TheSkeletonMan939

https://www.instagram.com/p/BcQemlwHd0f/ PREPARE YOUR AUDITORY RECEPTORS, GATHERED FRIENDS IT IS HAPPENING

His strength is 18 out of what? In relation to whom or what? To what form does this apply, his 2003 version? All those Bionicle.com numbers were arbitrary. It's hard for us to rank him this way because we're all going to have different ideas about how strong an 18 is or just how tough you have to be to get a 19; there's no standard as far as I know. It's doubly hard because as you say, he changes his appearance all the time. Heck, his last body was an enormous robot.

You mean the 2001 website (or at least-2004)? That'd be weird... it would mean the name for the character "Lhikan" actually came from some trivial detail. I assumed that it was the other way around.

I'm just guessing but I think it had its origin in the Bionicle Encyclopedia.

This thread probably goes here. But I might as well ask - does anyone know the story with "Ignition 1"? As in, why the comics started having that Ignition subtitle? I guess it was a sort of precursor to the Phantoka/Mistika idea where putting a subtitle under the brand name makes it seem fresh and new.

Indeed! ("Real life physics don't apply in Bionicle.")=>

I think they were sort of hinting at this in Mask of Light when Makuta said that "sleep spares him pain". If we assume that the whole thing about Bara Magna, the true purpose of Mata Nui's existence, etc. were all planned from the beginning by Bob Thompson et al., then maybe Makuta's secretly good plan was to preserve the Matoran world so that everyone wasn't deactivated when Spherus Magna was reformed.

"LEGO Looking into Bio..." "... materials to Replace Their Plastics"

Forgot to comment on this last night: Williams had a temp on the very first Star Wars movie. You can hear bits of Holst's famous Planets and Korngold's King's Row in the very first cue, and other classical pieces bleed into the final composed score as well. Yes, it's true... some of your favorite parts of the original film's music came from the template of other music! That doesn't suddenly make him a hack or a rip-off. He has a temp on The Last Jedi too, though that one has a lot of SW music in it. Anyone who's been paying attention to Williams's evolution knows that The Force Awakens is still patently Williams, but not quite the same guy from 30, 20, or even 10 years ago. He's constantly trying to improve the sophistication of his writing. I'm in the same camp as you though; TFA didn't have as many hummable or riveting melodies as the original trilogy. That doesn't make it a "thoroughly mediocre" score by any measure, though. You want to hear something thoroughly mediocre? Try Giacchino's Rogue One. I know he had like three weeks to write it, but it's a Williams pastiche that usually fails spectacularly whenever it tries to directly adapt anything Williams wrote. Producers like the temp. If it has music that's worked with audiences before in the past then that makes them comfortable. A recent incident with a film that didn't have a temp was Ghost in the Shell. Rupert Sanders's spotting session involved both the music team and the SFX team - he wanted them to gel, he didn't want them to be thought of as separate entities. And so composer Clint Mansell designed the music to work in that sense. Several disappointing screen tests later, producers are aghast - "what went wrong? Why don't people like this? I know - it needs some Kenji Kawai music! Quick - hire Lorne Balfe to make some quick Kenji Kawai-ish music for the movie." Balfe ended up replacing more than half of Mansell's cues. Now, that didn't help the movie at all, but you get the idea of how producers think about music in film. The difference is that Lucas's temp on the original Star Wars was indicative of his dream to make the film reminiscent of the old Hollywood of the late '30s and the '40s, with its very sophisticated musical writing. Today the temp is more like... "I want this scene to sound like this cool part from this other movie I saw. Exactly like it."

