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  1. Thor wrote
    Top 10 JNH:

    1. WATERWORLD
    2. Snow Falling on Cedars
    3. The Saint of Fort Washington
    4. Falling Down
    5. Wyatt Earp
    6. Restoration
    7. Grand Canyon
    8. The Village
    9. Flatliners
    10. The Fugitive

    Honourable mentions to MALEFICENT, ATLANTIS, SIGNS, ALIVE, THE POSTMAN, VERTICAL LIMIT.

    The truth has been spoken. You can all go to bed now. biggrin


    This calls for the Viking emoticon. wink
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorThor
    • CommentTimeMay 21st 2018
    For Odin!
    I am extremely serious.
  2. beer
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorCristian
    • CommentTimeMay 21st 2018
    Thor wrote
    Top 10 JNH:

    1. WATERWORLD
    2. Snow Falling on Cedars
    3. The Saint of Fort Washington
    4. Falling Down
    5. Wyatt Earp
    6. Restoration
    7. Grand Canyon
    8. The Village
    9. Flatliners
    10. The Fugitive

    Honourable mentions to MALEFICENT, ATLANTIS, SIGNS, ALIVE, THE POSTMAN, VERTICAL LIMIT.

    The truth has been spoken. You can all go to bed now. biggrin


    Interesting top ten, you like earlier JNH, all of these scores are from the 90' with the exception of the Village (2004). My top ten is a mix between the 1990s and 2000s:

    1. Signs
    2. Snow Falling on Cedars
    3. The Village
    4. Lady In The Water
    5. Unbreakable
    6. Wyatt Earp
    7. The Postman
    8. Atlantis The Lost Empire
    9. Vertical Limit
    10. Waterworld

    Honourable mentions: King Kong, Defiance, Fantastic Beasts and Where to Find Them, Dinosaur
    •  
      CommentAuthorThor
    • CommentTimeMay 21st 2018 edited
    Yes, THE VILLAGE is the last time JNH fired on all cylinders for me. There have been some good ones since, but they've all been uneven in some way or another: MALEFICENT, HUNGER GAMES trilogy, PAWN SACRIFICE, ROMAN ESQ. (whathisface), KING KONG, LADY IN THE WATER, SNOW WHITE AND THE HUNTSMAN, BLOOD DIAMOND, FANTASTIC BEASTS...

    JNH is all about the 90s for me, with a few good synth efforts in the 80s and a small handful in the 2000s and 2010s as supplement.
    I am extremely serious.
    •  
      CommentAuthorAidabaida
    • CommentTimeMay 21st 2018
    Captain Future wrote
    It is a very intelligent score done by a highly capable composer. For me it is just not that much of a listening pleasure. It doesn't achieve that mysterious feeling that other minimalistic scores in the realm of science fiction do achieve. But then I just don't like the film and it is always hard for me to get past that when dealing with the music.

    Volker


    I guess I've always had a hard time figuring out what people mean when they talk about an "intelligent score". I've seen plenty of reviews that designate a score as intelligent so long as it has themes for all its characters.
    Bach's music is heartless and robotic.
    •  
      CommentAuthorSteven
    • CommentTimeMay 21st 2018 edited
    Aidabaida wrote

    I guess I've always had a hard time figuring out what people mean when they talk about an "intelligent score".


    A score that aids, enhances or appropriately shifts the narrative, characters and events in a film using memorable, affecting or technically skillful compositions. All these are subject to, well, subjectivity, but we all know that a score like Close Encounters is more intelligent than any one of Junkie XL's because of how well each of those elements are achieved. So no, it's not just a case of writing a ton of themes; it's where and how they're used.
  3. Looking at the bigger picture, an intelligent score is one that knows when not to have music too. And that's down to the intelligent composer.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorThor
    • CommentTimeMay 21st 2018 edited
    Also, I don't think all scores necessarily need to be 'intelligent' all the time. Sometimes it's all about raw, visceral power. It depends entirely on the film.
    I am extremely serious.
  4. Thor wrote
    Also, I don't think all scores necessarily need to be 'intelligent' all the time. Sometimes it's all about raw, visceral power. It depends entirely on the film.


