Archive for the 'films' Category
Let’s get back to roots.
Lately, in my pursuit of professional librarianship, a few interests which defined my adolescence were inevitably left to the side: video games, anime, drawing, science fiction novels – to name a few. If necessary, I can still participate in conversations regarding the topics (After all, I still have that cheeky little [band]…), though at the moment, time previously devoted to their upkeep is now placed towards career efforts: staying updated on issues and news in the orchestral/operatic/theatrical world, whatever library theory I can find, the occasional attempt to figure out copyright laws, trying to familiarize myself with entire catalogues of certain composers – again, to name a few.
Musically, my focus has also shifted a bit, but the not-so-recent animated films How to Train Your Dragon and The Secret of Kells have reawakened a film music creature in me. However instead of wanting to be one of the musicians heard performing these scores, as per previous aspirations, I find myself wishing to just see and possibly examine them (and then, of course, prepare the parts.) My primary inspiration derives from the stunning density of these score cues, and I am incredibly curious how they’ve all been put together. These two specific tracks below have fascinated me for a few months now with their balanced intricacies and the juxtaposition of meaningful motifs and themes. The technique is nothing new to music or composition, but when done skillfully, it’s still a mesmerizing effect.
+ [The Book of Kells] – The Secret of Kells, scored by Bruno Coulais
- While the entire piece is quite evocative, I keep the section starting at 3:11 on repeat. The layers created by the gradual participation of multiple instruments with the initial violin and harp is simply beautiful. And I do love a good counterpoint (3:46.)
+ [See You Tomorrow] – How to Train Your Dragon, scored by John Powell
- A few years back, a friend and I were on a long drive between some states. His iPod shuffled onto a now-forgotten song, but its introduction and lead-in were so intriguing that we looped the first few seconds of the song dozens of times, just trying to dissect its very details using only our ears. The first eight seconds of this cue remind me exactly of that one extraordinarily and hilariously super-dorky moment. So much is happening in that tiny amount of time! While the remainder of the cue is done in fairly broad and thematically recognizable strokes, it is no less enjoyable. On a side note: the entire score to this film sounds like it was tremendous fun to play. The pennywhistle players must have been having an especially grand time.
Earlier in May, I had the incredible fortune of touring the BBC Music Library located in White City, West London. There, Head Librarian Peter Linnitt oh-so-excitedly and graciously allowed me to view and slip through a few pages of the actual scores used in the acclaimed BBC production of Pride and Prejudice, starring Colin Firth.
If you’re swooning right now, it’s totally okay. It’s apparently the current worldwide Pavlovian response to anything associated with the words “Colin Firth.”
Absolutely regretful shyness prevented me from investigating these scores further, but their setup did seem fairly complicated. I’m sure people from [JoAnn Kane], for example, could really tell me how to work with the particular demands of these film music sets… Until then, I just may have rely on my silly and questionably dependable, but appreciative, ears.
May 30 2011 | films and music and travels and waffle | No Comments »
Bossman has certainly made this blogging window very spiffy since I last came here. I’m way behind. But given that I travel yet again tomorrow, I figured I’d better catch up before another grand adventure.
This year has been the year that staying in one place has been a luxury.
I suspect I will end up writing about three or four posts today heheh…
Anyways…continuing in this giant recap of life and cities (which will be kept far less detailed now): I had been to Seattle many years ago with family en route to Canada. All I could recall of it was the airport. Unfortunately, Seattle will still be lacking in my mind because this time I only got to spend two days there, most of which was concentrated on the second day’s audition. Nonetheless, there were still many amazing moments to cherish.
The weather was surprisingly warmer than I expected while all the jokes about overcasts and rain are true. [norg] (aka George aka our sound engineer from [MAGfest]) picked me up from the airport and upon returning to his place, I met Matilda (who I inevitably ended up calling “Miss Matilda” the entirety of my time there), a 145-lb. St. Bernard who thought she was still a puppy. The sound of her running across the floor resembled that of thunder, but she was truly special and sweet. Naturally, George and I spent a grand amount of time that weekend discussing music, the nature of the video game music community, and discussing several hack collaboration plans. In many ways, I felt like I was visiting the OneUps again, except just one of them…living in the mountains…
After the audition the next morning at the University of Washington, we took a necessary, but very nice drive through the cool and laid-back streets of Seattle to the ridiculously gorgeous [Benaroya Hall] to catch the [Seattle Symphony Orchestra] performing for [Play!]. Perhaps the most interesting thing about this performance was that I had been playing for and watching [Video GamesLive] just a day and a half before (see previous post.) The [rivalry] between these two video game orchestras is not entirely unfounded, but more than anything else, I found it to be unnecessary. Both orchestras aim for the same goal of promoting video game music, but they both approach it in very different manners; Video Games Live in a more interactive, youth-oriented fashion and Play! in a very classical, formal concert setting. Neither approach is more right or wrong than the other as they both have upper hands in some elements and shortfalls in others and can cater the same message to two very different audiences. If anything, Play! can be considered more “educational” while Video Games Live would be the class field trip to a science museum.
