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Gotta say "cosplay" beats the hell out of "garb". I'm not sure if I ever met John, but I met Bjo just before TNG went on the air. (I might have met both of them at the same time. But she was the one who had written a book.)

"Anál nathrach, orth' bháis's bethad, do chél dénmha."

Nice try.

Trash? Can we talk about Star Wars here?

They are still filming. In Paris this week where a motorbike chase was filmed last night.

“- I can't tell... if it's an "A sharp" or if it's a "B flat"! - Heh, if you hit the wrong note, we'll all "B flat!"

Very well deserved. Elliot Goldenthal is one of the greatest masters.

I like the sound of this. Full album out today.

I hope it's a hint that we might be getting a expanded Spider-Man 2 soundtrack

If this is confirmed then that may explain the lower price as opposed to the DG Shop offering which just states "2 CD + Bluray". But I somehow have the feeling that some random song-list creating undergrad at jpc has messed up.

World you show us where? This is what I see:

I liked Goldenthal's Alien3 and Batman Forever, but never the whole thing, just some major parts of it. That is my issue with Goldenthal. I never managed to like a whole score, just the lyrical orchestral parts. When it came to his techno and ambient parts, which are there in almost each of his scores, then I am out. Often his music feels a little random and too dissonant to me. I never managed to get into his music overall as a pure musical listen.

I looked at the files but will not read until I receive a hard copy. Anyone received their LLL discount vouchers? Karol

The more I think about it, the more I get aware, that some, even great Spielberg movies, are suffering from quite a weak ending. Jaws has a perfect ending. Catch Me If You Can has a perfect ending. The Fabelmans as well. Anyway, after starting so well with Jaws and falling back then he got better and better at finishing his films in recent years. Apart from that the endings are often either some kind of Deus Ex Machina, when everything seems lost the cavalry or a miracle saves the day, or it is terribly cheesy or both. Minority Report, great movie. But then Anderton's wife walks into the prison with a gun and frees her husband and nobody is after him. Didn't really make sense. Temple of Doom, the day is saved literally by the British cavalry. E.T. And don't let me get started about Always and Hook. What sometimes saves the movie then is that Spielberg adds some smart or funny little epilogue like in Raiders of the Lost Ark or Hook.

Listened to this three times in the past few days. It is terrific, definitely one of the best recent film score albums out there. It is really listenable all the way through, even during the more ambient sections of the score suite. Liner notes by Jeff Bond are also fascinating to read. Good stuff. Karol

Check back on that other site you asked on

Anyone got this album to download???

How do you listen to the FYC score?

I once bought it for a friend's birthday. It's probably worth its weight in gold now.

And as one the altar boys chorused 'Ain't that the truth'.

