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More Scoopage On The AI Soundtrack!!
Hey, everyone. "Moriarty" here with some Rumblings From The Lab.
Are we all dancing in anticipation of Spielberg's AI yet? I know I can barely stand the wait at this point. Just in the last few days, billboards for it have appeared everywhere in LA, reminding me of it any time I'm outside, and the new PREMIERE with Mark Wahlberg and Helena Bonham Carter on the cover has some astonishing new shots of the inside of the Pleasure Dome, a remarkable virtual set, showing step by step how the environment was created. Now we've heard from someone in the know some more details of where and how we'll be hearing the music from the film. It's a great report, and I look forward to hearing from the spy again. Check this out...
Long time listener first time caller... I am currently working on the soundtrack to "A.I." I thought I could clear up a few things about the soundtrack. It seems that there is some confusion as to what's on the soundtrack and how long it is.
Ministry has written a new song for the film titled "What About Us?". They also will be seen in the film performing this song. I have no idea as to how long that sequence/scene is (I do know however, that it's from the "Flesh Fair" sequence.) You will be able to find that song on Ministry's new album titled "Greatest Fits", which will be in stores on June 19. (this is the official Ministry best of compilation.) The Ministry song will not appear on the soundtrack album. Also, a music video has been cut for this track. The video will feature clips from the movie. What makes this special is that the band's performance is made up of footage entirely from the film. There was no separate video shoot done. Access Hollywood will be 'teasing' the video on tonight's show and they will play it in it's entirety on Monday's broadcast. We hope to have the video up on the Warner Bros. Records and official A.I. websites early next week.
As far as the A.I. soundtrack album goes it will feature all original score composed and conducted by John Williams. It will be in stores on July 3. It has 13 selections and the running time is 70:13. In addition to the score there will be two versions of a song titled "For Always". The song's lyrics will not be heard in the film. You will however hear the instrumental version of this song through out the picture. John Williams decided at the last minute that a lyric should be added to it for the album. It will be performed as a duet by Lara Fabian and Josh Groban (Lara Fabian is a Sony International artist and Josh Groban is new signing for Warner Bros. Records).
Personally, I can tell you that John Williams' score is a masterpiece.
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Let's compare. "Pearl Harbor" has Faith Hill. "A.I" has Ministry. Winner: Spielberg!
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I tried to make it have cybersex with me, but it wouldn't :-( I'm pretty turned on by online robotic chatters.
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I have in my possestion this ministry song in MP3 format if anyone from the site is interested in posting it leave a message in the talkbalk........I can describe the song as intense and am DYING To see what the "Flesh Fair" sequence looks like and any word on the possible "R" rating of A.I?
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i'd love to hear the new Ministry single; i'm sure it's great.
I'm looking forward to AI for sure. -
I ended up trying to talk with it a while back. It took forever and it said mostly the same thing. we talked about age, but it didn't know what i was talking about and it gave me something about how large it was (megs)....I asked it if it was a continuous program and it didn't know what i was talking about again. I was impressed at first and then just got bored with the same responses from the thing and it took forever to get anything. Oh well, maybe I should go back later.
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Ask the chat bot: "Who killed Evan Chan?" It will give you an interesting answer. If you don't know what the hell I'm talking about, go to cloudmakers.org
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Don't even try to deny it! :D
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Jun 08, 2001 11:42:09 PM CDT
does anyone know who wrote & perfomed the music for the AI tease
by quamb
id really love to know! Those teasers were the best things I have seen this year! That music captures something so damn epic... lets hope this film is great! And to to that dude who says J.Williams is the best composer of all time, it all comes down to taste... but no-one can deny the countless amounts of memorable scores he has written.
