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This is a comments thread about Blog Post: More on Star Trek II by Lukas Kendall |
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(I never understood why that music was so playful - it's the only anomaly to me in an otherwise perfect score.) To me it's not playful. It symbolizes the work Spock is doing, with the "plunk-plunk" notes being steps he needs to take to repair the engine-- a process having its own weird melody different from and independent of everything else that is happening. It's actually one of my favorite moments in the whole score. To me it's brilliant.
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(I never understood why that music was so playful - it's the only anomaly to me in an otherwise perfect score.) To me it's not playful. It symbolizes the work Spock is doing, with the "plunk-plunk" notes being steps he needs to take to repair the engine-- a process having its own weird melody different from and independent of everything else that is happening. It's actually one of my favorite moments in the whole score. To me it's brilliant. Listen to the 2nd movement of Britten's Sifonia da Requiem... lk
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I love all of it—but “Enterprise Attacks Reliant” (the final space battle where the Reliant’s nacelle is blown off) was something I have wanted to hear apart from the picture since I was a kid. I remember getting the LP and being crushed when the program went from the end of the “Battle in the Mutara Nebula” to “Genesis Countdown” without the battle music in-between. It’s weird when you start to dream about listening to a piece of music…I remember wishing I was James Horner just so I could play the music from the scoring session tapes. This was me. 100%. That was a great interview, Lukas, thanks for that. Some very insightful views on the film and James Horner's methodology as well.
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I wouldn't consider it mickey-mousing because the sound isn't mimicking exact actions on the screen. Perhaps it's just the bouncy percussive sounds that make it sound a bit like a cartoon to some. You're right, it isn't really mickey-mousing; bad choice of words but I was really tired and it was the best way I could come up with to describe it. I still find it playful in a way that, to me at least, seems out of context, but it's fascinating (a Spock word?) to hear that it's a favourite part of other people's experience of the score. Just goes to show the diversity even among fans of one score, let alone all the other scores we all love. And thanks, Lukas, for the heads-up to listen to Britten's Sifonia da Requiem. I'm intrigued. Any particular standout recording and its label that you'd recommend?
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I just swiped it off your desk.
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