My list, but with added thoughts Schindler's List - Simply the most emotional experience I've ever had watching a film. Jaws - As close to a perfect film as maybe exists. Close Encounters of the Third Kind - My personal favorite, for it's hopeful and atmospheric tone, and its use of music as a universal language. Saving Private Ryan - Every time the mom falls down on the porch, I lose it. Kaminsky's best work after Schindler's List Jurassic Park - I was 9 when this came out. It was my generation's Star Wars. He made it to top Jaws, and for want of a little more dimensionality in the characters, he may have succeeded. I like the score more, either way. After Star Wars (collective), I've probably seen this more than any other film Raiders of the Lost Ark - My three creative heroes at the top of their game. E.T. - I don't watch this movie. I've always struggled with stories where people leave, or have to say goodbye. Maybe because I lost a parent so young. It's too much for me, even now. I recognize it as a great film, however, and JW greatest score. Lincoln - Maybe the best script he's ever shot. A lesser director would not have known how to shut up and let the actors act. Munich - His most difficult and diffuse film. More great work from Kamisnky. The score is serviceable. The Last Crusade - If not for the father/son material, and the inspired casting of the somewhat underrated Connery, this would be a fairly boring movie. Those two things are so strong, though, they make it work. Minority Report - An underrated score to an underrated film. One of his strongest, visually. Kingdom of the Crystal Skull - I've listed the reasons why I like this movie here. Tintin - Just a fun movie. Temple of Doom - Parts haven't aged great, but not enough that I would write it off. The best score and cinematography in the series. I love Indy and Short-Rounds' interactions. The Terminal - A delightful little film. I think underrated because it came out at a time when people still expected Spielberg to shoot for the fences. This film's a solid on-base bunt. War Horse - People wanted a WWI SPR. That's not what this is. Great music and camera work, and solid story about a dude and a horse. The BFG - I think this film will draw some critical reevaluation in about 10 years. It will never be a masterpiece, but it will be appreciated. The best JW score, and by default the best score, of the past 20 years. War of the Worlds - The weakest of his "9/11" trilogy, but some great effects and tension-filled scenes make it fun, for lack of a better word, to watch. The craft is there. Catch Me if you Can - Kind of a nothing burger to me, honestly. Hanks's knock-knock joke is the thing I remember most. West Side Story - A very good remake of a film that did not need to be remade. Amistad - Saw this only once in high school, which I think Spielberg made it with that very intention. I remember liking the John Quincy Adams scenes. A.I. - The ending just feels too contrived for me to buy what it's trying to sell. A tonally inconsistent, but not in a good way, film. The script is weak. The Lost World - A sequel that fights for two hours for its need to exist, and, frankly, fails. Hook - I'll let Spielberg's own assessment speak for me, because I agree with all of it. "There are parts of Hook I love. I'm really proud of my work right up through Peter being hauled off in the parachute out the window, heading for Neverland. I'm a little less proud of the Neverland sequences because I'm uncomfortable with that highly stylized world that today, of course, I would probably have done with live-action character work inside a completely digital set. But we didn't have the technology to do it then, and my imagination only went as far as building physical sets and trying to paint trees blue and red." "I felt like a fish out of water making Hook... I didn't have confidence in the script. I had confidence in the first act and I had confidence in the epilogue. I didn't have confidence in the body of it." He added, "I didn't quite know what I was doing and I tried to paint over my insecurity with production value," admitting "the more insecure I felt about it, the bigger and more colorful the sets became."

Elliot Goldenthal to receive Lifetime Achievement Award at 24th World Soundtrack Awards We are thrilled to share some exciting news with you! American composer Elliot Goldenthal will be honoured with a Lifetime Achievement Award at the 24th edition of the World Soundtrack Awards on 16 October 2024. Known for his fusion of orchestral, jazz, rock and electronic music, the composer has been lauded numerous times by the Academy Awards, Golden Globes and the World Soundtrack Awards. This is not the first time Goldenthal will be visiting the festival. In 2000 he attended the premiere of Titus (1999) and three years later he received the WSAward for ‘Soundtrack Composer of the Year’ and ‘Best Soundtrack of the Year’ for Frida (2002), in 2011 his score for Alien 3 (1992) was performed at the World Soundtrack Awards Ceremony & Concert. Elliot Goldenthal will join Guest of Honour Philippe Rombi and returning Discovery of the Year winner Simon Franglen as WSA2024’s official musical guests. Article

Random additional thoughts: Hook and in particular 1941 are much too maligned. Both are good films, SPR would probably come in at #6 on my list, but it doesn’t crack the Top 5 because, as much as I love the film, it loses its way a bit after that gut-wrenching opening. RPO, while not nearly as bad as KOTCS, is generally weak, and Spielberg, frankly, is the last person who should have directed that film. I can't rank Schindler's List. If I did, I think I'd say it's #1. But it holds such a unique place in his oeuvre, and IMO stands out from his other work so distinctly, that I can't even begin to compare it to his other films. It's a work apart, and it almost feels disrespectful to rank it. Sometime around Tintin, and certainly after, Spielberg entered the Ron Howard phase of his career. A technically proficient, efficiency-driven director capable of getting some good performances from his actors while putting out competent, well-made films that are otherwise uninspiring and mostly forgettable. Films that are generally “good” but don’t come near greatness. In fact, The Terminal, Catch Me if You Can, Lincoln, Bridge of Spies, Warhorse, The BFG & The Post all feel like films that could have been directed by Howard.

We have Japan's to thank for that one apparently: https://libguides.lib.umt.edu/cosplay

This is f*cking awesome.