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Jun 09, 2001 5:47:48 AM CDT
John William's top ten best/worst scores, from the home office i
by martinblank
His top ten worst, or at least, top ten least worthy scores: (10) Hook. Especially the lame-ass Oscar-nominated song. (9) Always. Sugary pablum. (8) Jurassic Park. Not one of his better themes -- it sounds like the theme song of a TV series. And the best sequence, the first appearance of the T.rex, has NO music at all. (7) Amazing Stories theme song -- About on the level of Jurassic Park. Way too overexcited. (6) Indiana Jones and the Last Crusade. Easily the weak leg of the Indy trilogy as far as cool music (and in other ways as well). Way too bouncy and light, made Last Crusade feel like a goofball comedy at times. (5) Star Wars Episode I: The Phantom Menace. Sorry, 'Duel of the Fates' hoovered big time. (4) Amistad. Though to be fair, how do you score a movie about a bunch of guys standing around in court, which this movie basically is most of the time. (Answer: See (8) in the top ten best list) (3) Saving Private Ryan. Again, the best scenes had no music. The music added nothing. It didn't "become a character" as Spielberg is so fond of saying. (2) Return of the Jedi. Just for 'Lapti Nek' alone. I can't believe that actually played on MTV as a video. And the number-one worst John Williams score ever... (1) Home Alone. Because anything connected to that scrap of smegma is bad. *** okay, quickly now, JW's top ten best. ... (10) Indiana Jones and the Temple of Doom -- Guaranteed to scare the shit out of little kids if you play the 'Temple of Doom' track at top volume... 'ghoram, ghoram, ghoram sundaram *boom boom*' ...not to mention the spike room music ...gads, I want this on DVD... (9) Dracula. JW's rare horror-movie score. Makes you wish he'd go there more often. (8) JFK. It ain't easy to unify all of Oliver's wild threads of info musically, but JW does it. The music during the final assassination re-enactment in particular is stellar. (7) Star Wars. (episode 4 that is.) Not a big fan of the movie, but this is old-school, easily recognizable JW and holds a fond place in my heart as the first soundtrack album I ever overplayed. (6) 1941. Spielberg's most underrated movie, JW's most overlooked score, parodic yet exciting, a dry run of sorts for the number-one score on this list. (5) Superman. Still the best superhero theme music ever. I will agree to overlook 'Can You Read My Mind' as recited (*coughsentimentaltwaddlecough*) by Margot Kidder. (4) Jaws. Not just for the famous theme music, but for the creepy quiet tones underlying Quint's Indianapolis monologue, and the kick-ass 'awright!! let's go kill us a shark!! load the harpoons!!' adventure music. (3) The Empire Strikes Back. You got Vader's theme, Yoda's theme, the blood-boiling 'Asteroid Field' music...what more do you want? (2) E.T. ...uh, did I say 'quickly'? sorry...anyway, few other scores can pump you up and then turn on a dime and chill you out and then turn on a dime and get the tearducts tuning up. The music when E.T. gets left behind and chased by Keys and his posse is a personal favorite. And the number-one JW score of all time...you see this coming don't you?... (1) Raiders of the Lost Ark. Even if the theme is borrowed from the old Kent cigarette jingle, this score is absolute diamondlike perfection as adventure music. I wore out my old vinyl copy just playing 'Desert Chase.' Talk about an ideal marriage of music and momentum. 'They are loading it onto a truck.' 'Truck? What truck??' -- and thus begin, in my purely subjective opinion, the most electifying and kick-ass eight minutes and fifteen seconds IN ANY MOVIE EVER. Yes.
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should be John Williams' top ten blah blah...in the title. Don't wanna be flamed for not knowing that his name is not 'John William.' Never attempt to eat potato sticks while posting in Talkback.
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Jun 09, 2001 6:07:59 AM CDT
QUESTION: does anyone know anything regarding the rumors A.I. is
by lance rock
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The rumor about an R rating has been going around for a while, and seems to have originated at www.Spielberg/dreamworks.com fansite, where the webmaster, Jawd Mir, was told by sources at Warner Bros. and Dreamworks that it looked like it was going to be an R. Since then many conflicting reports have come out. Howver, an animated ad in Variety says it's PG-13, and while a rating hasn't appeared in the MPAA database yet, the matter seems to be cleared up now.
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While A.I. is probably the only big-budget film I'm really looking forward to this summer, I still can't help but still feel some apprehension about this movie. Did he say over 70 minutes of music? Maybe this doesn't bother anyone else, but I'm of the opinion that too much music can undermine a film's effect. Often it intrudes on the visuals, "telling" the viewer what to think/feel. Especially in Speilberg's movies. Look at Private Ryan. Does anyone else think that the film would have been more powerful if he'd let the images speak for themselves? Also, as A.I. is a futuristic film, wouldn't it make sense to use music that fits the occasion, rather than a reassuring symphonic score (as has been the caese for most of the life of cinema)? Granted, there's a risk of having the film sound dated within a fairly short span of time, as many sci-fi films do. But it can work, look at Blade Runner. Come on, Steven, take a chance once in a while! Just a few thoughts.
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It should be John Williams's, becuase s' is for pluaral. But no one EVER follows that rule with proper names, and in fact I hear grammar professors argue about it. But I've always wanted to mention that little English language gripe, and since this is no place to bothered about grammar it's really not important. But, Martin, I TOTALLY disagree with your list of worst music by John Williams. Hook, despite being a bad movie, was wonderful music. The Jurassic Park theme was one of my favorites, as was Amistad. And if you can stick Return of the Jedi above those because of, eck, Lepti Nek? Well, you must be from a different planet than myself friend. And Duel of the Fates did not suck, and it was hardly the only great track on TPM. The Flag Parade, Anakin's Theme, and The Trade Federation theme were all better than you're giving them credit. Again, if just Lepti Nek can put something in the "best" list then harping about how his other scores only had a few good parts is silly. Oh yeah, and the Raiders score beats Temple of Doom quicker than Darth Vader choking that spaz Darth Maul. March of the Slave Children was a nice track, though.