    Well, a car's honk can provide you with that. A raw, brutal wall of sound, applied when it fits the moment, is a sign of aesthetic understanding and hence intelligent. What I find clever about Signs is, how JNH develops this rather simple theme throughout the film. That is very effective.

    FalkirkBairn wrote: Looking at the bigger picture, an intelligent score is one that knows when not to have music too. And that's down to the intelligent composer.


    And it is down to the musical and aesthetic comprehension of the director or the producer, whoever is in charge. I agree, there is too much wall-to-wall music going on in mainstream Hollywood. In other places the art of restrain in film music still survives.

    Volker
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorThor
    • CommentTimeMay 21st 2018
    Captain Future wrote
    Well, a car's honk can provide you with that. A raw, brutal wall of sound, applied when it fits the moment, is a sign of aesthetic understanding and hence intelligent. What I find clever about Signs is, how JNH develops this rather simple theme throughout the film. That is very effective.


    Who says anything about brutality or a 'wall of sound', necessarily? Raw, visceral power can also come from an undiluted, beautifully romantic theme. Just as long as it goes straight for the experience, rather than being particularly sophisticated in terms of sound, or how it's applied in the film. Again, it depends entirely on the film's project.
    I am extremely serious.
  5. Superman IV: The Quest for Peace Alexander Courage / John Williams

    About 2/3 through my first listen of this new release from La-La Land and it’s incredible! I have to admit the main reason I’ve always wanted this score (and almost bought the blue box on numerous occasions) was for the three original Williams compositions it contained. But it’s so much more than just those cues, this is a beautifully written full blooded Superman score with it’s own personality that brilliantly utilises the Williams material (both old and new).

    I’m really looking forward to hearing John Powell’s ‘Solo’ score tomorrow (and Love Giacchino’s ‘Rogue One’) but listening to this it’s a shame Courage isn’t around to score the ‘Star Wars’ spin offs. I know I’m very late to the party on this one but I can’t recommend it enough!
    •  
      CommentAuthorAidabaida
    • CommentTimeMay 24th 2018
    Thor wrote
    Captain Future wrote
    Well, a car's honk can provide you with that. A raw, brutal wall of sound, applied when it fits the moment, is a sign of aesthetic understanding and hence intelligent. What I find clever about Signs is, how JNH develops this rather simple theme throughout the film. That is very effective.


    Who says anything about brutality or a 'wall of sound', necessarily? Raw, visceral power can also come from an undiluted, beautifully romantic theme. Just as long as it goes straight for the experience, rather than being particularly sophisticated in terms of sound, or how it's applied in the film. Again, it depends entirely on the film's project.


    terrific point Thor. I was listening to James Newton Howard's Lady in the Water, and it is certainly a score of raw visceral power expressed through pure beauty.
    Bach's music is heartless and robotic.
    •  
      CommentAuthorLSH
    • CommentTimeMay 24th 2018 edited
    NP: SOLO: A STAR WARS STORY - John Powell

    About a third of the way through my first listen. It actually sounds more like a Powell score than I expected it would and I really quite like what I'm hearing so far, even if a few moments have thrown me. The new Williams theme, though, is ace.
    • CommentAuthorjb1234
    • CommentTimeMay 25th 2018
    Solo - John Powell

    Basically what you'd expect from a score where John Powell meets John Williams. It's terrific. Powell's own themes aren't quite standing out to me yet but you definitely can't miss the new Han theme.
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      CommentAuthorFalkirkBairn
    • CommentTimeMay 25th 2018 edited
    NP: Solo: A Star Wars Story - John Powell

    Not sure where to start with this. It's an exhausting listen - and way too long (and I am usually someone who likes to have as much music as possible!) There's a lot of frenzy here. Powell's renditions of the Han Solo theme is much easier on the ear that Williams' effort (I've never been a fan of Williams' more recent action scoring for the Star Wars universe).