Oh I'm well aware of temp tracks, and they aren't a "modern Hollywood" thing at all. Temp tracks have been around for decades, driving composers mad, though as far as the recent ones go it can be fun to figure out which little musical moments came from which films. Sometimes composers are happy to rely on the temp, sometimes others are horrified, some like it when their previous work is included in the temp, others don't.... incidentally the MCU has a much deeper musical problem than just "grrr, darn those temp tracks!" For Mask of Light, Furst never even read the script. He just got some concept art, and maybe a blurb about the story, and then he wrote some tunes he thought were appropriate. He managed to write stuff that clicked and got the job. The horrible "blob" you're hearing in today's film scores (and thank God you are) I would guess is primarily the indirect result of Hans Zimmer's popularity around the turn of the century. He had some great little ditties from Driving Miss Daisy, Rain Man, The Fan, etc. that caught people's attention. Then Chris Nolan started hiring him for everything. Now I haven't seen every Nolan/Zimmer movie, but it sounds to me like Chris Nolan has a really, really specific idea of music, where it's this sort of nebulous, shapeless thing that daren't have more than one "identity". Every cue in Inception sounds the same. Every cue in Interstellar sounds the same. Then other producers get all giddy about this synth instrument design stuff Zimmer does and start actively asking their own composers to change their style... which ironically is never what Zimmer ever wanted to do. He never wanted to popularize a sound. His thing is that he always wants to try something new. It's why he dropped out of PotC 5, why he decided to leave Justice League to Junkie XL, why he's enjoying his tour so much. But the damage is done. Now sound design that is absolutely offensive to the ear is being hailed as something actually worth wasting time on and is being nominated for awards, just because it takes the "digital instrument design" idea and dials it to 11 (funnily enough, the emotional power of a single orchestral piece in that film - by another composer - was deemed to have "diluted" the integrity of the film's main "score" and was not eligible for Academy Awards - hmmmmm). On the other side, it seems like there aren't very many outstanding orchestral composers in Hollywood at all if you don't count John Williams, who of course at this stage of his life only does projects that are very close to him (either Star Wars or Speilberg). For every great Giacchino you get (which is usually derivative of something else) you get him writing a bunch of really boring stuff like Star Trek or Spider-Man. Brian Tyler just doesn't seem to have the pull to be able to do what he wants to in a movie (he can write some awesome stuff if he wants to though - look no further than Lego Universe or the Iron Man 3 end titles). Henry Jackman just doesn't really write anything that amounts to anything emotionally evocative, at least for me (Winter Soldier was great though - what happened to that Jackman and where did he go?) Marco Beltrami in orchestral mode is brilliant (not to say his other, more experimental stuff isn't), as is Silvestri, but it's so easy to feel like they stand alone. Joe Kraemer's work for the latest Mission: Impossible movie was a huge bucket of fun but that's the only score of his I've heard. And John Powell is wonderful, needless to say. (To bring this back to Furst, what's the last thing of note that he did? Need for Speed? Eh... that really wasn't too great imo). There's good music still being written for film - it's just not in many/any of the blockbusters. Animated fare gets great scores because it's supposed to be expressive - not reclusive, moody, and indiscrete like all the producers want their big-budget action movie to sound. It's not a "temp track" problem exclusively, it's a problem with how producers think about music in film. Henry Jackman told a story that perfectly captures the sentiment in Hollywood today: on X-Men: First Class he wrote a theme for Magneto (which, by the way, was temped from Ottman's X2) and it had a John Barry-ish quality to it. Director Matt Vaughn said, "hold on, hold on, take away the trumpets... take away that... now that... yeah, that's what I like! That should be Magneto's theme!" Poor Jackman could only state the obvious incredulously: "Theme??? That's just the bass line!" All this is doing is reminding me that we lost Michael Kamen and Shirley Walker too soon... I'm so glad this thread is getting as many responses as it is though. I freakin' love music of the movies and love talking about it with others.

It's crazy how in so many of Hollywood's big budget productions it's getting increasingly harder and harder to find a score that stands out in emotional terms... but a kiddie DVD movie from ten years ago, scored by a guy who no one knew then, hits so many great notes (pun intended) and really becomes a player in the film. Music in film today seem to always feel so inconsequential to the picture.

Nah... aside from the new cue at the beginning (LoMN theme + main Bionicle theme) it's all stuff recycled from earlier in the film. The music I'm talking about is this and this, for instance (for some reason BioMedia Project only has these tracks streaming in potato quality).

One LoMN soundtrack mystery for me is all the music in the DVD menus. Almost none of it is used in the film itself. Were they demo tracks? Were they unused? Were they even written by Furst at all? I need to know!!

I'm kiddin' around; I know they're busy dudes. Heck, I'm just glad there are people here who care about the film scores at all; usually that's not something people are used to paying much attention to.

Holy moley. I have seen plenty of threads on other forums in this exact style that are meant to be joking (I'm of course talking about the immediate thread subject, not the sexual orientation of the OP). I must not have recognized the disparity of mentalities between those places and here.

Which one? You can't have the Turaga one, I call dibs. I'm gonna have to be the one to explain to all the confused people here that there are three or four levels of irony at work in this thread. I'm sorry you don't understand. If BZPower is around in ~10 years and you revisit it as a generally inactive member but sarcastic young person, you'll want to do the same thing and make lighthearted merriment in poor grammar.

I emailed them last night but those slackers are biding their time!

Furst said earlier that parts of LoMN and WoS were forever gone in a hard drive crash. Not all cues, but some. He seemed receptive to the idea of combining whatever he had of the two films into one release. I notice though that the anniversaries for the two films are fast approaching (mid-October)...

For me mostly the staples - Bello Gallico, a few chapters from Aeneid, some Metamorphoses... nothing too wild. I'm still trying to set some groundwork in my mind for recognizing how grammar is set up, etc., before charging into the thicker stuff.

Someone who wants to be really awesome should troll through the Lego Message Boards archives and make a 'Farshtey Feed'-esque compilation of all the good tidbits (God knows how many pages the actual LMB thread was). Then when it's all done you'll be rewarded by having people moan and whine about all the post-mortem canonizations and retcons they might have missed before.

Any Latin enthusiasts here? I think I'm at the early intermediate level or so. Any particular texts you've read that you've enjoyed? I will pay you five bucks via PayPal if you promise to never use the phrase "red-pill" on this website again. t. blue-pilled person

This is great, thank you! Did anyone bother saving his responses from the Lego.com message boards? I wish I had.

Woah! Unused music? I wonder if it's from some stock music library or if it's actually an early track for the game.

They'd probably celebrate Easter the same way they celebrate St. Patrick's Day.

Yeah, it's something you have to really have a discerning ear to pick out. It sounds like a lot of instruments take up the same 'space', and if you're straining to hear for that sense of wideness, like it's being recorded in a real studio, you start to hear the cracks, so to speak. There's probably some science or theories behind that concept. Not a deal-breaker by any means, and certainly not detrimental to casual listening. Also, I forgot to mention that Tahu's electric guitar also makes an appearance when he arrives as a guest at the Koli match. Furst took a special liking to him, I guess!