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    • CommentAuthorTimmer
    • CommentTimeFeb 15th 2016
    Martijn wrote
    Aside from The Five Tones I never heard what everyone else hears in this score. sad
    To me it's one of Williams' least accessible works.


    dizzy

    Up there in his top 5 for me. Awesome, AWESOME work.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
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      CommentAuthorMartijn
    • CommentTimeFeb 15th 2016
    Timmer wrote
    Martijn wrote
    Aside from The Five Tones I never heard what everyone else hears in this score. sad
    To me it's one of Williams' least accessible works.


    dizzy

    Up there in his top 5 for me.


    Nowhere near for me. slant
    Guess I'm pulling a "Barry" here...with some very few exceptions no matter how much I try, I just don't get it.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  1. Martijn wrote
    Aside from The Five Tones I never heard what everyone else hears in this score. sad
    To me it's one of Williams' least accessible works.


    You ARE fukcin kidding me right now ???? shocked

    CE3K has so much glorious detail, themes, motifs, and brilliant atonality that sends shivers up the spine, unlike some recent SW score !!! (damn couldn't resist, sorry about that shame )

    Did I mention those final 33 minutes are the stuff that dreams are made of? smile
    "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.
    •  
      CommentAuthorSouthall
    • CommentTimeFeb 15th 2016
    Timmer wrote
    DreamTheater wrote
    Come to think of it now, Jerry is the most legendary film composer that ever lived.


    JOHN WILLIAMS is the most legendary film composer that ever lived.


    The guitarist? I enjoyed his work on The Deer Hunter.
  2. Captain Future wrote
    DreamTheater wrote
    Music of such magnitude and timelessness is worth that. wink


    Ah, so you are that clown. wink


    dizzy

    No chance that I would ever sell my copy, even at that price. Unless something better comes along, this disc will come to the grave with me.
    "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.
    • CommentAuthorTimmer
    • CommentTimeFeb 15th 2016
    Martijn wrote
    Timmer wrote
    Martijn wrote
    Aside from The Five Tones I never heard what everyone else hears in this score. sad
    To me it's one of Williams' least accessible works.


    dizzy

    Up there in his top 5 for me.


    Nowhere near for me. slant
    Guess I'm pulling a "Barry" here...with some very few exceptions no matter how much I try, I just don't get it.


    You have so much great taste in other avenues of music that I'll forgive you wink

    I have a varied love for atonality ( not as extreme as Cobweb's by some way ), particularly when it's accessable, at least to me.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  3. I dare say the moste wildly known film composer on a global basis is Hans Zimmer, not John Williams. I might be wrong though.
    Bach's music is vibrant and inspired.
  4. Martijn, do you like Goldenthal's work ?
    "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.
    • CommentAuthorTimmer
    • CommentTimeFeb 15th 2016
    Southall wrote
    Timmer wrote
    DreamTheater wrote
    Come to think of it now, Jerry is the most legendary film composer that ever lived.


    JOHN WILLIAMS is the most legendary film composer that ever lived.


    The guitarist?


    Yup, some people think it's two different John Williams. He splits his time writing legendary film themes with playing Rodrigo's Guitar Concerto. He even joined a prog band called SKY once, he's a multitalented geezer is Mr W.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
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      CommentAuthorMartijn
    • CommentTimeFeb 15th 2016
    Timmer wrote
    I have a varied love for atonality ( not as extreme as Cobweb's by some way ), particularly when it's accessable, at least to me.


    As do I: Jaws is high up on my list of favourites!

    DreamTheater wrote
    Martijn, do you like Goldenthal's work ?


    Some: Cobb, Titus, SWAT, Final Fantasy, all very good!
    The rest I can take or leave in various degrees,
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  5. Captain Future wrote
    I dare say the moste wildly known film composer on a global basis is Hans Zimmer, not John Williams. I might be wrong though.

    I disagree. Zimmer may be hot shit right now but I think even in the public eye he still trails behind Williams, despite what a vocal minority of younger audiences might tell you. Zimmer has Pirates of the Caribbean and a handful of Nolan scores (stretching it methinks) that could be considered iconic, but Williams has Jaws, E.T., Superman, Star Wars, Indiana Jones, Jurassic Park, Harry Potter...

    You may be right that Williams is a bit more known in the US than over here in Europe though.
  6. Martijn wrote
    As do I: Jaws is high up on my list of favourites!

    Jaws is not really so very atonal.
    •  
      CommentAuthorSouthall
    • CommentTimeFeb 15th 2016
    I imagine there are half a dozen Williams themes you could play to the man in the street in most western countries and he'd be able to identify the film they're from even if he'd never heard of Williams himself; I doubt there's any other film composer that would come close to that, living or dead.
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      CommentAuthorMartijn
    • CommentTimeFeb 15th 2016
    Edmund Meinerts wrote
    Martijn wrote
    As do I: Jaws is high up on my list of favourites!

    Jaws is not really so very atonal.