While congratulating him and orchestrator Larry Kenton after the concert for a fantastic Guild Wars suite, I got a chance to speak to [Jeremy Soule] himself ([Marty O'Donnell] of Halo fame was standing just a few feet behind us.) and he asked about, then agreed with most of my views and comparisons. We discussed the concerts and he professed nothing but love and respect for VGL and [Tommy Tallarico]. Both he and his brother (and occasional partner in crime, I understand) Jason seemed rather interested that someone had been able catch both Video Games Live and Play! in the same weekend. I couldn’t help feeling like a diplomat. Mr. Kenton gave me some lovely insights into the studio recording world and name-dropped a whole bunch of people I really hope my subconscious absorbed. I also became reacquainted with [Shnabubula] (who I had heard play at MAGfest), but my favourite meeting of the weekend was his father, who truly embodied my friend Russell’s claim that Seattle is such a hip city that even the “older people” are hip. I’m not sure I’ve ever met another person of his age with such a simultaneous air of amusement and wisdom about the world around him.
In terms of the actual concert itself, it was most definitely the most expensive concert I had ever attended. My wallet cried a little, but my heart rejoiced (aided by the fact that the teller was quite cute and charming) after hearing the spectacular opening rendition of “Liberi Fatali” that left me gripping my chair for fear of running onstage and just joining them. There were many program parallels between Play! and Video Games Live, but I was very glad to be introduced to some new compositions, such as the aforementioned Guild Wars suite (with a gorgeous violin solo that I really want to try out) and Battlefield 1942. Somewhat sadly, the SSO’s interpretation of a Kingdom Hearts suite (God bless you, Yoko Shimomura…) did not bring me to tears as the VGL orchestra’s had (and I blame proximity, really), but principal oboist [Ben Hausmann] (if he indeed was the one playing that day. If not, then whoever was playing principal oboe that day…) tore out my heart and soul with his amazing solo. The music may have been from a video game, but the solo was performed as emotionally and beautifully as if it had been from Ravel’s “Tombeau de Couperin.”
With not enough time left to carry out plans to visit the original Starbucks at Pike Place, the day was capped off by relaxing at George’s place (or as much relaxing as can be done when a giant bear of a dog is trying sit in your lap) reading Atonement (which I had started in Orlando) before my red-eye flight back home. En route to the airport, we stopped at this little restaurant with an extremely valid claim of “the best clam chowder in the world”, and then participated in the only tourist action of my entire trip: a loop on the road to look at the breathtaking Seattle night skyline.
When I arrived back in Florida, I noticed that in my huge weekend of meeting some of the most significant names in the American video game music industry, I didn’t take a single autograph or buy any merchandise – but had given out almost all of my cards and gotten lots in return. Oops?
Also, how on earth does Firefox think that “Starbucks” is a misspelled word? Silliness.
June 04 2008 | films and games and music and travels | 1 Comment »
Tonight, over dinner, I came upon two realizations – First, Chili’s Frosty Chocolate Shake is far sweeter than I remembered it to be thus I shall probably never order one again (especially if the restaurant has run out of sprinkles! The disappointment of this tragic discovery surpassed that of the over-sweetness of the dessert.), and second, I’m a horrible critic of films. But I also know this to be true: digital animation behemoth Pixar knows what it’s doing. But poor Pixar – they’ve come with solid film after film, and expectations just keep building. The pressure must be unbelievable. Yet, they tackle the most unexpected of plots and somehow manage to make the most of them. I admire them immensely for having kept up their reputation and telling such engaging stories, but will not deny that I have approached just about every single Pixar film with skepticism. That is until tonight.
Yes, I did go see Ratatouille tonight. I walked into the theater knowing I’d see something amazing, and now that I have, I’d see it all over again at the slightest urging. Movie magic like that is rare today. Nowadays, people are seemingly all too willing to spend the cost of a full day’s worth of food to view anorexic films filled with pretty faces glossed by big-budget effects, and companies are all too happy to cater to such cash cows. Initially, sure, we can excuse such productions and call them “fun”, but the experience is a novelty which fades as quickly as the plating on a dollar store ring. (Pirates of the Carribean trilogy, I’m looking straight at you.) When films like those Pixar has produced thus far are presented to the world, I – as only a lowly viewer and critic of nothing but the impression that the film leaves on me – treasure such examples of what movies can really be and do to us “just watching” people.
