In my opinion, the art of the transition is what makes composers composers. Any asshole can write a nice melody. Many assholes can write decent harmony. Several assholes can write exciting rhythms. But few assholes can transition between distinct musical sections in a coherent and impactful way. Even some of the greatest composers occasionally display a lack of transitional aptitude (like the ungainly and blunt-force-trauma sequence extravaganza that Tschaikovsky employs leading to the climax in 1812). But virtually every composer worth his salt is capable of executing a quality transition, which is why it’s worth noting when you find one that’s really magical. Continue reading
I found this stuck in my head, even though I haven’t watched this flick in years. What a ludicrously catchy melody. I swear, this John Williams character just might have a future in the business.
Totally underrated movie, BTW. It’s easy to overlook it because Raiders and Last Crusade are both phenomenal, but Temple of Doom is rad. Best villain of the bunch, first of all (he rips a dude’s heart out and holds it in the air while it’s on fire!). Entertaining Asian child sidekick. Pretty sweet mine car shenanigans. Live elephants. Large Cole Porter number with bits of Chinese.
Spielberg’s wife is pretty annoying, but wouldn’t you be too if you were Spielberg’s wife?
Kali ma. Kali MA. KALI MA SHAKTI DE!