    And I think this score finally puts the final nail in the coffin of scores that shoe-horn in the 'classic' Star Wars themes. In most cases, the familiar music seems just dropped into the new material. And, on the basis of the re-use of passages from previous Star Wars movies, I will be interested to see Han Solo's premonition montage as heard in "Reminiscence Therapy"!
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  6. The score is certainly at its best when it's a Powell score, unfettered by previous Star Wars music: the inclusion of these snippets just takes me out of this film score rather than making it inclusive of the Star Wars universe. There was a time when hearing a new Star Wars universe - with the use of familiar themes - was a highlight of the musical year. But now they seem to be coming along every couple of months.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  7. Got there in the end.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    • CommentAuthorjb1234
    • CommentTimeMay 25th 2018
    Yeah, I don't care for the Williams quotes either, for the most part. "Reminiscence Therapy" in particular feels very clunky. It's one thing if you reference an old theme, another when you basically take entire measures of old cues and shoehorn them in.
    •  
      CommentAuthorLSH
    • CommentTimeMay 25th 2018 edited
    FalkirkBairn wrote
    It's an exhausting listen...


    You're certainly right here. I may have to give it a couple of days before repeating. Having said that, I did enjoy a lot of it.
    •  
      CommentAuthorAtham
    • CommentTimeMay 25th 2018
    Well, I'm certainly loving it! Everything about it!
  8. I love it when people complain about a score being "too busy" or "exhausting". That's exactly what I wanted to hear. punk
  9. Now playing on Spotify. I'll report back later.
    Bach's music is vibrant and inspired.
  10. I've listened to it once and the new John Williams track twice and my first impression is that it's great!

    I'll definitely need another few listens to really dig into it though and I'm looking forward to hearing it in context when I see the film this evening. What a treat to get a new 'Star Wars' cue composed and conducted by John Williams and it's so fun to hear Powell play with it extensively in the score proper, I also loved the use of all of the original 'Star Wars' material. The one element I didn't enjoy was the 'modern' sounding percussion at times but overall I had a big smile on my face as I listened to it.
  11. John Powell's scores almost always have some Eastern European sensibilities about them, don't they?
    Bach's music is vibrant and inspired.
  12. It's a good score. I'll hear it in context tonight and will then decide if it is a great one.
    I am a little disappointed by William's original theme, or rather the suite arrangement of it. I actually prefer Powell's variations of it. It's a bit too close to Rey's Theme too.
    Powell's percussion trademarks are in many cues and can be a little much over the duration of the score. In "Corellia Chase" it really started to irritate me. I liked how original themes were incorporated. How much sense they make I'll know when I have seen the film. I love the choral material.
    My personal highlight is Flying with Chewie. What a beautiful cue!

    Volker
    Bach's music is vibrant and inspired.
  13. Captain Future wrote
    John Powell's scores almost always have some Eastern European sensibilities about them, don't they?

    That's a rather ironic thing to say considering the reason Marianelli got booted off of Pan... tongue

    (Incidentally I'm not sure I know what you mean)
  14. Edmund Meinerts wrote
    Captain Future wrote
    John Powell's scores almost always have some Eastern European sensibilities about them, don't they?

    That's a rather ironic thing to say considering the reason Marianelli got booted off of Pan... tongue

    (Incidentally I'm not sure I know what you mean)


    Hard to describe and possibly nonsense. His How To Train Your Dragon scores occasionally remind me of Russian folklore songs. And some of that seems present in this score to. Maybe it's just me. I surely don't enjoy his music any less for it.
    Bach's music is vibrant and inspired.

  15. That's a rather ironic thing to say considering the reason Marianelli got booted off of Pan


    What was the reason he was dismissed from 'Pan'?
  16. His score was "too dark and European" suicide

    studio heads are musically illiterate fools but I still wouldn't trade Powell's score