So bear with me for a brief moment as I give into the demeaning expectations of a blogsphere wherein everyone expects everyone else to force opinions on each other and say that Ratatouille is a really darn good film. It’s fun, gorgeous, truly entertaining, witty without having to revert to a single joke about bodily gases, and an excellent way to spend time. To top it all off, Michael Giacchino’s score is amazing. I fall more and more in love with that man every time he scores a movie (or short film – see One Man Band – or video game…). Too bad the soundtrack hasn’t been released yet. I guess I’ll just have to watch the movie again. (I almost wish I could say that with some exasperation haha.)
[EDIT] Sorry, the soundtrack IS out. I was just apparently inept at finding it last night at 3am. heh. *waits in anticipation*
July 01 2007 | films and food and music | No Comments »
I haven’t written about music, or really long posts, or music posts, for a while now thanks to an overwhelming number of rehearsals and papers as it IS nearing the end of the term.
However, since I’m working on a paper right now, it’s only right that I procrastinate a bit and blog on the music that is distracting me.
Not too long ago, there was this week or two of my life where a large number of references to the film Moulin Rouge! came up. For one, the university opera is performing La Traviata this Saturday night, and of course I’m in the pit for it. (In case you aren’t aware, La Traviata and Moulin Rouge! are essentially the same story.) A friend of mine was also driving me to rehearsals for another orchestra and she had the soundtrack for the film playing as we drove. Thus, I was reminded of how brilliant some of the adaptations, especially that for “Roxanne,” are. Hearing the music made me want to see the film again.
However, it wasn’t until the same friend and I were listening to NPR and heard a short, familiar, but unidentifiable hook, that I was inspired to investigate further. Over the course of the night, while errand-running, I remembered bits and pieces of lyrics, but nothing truly helpful. Somehow, with the help of wikipedia and a friend, I managed to deduce that the tune was “Nature Boy,” by eden ahbez. And then I remembered that it was the opening cover tune for Moulin Rouge!, as sung by David Bowie.
So I went and dug up a whole bunch of different covers of the song, and finally got around to watching Moulin Rouge! in its entirety as was (Actually, ended up just purchasing the film because I couldn’t resist the gorgeous formula of prettily-filmed spectacle and equally complimenting music). “Nature Boy” is a truly haunting and beautiful composition.
I speak of the song because it refused to leave my head all day, and I since have decided it’s one of my all time favourites right next to “Feeling Good,” “Fly Me to the Moon,” and “Can’t Take That Away from Me.” I’m also rather deliriously in love with “The Man That Got Away” (no puns intended) and “The Home Fire” but neither of those songs really have multiple amazing versions. It’s pretty much the Judy Garland version for the former and the Louis Armstrong version for the latter for me…
In other news, I have found myself addicted to the stringwork in “What Goes Around…” by Justin Timberlake. The lyrics are admittedly unoriginal and boring, and I’m none too fond of his singing either. But again, Timbaland has done a wonderful job with the production. Sadly the appeal of the song will probably fade with time, but it’ll be a useful archive entry.
April 19 2007 | films and music | No Comments »
Last few weeks have been a whirlwind of frustration and illumination. I realize that that’s not a very common combination, but many things happen over the courses of just a few days.
Select Start played some very successful shows in Jacksonville and Orlando. There are videos available on YouTube.
I got to play a Wii. I am in love. The thing is brilliant.
Also saw Pan’s Labyrinth and The Science of Sleep. Both films were well worth seeing. But make sure to see them in the right audience. Otherwise, the entire atmosphere of the film(s) are destroyed.
Have also performed for two very different masterclasses – one for Prof. Charles Castleman of the Eastman School of Music and the other for the first violinist and cellist of the Turtle Island String Quartet. The fact is not easy to admit, but I enjoyed the latter masterclass (which was actually more like a workshop) more. The musicians were so open and engaging in both their demonstrations and descriptions. The entire two hours were impressive, inspiring, and encouraging.
The entire experience was not unlike my time spent performing with Jacare Brazil and working with Skye Steele. I saw yet again another view of that musical world I have so longed to immerse myself in, and if I’m dreaming hard enough, maybe perform well in.
Next few weeks are filled with orchestra gigs so who knows when I’ll be able to update this again.
In the meantime, though – as promised – some music to tide us all over: (uploaded onto Savefile.com – apologies if there are any problems)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
+[Meu Esquema ] – Mundo Livre S.A.
——Okey – REALLY old school Brazilian manguebeat, but this is such a beautiful song that I can’t resist it and must find more music by them..
from Ragnarok Online II:
——Kanno’s work for this game is just flat out amazing. Take a listen. You won’t regret it. These songs are some of my favourites from a fan-made client rip. Credits go to ragnarok2.jurrie.net.
+[Intro] – Yoko Kanno
+[Hodo] – Yoko Kanno
+[Clap Walk] – Yoko Kanno
+[Averro Reinhold] – Yoko Kanno
January 27 2007 | films and games and music | 2 Comments »
soundtrack: This is Love – Utada Hikaru
Things don’t start hurting until they end. My current position is depressing, but more confusing, I suppose.