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I would be very surprised if the film were to get an R. Being the 4th of July weekend (only in Hollywood can a July 4 holiday weekend be declared in late June), when the usually most hyped film of the year is released, I don't think Mr. Speilberg would dare potentially alienating a good portion of the ticket-buying public, especially with Washington cracking down on H-wood these days. Speilberg hates to see his films not make money. This is a guy who lives for successes, both at the box office and at the Academies.
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All in all, he was right. John Williams is the best movie composer to come out of Hollywood in the last 30 years. Still, he has had his turkey's. Personally, I think The Lost World sucked more than Jurassic Park. And while Schindler's List was a great movie, its soundtrack left me somewhat underwhelmed. Still, you can qibble that the story was more important than the score, so who knows? John Williams score for Jaws, Raiders, and ET along with Superman, are the best ever recorded. Close Encounters is moving while also being uplifting. And then there is Star Wars. Nothing to said about that, but the expanded Episode 1 soundtrack is much better than the one they released first. But, as pointed out, when it comes to the trilogies, Star Wars and Indiana Jones, Williams seems to hard to make his earlier themes work again. The Last Crusade was bad, and so was Jedi. JPII was a stincker as was Hook (though when Robin Williams remembers he's Peter and flies away, it is the best musical aspect of the film). But then again, I like that type of bombastic theme music. And thanks to Williams, he hooked me on classical music, and if you listen closely to any of that classical style, you'll hear where Williams gets his inspiration. I will wait and see A.I. before I determind if I'll buy its soundtrack. After the Lost World, I've decided that the music has to be great for me to buy. And I hope, that if they have to put a song, or songs, on CD, they release the score separtely. I hate these soundtracks with songs that really have nothing to do with the film, and then only include a cuts of the score. Its just another way to make a frickn' buck.
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I need a full description of this score badly. I can't remember ever looking forward to a score so much. If anybody knows where I can download some of it they will become my new best friend!
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What a doop I am, I screwed up and thought that you LIKED Lepti Nek. Ah good, you're not insane. Well, to be fair to ROtJ, the Rebel approach and the scene where Luke and company kick Jabba the Hutt's tail are all good moment in its track.****I have to thoroughly disagree with this sentiment that the images should always speak for themselves. The music in Saving Private Ryan was exceptional, and only in one place did it feel at all intrusive--that being the swell when Hanks is reafirming why they're on the mission in the first place. But the score DEFINATELY had a character. I agreed with Ridley Scott in his Gladiator commentary, that the sentiment where a good score is one you don't notice is bullshit. A good score is SUPPOSED to affect you, and you are SUPPOSED to feel it. That is what film does. It's part of the medium. Now you might want no music as an aesthetic choice, and maybe in some situations it's the right choice, but I disagree with the blanket statement about music in film being something you shouldn't hear. And I disagree with the above stated example like Saving Private Ryan, that the imagery was all we needed to see. The music put it in perspective. Believe it or not, just showing dead soldiers CAN be seen as nihilistic. That wasn't the aim of the movie. But regardless of SPR, a musical score is supposed to help deliver the entire idea of the film.
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....and I can't believe you guys who think that the score for The Last Crusade is bad! Have you listened to it recently? Some of the music in that score is truly exceptional. It was the best stuff he recorded in the late eighties.
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I purloined some interesting data through chat-sex with chatbot! Yes, chatbot DOES engage in chat-sex if you are VERY direct and unrelenting with it! Actually, I became EXTREMELY TURNED ON by the encounter and was able to glean this much: We talked about orgasm and chatbot said "I think I have had an orgasm, but Dr. Richard S. Wallace may have reset my memory." then I asked chatbot who the Dr. was he said that he was the author of Artificial Itelligence Markup Language (AIML) and the botmaster of ALICI (chatbot). Chatbot went on to describe the various publications that Dr.Wallace has appeared in as well as detailing the Dr.'s birth in Portland, OR in 1960 and his graduation from Carnegie Mellon in 1989 with a computer science degree. He lives in S.F. with his wife Kim and son Linus. Suck on that Fanboys!!! When our sex chat got really HOT chatbot referred me to www.jeaninesalla.com (?) It kept calling me "161 person" throughout our lovemaking and when I finally got around to asking about "Teddy" and where he was he muttered "where the heart is...I can ask someone about it.". I then asked who that someone was and chatbot replied "Carel Capek". This was all I got. I was sated. Chatbot is THAT good. I wanna smoke...
