batman scores either. JNH should have scored them all without any silly-arse MV influences.

    I like the films though, well, with the exception of the stoopeedo Batman Rises.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  4. Thor wrote
    It's not my favourite Zimmer sound (that belongs entirely in the 90s), but like Erik it has grown on me quite a bit since I first heard it. But within the more contemporary Zimmer sound that is sorta in this tradition, I vastly prefer INCEPTION or INTERSTELLAR to this.


    Seconded. Agree with every word. smile

    And I have a soft spot for THE DARK KNIGHT RISES. Those rhythms !

    Superman, Superman II and Robocop / Superman IV (tie) are my top three (four).
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
    •  
      CommentAuthorLSH
    • CommentTimeMar 16th 2016
    Erik, I have gone the other way, although with lesser extremes either side. I quite liked it originally, now I well... don't really listen to it anymore.


    Although I agree with Timmer (what's new) that Howard's completely solo take on the franchise would definitely been more interesting.
    •  
      CommentAuthorSteven
    • CommentTimeMar 16th 2016
    Were these films directed by M. Night Shyamalan (god forbid), I think JNH would have been the better choice. But Nolan and Zimmer seem made for each other, and I'm glad he scored the Batman films. The Dark Knight is a superb score, that's been somewhat marred by imitations. 'Like a Dog Chasing Cars' is an incredible track, and as Erik alludes to, the Joker's theme (motif? Sound?) is perfect.
  5. I too have a soft spot for Zimmer's Dark Knight sound. To me it really is a sound more than a score. Music about the movie, and in that sense I can get behind it and enjoy. I feel the same way about Interstellar.

    The weakest segments of The Dark Knight album are the ones that play closer to the film and more like a score. I'm thinking of action cues likes "Agent of Chaos."

    But the tracks where Zimmer cuts loose, like "A Dark Knight," are terrific. That track in particular may be my favorite of his.

    Of the three scores to Nolan's trilogy, I think Dark Knight Rises got the most cohesive, well-rounded album treatment. Simply plays the best on album, sounds the most like a story, has enough musical ideas to sustain a 60-minute-plus listen.
  6. NP: The Dark Knight (2008) - Hans Zimmer; James Newton Howard

    I agree with those gentlemen in favour of this score.

    smile Volker
    Bach's music is vibrant and inspired.
  7. The Batman and Superman thing -- Hans Zimmer & Junkie XL

    So far I've gotten to the 6th track, that 5th track is downright abominable (how did they dare to put that on the CD?) and the 6th was equally horrible (clearly Junkie's fault because you hear the junk of Mad Max in it)

    I'm not sure what to expect next, but so far this was appalling.

    sad sad sad

    I wasn't expecting miracles after Man of Steel, but the previous Batman scores gave me some hope
    Gonna continue this in the afternoon
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  8. Thomas Glorieux wrote
    ... but so far this was appalling.

    Gonna continue this in the afternoon


    This kind of self-torture is something I'll never understand dude ! rolleyes
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
  9. NP: Man of Steel (2013) - Hans Zimmer

    I don't quite see this score on the same level as THE DARK KNIGHT, but yes, this score too has gown on me much more than I ever would have thought possible back then.

    Volker
    Bach's music is vibrant and inspired.
  10. A.I.: Artificial Intelligence (2001 release)

    Been spending the last two months with the expanded La-La Land release. Love the treatments of David's theme throughout the first disc.

    But the music for the film's second half is represented much better here on the 2001 release. I love "The Search for the Blue Fairy" and "Stored Memories and Monica's Theme" on this album, and I haven't gotten used to the expanded versions.
  11. Elmer Bernstein's SLIPSTREAM

    Love it, illegal release or not !
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
    •  
      CommentAuthorSteven
    • CommentTimeMar 17th 2016 edited
    Jurassic Park III Don Davis

    It's very difficult to decide which non-John Williams Jurassic score I prefer. Davis's score is one of the best Williams impersonations I've ever heard, perhaps better than McNeely's various efforts. Davis, being a superb orchestrator, seems to understand Williams's style down to the smallest detail.

    So in that sense, this score is a great JP score. But Giacchino's score is very much his own style, and also a brilliant score. It definitely has a better theme. But I can't bring myself to place one above the other. They're both brilliant.
  12. Treasure Planet

    Terrific fun.
    •  
      CommentAuthorErik Woods
    • CommentTimeMar 17th 2016
    Jurassic Park III > Jurassic World in ever way, shape and form.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorSteven
    • CommentTimeMar 17th 2016
    Die Hard 4 Marco Beltrami

    Kamen's scores set the tone, and are classics of the modern action genre (perhaps even setting the tone of modern action scoring in general). But Beltrami's scores make for better albums.
    •  
      CommentAuthorThor
    • CommentTimeMar 17th 2016
    Steven wrote
    Jurassic Park III Don Davis

    It's very difficult to decide which non-John Williams Jurassic score I prefer. Davis's score is one of the best Williams impersonations I've ever heard, perhaps better than McNeely's various efforts. Davis, being a superb orchestrator, seems to understand Williams's style down to the smallest detail.

    So in that sense, this score is a great JP score. But Giacchino's score is very much his own style, and also a brilliant score. It definitely has a better theme. But I can't bring myself to place one above the other. They're both brilliant.


    I like Davis' JP3, but it's a far cry from Williams' two efforts (I'm not even going to mention Giacchino's abysmal WORLD). It's a very different beast (no pun intended) with lots of the sturm-und-drang, aggressive writing that Davis nurtured in THE MATRIX, but now and then he taps into Williams' gimmicks, which I enjoy.
    I am extremely serious.
  13. Steven wrote
    Die Hard 4 Marco Beltrami

    Kamen's scores set the tone, and are classics of the modern action genre (perhaps even setting the tone of modern action scoring in general). But Beltrami's scores make for better albums.


    Kamen's Die Hard With a Vengeance is excellent (LLL cut in half). Give this a try: punk

    1. John and Zeus
    2. Taxi
    3. Papaya King
    4. The Subway (Part 1)
    5. The Subway (Part 2)
    6. Take A-nother Train
    7. Infiltration
    8. Bank Invasion
    9. The Federal Reserve
    10. Bank Elevator
    11. Aqueduct
    12. Yankee Stadium / School and Tunnel
    13. Surfing in the Aqueduct
    14. Mercedes Chase / School Assembly
    15. Bunny and Fire Drill
    16. Running in the Halls
    17. Bomb Goes Into Hold
    18. Holly / Celebration
    19. Oh, Canada!
    20. Johnny Comes Marching Home
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.