    There are some very lyrical passages in there. There is some massive atonality in there.
    It balances out nicely.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorSouthall
    • CommentTimeFeb 15th 2016
    Hoosiers - Jerry Goldsmith

    I rate scores on a scale of zero to five. This one gets a SIX. The best sports movie score.
    •  
      CommentAuthorSteven
    • CommentTimeFeb 15th 2016
    yeah

    Hoosiers > Rudy
    •  
      CommentAuthorSouthall
    • CommentTimeFeb 15th 2016
    Yep. To be fair, Rudy is the second best sports movie score, but it only gets five out of five.
  7. Martijn wrote
    Edmund Meinerts wrote
    Martijn wrote
    As do I: Jaws is high up on my list of favourites!

    Jaws is not really so very atonal.


    There are some very lyrical passages in there. There is some massive atonality in there.
    It balances out nicely.

    Hmm, I still don't know. Brutal, dissonant even, yes - but not outright atonal in the modernist Close Encounters/Images way.
    •  
      CommentAuthorSteven
    • CommentTimeFeb 15th 2016
    Southall wrote
    Yep. To be fair, Rudy is the second best sports movie score, but it only gets five out of five.


    Yes, Rudy is not far off from Hoosiers. But it's still not quite Hoosiers. (I'm shocked Field of Dreams isn't your second choice, let alone your first.)
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      CommentAuthorSteven
    • CommentTimeFeb 15th 2016
    There are few corners of the world that could parse my previous post.
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      CommentAuthorSouthall
    • CommentTimeFeb 15th 2016
    Duly parsed and it's probably third (but some way off the aforementioned duo).
    •  
      CommentAuthorErik Woods
    • CommentTimeFeb 16th 2016
    Martijn wrote
    Aside from The Five Tones I never heard what everyone else hears in this score. sad
    To me it's one of Williams' least accessible works.


    WHAT?!

    -Erik-
    host and producer of CINEMATIC SOUND RADIO | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    • CommentAuthorTimmer
    • CommentTimeFeb 16th 2016
    Southall wrote
    Hoosiers - Jerry Goldsmith

    I rate scores on a scale of zero to five. This one gets a SIX. The best sports movie score.


    Not. Even. Close.


    ROCKY!
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
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      CommentAuthorMartijn
    • CommentTimeFeb 16th 2016 edited
    Edmund Meinerts wrote
    but not outright atonal in the modernist Close Encounters/Images way.


    Yes, I agree there.

    Erik Woods wrote
    Martijn wrote
    Aside from The Five Tones I never heard what everyone else hears in this score. sad

    WHAT?!


    Tried again and again. It just grates.
    (It probably doesn't help I don't much enjoy the film either. I enjoy bits of it (the visitation scene is properly scary, and I absolutely adore everything about The Conversation scene), but that's it.

    I do enjoy Montana's "Dance Fantasy" on Close Encounters Of The Third Kind a lot! biggrin
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
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      CommentAuthorDreamTheater
    • CommentTimeFeb 16th 2016 edited
    Close Encounters is for me the best film about alien encounters. I have a big nostalgic affection for it, but it's so much more than just a film that I hold dear because I saw it first when I was a child. It shows Spielberg's mastery of the cinematic medium, it's funny, it's scary, it's mysterious, and during the finale wonderfully uplifting, with a genuine sense of awe and wonder. In fact like most films of that era, that he either directed or produced. I think Jaws was just practice for the true homerun he hit with CE3K. And kept on hitting the years after.

    There are so many iconic shots and moments, true magical contributions from the mind of a genius. The one with the headlights approaching Neary's car and slowry rising instead of going past him. The sight of Barry looking at something that caught his interest, is highly suggestive. This is what many modern filmmakers don't get, the less you show, the more it becomes interesting. We don't get to see 'them' until the end of the film. It adds so much to the mystery of the story. I also dig Richard Dreyfuss' performance as he goes from the everyman, to the confused, from the paranoid to the enlightened. His character behaves irrationally but never over the top. We can relate to him and his search for an answer.

    Of course all this supported by a top 3 score of the maestro, it's impossible to find fault in anything from either film or score.

    What's more, of the 3 available cuts I think I like the director's cut the most... the one where we get to see inside the ship, the one that Spielberg himself admitted should never have done. It gives me the highest emotional reaction of the three cuts.
    "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
    • CommentTimeFeb 16th 2016 edited
    Martijn wrote
    Erik Woods wrote
    Martijn wrote
    Aside from The Five Tones I never heard what everyone else hears in this score. sad

    WHAT?!


    Tried again and again. It just grates.