My biggest question has been answered, though, and that gives me a little peace.
Am I being too mysterious? Hehehe…I guess that may be the idea. I’m not really wont to talk about it online…
—–
Days have been more eventful than I expected. Details in the other writingspace. It’s not really important. However, in this time, I have watched many movies, listened to one new album, done atrocious amounts of shopping (meaning I’ve spent atrocious amounts of money as well *coughs at the $43 she had to spend on gas today), haggled with lots of technology and something else that I can’t remember right now. There’s always something else, ne?
Anyways, some thoughts on things…potential spoilers, of course, but I’ll try to keep them down:
Album: Black Holes and Revelations by Muse
thoughts: The album seems to be reaching for some far off jewel, but right before they reached the prize, all three band members looked around and said, “Not quite yet, mate. Let’s snatch it in the next work.” I didn’t find it as BRILLIANT as many of the reviews I read, but Muse is definitely up to something daring and new. And damn do they do it well. The album feels groundbreaking in the manner that you toss a floatie into a still pool – it lands, splashes a bit, and then sends ripples of emotion through you – and perhaps the rock world as we know it – and it’s going to stay like that. Some songs offered breaths of fresh, interesting, and alluring air, while a few are stagnant, but of no fault of their own. The album as an entirety, is mostly confused and disjointed at first. Songs don’t lead into other songs well, but after a few listens, it’s not as jarring. I admit having cheated and listened to a bunch of songs off the album before I heard it as a whole, though, so that may have a hand in the thought. However, by the time the album ends, I felt like it functioned even despite its obvious flaws, which slowly fade into memory.
All tracks stand alone very well. Starlight is a particular gem while others such as City of Delusion and Knights of Cydonia make you giggle as Muse tosses you into philosophical and tastefully overblown, overdone corners. Supermassive Black Hole is decidedly sexy as Assassin portrays the Muse that fans know and love so well. Never does Bellamy’s vocals fail and his driving force of a voice added to the complete artistry of the songs, only when taken out of the context of the entire album, makes this album very much worth its listening time. Yes, flawed, but still deserving respect and its own place in musical rock history.
Film: My Big Fat Greek Wedding
thoughts: Fun and entertaining (and relatively old, I know). I enjoyed how there was just the barest bones of romantic development and instead, the focus stayed on the wedding and its effects on the family…which is the point. Right?
Good writing and acting was convincing. Nia Vardalos in particular was delightful, but I won’t deny that I spent a large portion of the movie hoping that John Corbett would eventually wash his hair.
Film: Shaun of the Dead
thoughts: The film has its moments and is quite brilliant in some ways. And since I still can’t decipher British accents as well as I’d like, I would probably want to see it again with subtitles. After all, the writing is very good, but I just couldn’t enjoy it after one particularly horrible and scarring scene regarding organs leaving bodies. Which makes me question if I still want to watch it again…with subtitles. I never was a horror, even in its tiniest bits, fan.
Recommended if you can take that sort of thing anyway.
…and that’s enough of that.
Film: The Hitchhiker’s Guide to the Galaxy
thoughts: Haven’t finished it yet since I started watching it at around a few minutes past midnight, right after Shaun of the Dead, as to…cleanse, my mind, so to speak. Sadly, I was too tired to really enjoy it as it probably should be, so I shall finish it in the near future with hopes that I won’t be so tired then.
Thus far, opening sequence is hilarious, the actress playing Trillian is a bit distracting because she’s so pretty while I always imagined Trillian somewhat plainer and not as perky, and Martin Freeman…well, I just like him. Alan Rickman as Marvin was fantastic move. I have a lot more to say about The Hitchhiker’s Guide to the Galaxy (the movie) but no right to say that much since I haven’t seen all of it.
Film: Brick
thoughts: An excellent and rather amazing film in all its own right. I must watch this film again with subtitles, but I wonder if it will still be as gripping as when I saw it…oh, about an hour ago. The language, perhaps the most notable trait of Brick, is not new to the movie world (They talk in old 1920s-30s film noir lingo.) but in the present day setting created the creepy, but dazzling, sensation of watching a dark underworld, as it indeed is a story of one. Here, I can state without hesitation that while it may seem odd at first, the film eventually winds itself into something quite brilliant indeed.
Rian Johnson does not shy from artistry in the least. The frames are shadowy, reflective, symbolic, and beautiful. The images stick with you just as much as the engrossing, but slightly predictable story. Even the promotional posters are gorgeous. The evidently young cast is talented and Joseph Gordon-Leavitt cannot go without note for his work.
Highly recommended.
August 03 2006 | films and music and Uncategorized | No Comments »