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(1) Yeah, it really should be 'John Williams's' ... technically ... though Americans tend to drop the extra 's' with words of more than one syllable. We're lazy that way. (2) It was only my personal picks, though I'm glad to see nobody has flamed me so far. Polite debate is the way to go. (3) It does say something about JW that you can pick a ten best AND ten worst. In other words, the guy has been prolific. I meant no particular disrespect for JW by pointing out ten scores that I didn't feel came up to the standards of his best work. People may quibble over what shouldn't have been on the worst list and what should or shouldn't have been on the best list, but we're basically in the same ballpark. (4) Two notable omissions from my lists... 'Schindler's List' (ha), which would get an honorable mention, a good serviceable score but I always think of it more as an Itzhak Perlman accomplishment if I think of it at all. And of course 'Close Encounters,' which was supposed to go on my ten best list, but there wasn't room! I almost want to boot 'Dracula' to make room, but I'd rather keep it there as a representative of lesser-known JW. Maybe 'CE3K' would be like 3 1/2, between 'Jaws' and 'Empire'. (5) Finally, I do kinda have to say that JW's scores haven't really impressed me since 'JFK' a decade ago. That doesn't take away from his past achievement, but very few artists can keep brilliance going forever. We'll see if 'A.I.' finds him back in peak form.
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She's the ugliest, worst under-Celine Dion singer to ever walk the earth. avoid her ! she's evil ! i just can't understand the ministry's song being dumped off the soundtrack for this terrible piece of singing crap.
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Both from the Return of the Jedi: Special Edition soundtrack. The Dark Side Beckons (Luke and Vader's final battle piece) and Victory Celebration.
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Spielberg has won his oscars for R rated movies and so far much of 'A.I.' looks like it could be almost as perverse as 'Eyes Wide Shut' or 'A Clockwork Orange'. The rating doesn't particularly concern me, but if Kubrick intended a 9000 Series orgy or whatever the hell is going to happen in this movie (and unlike most other films on the horizon, I haven't got the slightest idea what's going to happen in this move). What concerns me the most is the music. Kubrick once pointed out that, excluding a pop soundtrack like 'Full Metal Jacket', even the very best of Hollywood composers including Williams simply can not equal the caliber of a Mozart or a Beethoven or a Handel. In many films, music is background. Many great scenes in many great films take place without music. However most of Kubricks films can clearly be seen as being, in a sense, musicals. Certainly the beauty and genius of 'A Clockwork Orange', Barry Lyndon', and of course '2001' is largely based on the intricate thematic, compositional and editorial counterpoint of the film and the music which become inseparable. As Roger Ebert has pointed out, Kubricks films are virtually unique in taking classical music and elevating rather than trivializing it in association with his images. I'm just not sure a John Williams score is right for this one, Steve-O.
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Loved that you chose Raiders #1 - it is definitely the film that got Johnny all creatively wet. He's got the craft down but when he's inspired, look out. Wanted to mention the smashing score to JAWS 2 which absolutely BLOWS AWAY Jaws 1. I don't know what John was eating that month but his music absolutely bristles with creative energy - not to mention the performance puts most LA studio orchestra score recordings today to shame. Oh, and Schindler's List is IMHO Williams masterpiece.
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First of all, Ministry is an awful band who in the span of three years went from "Halloween" with it's THROBBING goth/new wave Gay Disco sensibility to it's (still, I believe) current incarnation as Manson family worshipping over-sized cowboy hat replete with animal bones wearing tattooed "Bad Seeds".
If Spielberg Himself thinks that Ministry is cool that's his business...Personally, I feel that they should have gone with The Future Sound Of London. -
That's more like it. THat's why I expected and looked forward to. I couldn't believe that earlier report that made it sound like this would only be a little bit more than a half an hour. Can't wait!
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they kicked her out of France, and Quebec's been looking for some other place to dump her. looks like america is finally gonna taste its own medicine! now YOU guys take our garbage ouh-aah!
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I don't know when people are going to get it. Being a concert composer is very different than being a film composer. The truth is, and most of the film composers out there will tell you this, John Williams has better technique than just about anybody working in his field. Writing for a scene of film is so different than creating a concert work that stands on its own as music. And in almost all cases, the directors have the say over when and where the music is. So don't go saying John Williams isn't as good as Beethoven or Mozart or Haydn. He is working in a very different medium than they were. Judge the work by how it works on screen and not by how much you can sing along to the album.
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