    I can maybe understand not being able to enjoy most of the score, but the suite?! You've lost it, man. Lost it! dizzy
    •  
      CommentAuthorAtham
    • CommentTimeFeb 16th 2016 edited
    DreamTheater wrote
    Close Encounters is for me the best film about alien encounters. I have a big nostalgic affection for it, but it's so much more than just a film that I hold dear because I saw it first when I was a child. It shows Spielberg's mastery of the cinematic medium, it's funny, it's scary, it's mysterious, and during the finale wonderfully uplifting, with a genuine sense of awe and wonder. In fact like most films of that era, that he either directed or produced. I think Jaws was just practice for the true homerun he hit with CE3K. And kept on hitting the years after.

    There are so many iconic shots and moments, true magical contributions from the mind of a genius. The one with the headlights approaching Neary's car and slowry rising instead of going past him. The sight of Barry looking at something that caught his interest, is highly suggestive. This is what many modern filmmakers don't get, the less you show, the more it becomes interesting. We don't get to see 'them' until the end of the film. It adds so much to the mystery of the story. I also dig Richard Dreyfuss' performance as he goes from the everyman, to the confused, from the paranoid to the enlightened. His character behaves irrationally but never over the top. We can relate to him and his search for an answer.

    Of course all this supported by a top 3 score of the maestro, it's impossible to find fault in anything from either film or score.

    What's more, of the 3 available cuts I think I like the director's cut the most... the one where we get to see inside the ship, the one that Spielberg himself admitted should never have done. It gives me the highest emotional reaction of the three cuts.


    Well said! Man, what a film!
    When I first saw it at the cinema I was ten years of age. It was like a religious experience! More effective than even Star Wars at that time for me. And Close Encounters was my very first soundtrack album. Loved it then and even more now! Scoring perfection!
    •  
      CommentAuthorMartijn
    • CommentTimeFeb 16th 2016 edited
    Steven wrote
    ...the suite?! You've lost it, man. [


    The end titles suite, you mean?
    Or the Gerhardt suite?

    The former I like loads. The latter...meh. What can I say? I have no emotional connection with either the film (as a whole) or the music. So album or suite leaves me equally cold.

    DreamTheater wrote
    I also dig Richard Dreyfuss' performance as he goes from the everyman, to the confused, from the paranoid to the enlightened. His character behaves irrationally but never over the top. We can relate to him and his search for an answer.


    Really? shocked
    I thought it was the most annoying main character in movie history until I saw Amélie!
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorSteven
    • CommentTimeFeb 16th 2016
    Martijn wrote
    Steven wrote
    ...the suite?! You've lost it, man. [


    The end titles suite, you mean?
    Or the Gerhardt suite?

    The former I like loads. The latter...meh. What can I say? I have no emotional connection with either the film (as a whole) or the music. So album or suite leaves me equally cold.


    Apostate! shocked OFF WITH HIS HEAD! knight
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      CommentAuthorSteven
    • CommentTimeFeb 16th 2016 edited
    Best of 2015 Various

    My own playlist spurred on by Ant's playlist:

    1. The A400 - Mission Impossible: Rogue Nation - Joe Kraemer 6:40
    2. As The Jurassic World Turns - Jurassic World - Michael Giacchino 5:31
    3. The Joy of Credits - Inside Out - Michael Giacchino 8:19
    4. End Credits - Tomorrowland - Michael Giacchino 5:27
    5. Commitment - Jupiter Ascending - Michael Giacchino 10:01
    6. Island Battle - Gamba - Benjamin Wallfisch 4:14
    7. Flying Ship Fight - Pan - John Powell 7:24
    8. Fetching The Boys - Pan - John Powell 3:10
    9. Theme From Ant-Man - Ant-Man - Christophe Beck 2:46
    10. "We Have a Problem" - The Walk - Alan Silvestri 5:16
    11. Ash's Theme - Ash Vs Evil Dead - Joseph LoDuca 1:35
    12. Spinning Dolphin Superpod - The Hunt - Steven Price 1:31
    13. Goodbye Spot - The Good Dinosaur - Mychael Danna 4:12
    14. The 33 - The 33 - James Horner 3:44
    15. Hunting The Wolves & Return To The Wild (edited track) - Wolf Totem - James Horner 9:06
    16. Edith's Theme - Crimson Peak - Fernando Valazquez 1:57
    17. End Credits - Krampus - Douglass Pipes 5:07
    18. Melancholia - Sicario - Johana Johannsson 4:39
    19. Homecoming - Bridge of Spies - Thomas Newman 7:47
    20. Summit - Everest - Dario Marianelli 4:57
    21. Agents of SHIELD Overture - Agents of SHIELD - Bear McCreary 2:52
    22. End Credits - San Andreas - Andrew Lockington 2:58
    23. Under Siege; Victory - Fort Ross - Yuri Poteyenko 5:20
    24. End Titles - Fantastic Four - Marco Beltrami 6:15
    25. New Avengers (end titles) - Avengers: Age of Ultron - Danny Elfman 3:10
    26. Supernova - Supernova, Vol. 1: Through the Portal - Olivier Deriviere 2:55
    27. The Jedi Steps and Finale - The Force Awakens - John Williams 10:00

    2:16:40


    Film music is very much alive and well.