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Terrific score. I don't know how many have seen the following interview with Don Davis from years ago, but I thought it provided some interesting insight into the scoring process. http://www.ign.com/articles/2000/07/17/interview-with-composer-don-davis-part-3-of-4 PLUME: On a side note to Horner, you worked with him on Titanic. There was a very famous rift between Horner and James Cameron after Aliens. Was any residual of that evident in what you observed between Horner and Cameron on Titanic? It was originally a falling out based on their differing views on the music for Aliens, wasn't it? DAVIS: No, I think it was a little more than that. It was music too, but Jim Cameron is a very tough guy to work for. Actually, I gained a lot of respect for Horner during Titanic, because Horner was accommodating Cameron in ways that I thought a composer the stature of Horner had no reason to accommodate anyone. He completely handled the situation with absolute humility and professionalism. I don't think there are very many composers who would have acquiesced to Jim Cameron the way Horner did. Horner gave Jim exactly what he wanted. I think there are some people who think that the Titanic score may be overly simplistic, or some people object to the Celtic nature of it, or whatever, but I can tell you that if any other composer had scored that picture, Jim would have fired him and at least four other composers before he got what he wanted. Horner was determined that that would not happen, and it didn't happen, and I think it was the best score that Jim would ever allow into that picture. For that reason, I think he deserves all the Academy Awards and accolades that he got. PLUME: I think that's a perspective that not very many people saw in that. DAVIS: Well, you kind-of had to be there to see it. I mean, it was magnificent. PLUME: It was surprising to a lot of people that Horner would even work with Cameron again after Aliens. DAVIS: I can't really say, because I wasn't there all that much. I would go to Horner's place, pick up the sketches, he'd talk me through them, I'd do them, and I was done. I do know that I made a lot of extra money on that show, because the picture kept changing and Cameron kept making changes, and as the sketches changed, they kept coming back to me to change the orchestration and I'd get more money. That was just fine as far as I was concerned. Through that process, I could see that he was accommodating this director. He was really bending over backwards to do everything that Jim wanted him to do. I couldn't picture a composer of the stature of John Williams doing that, well, maybe he would but there gets to be a point when it's too much. PLUME: Isn't it the job of the composer to conform to the director's view of the film? What line is there that demarcates when it's not worth the hassle? DAVIS: There are situations where directors give composers directives just to give them directives. Just to show "who's boss in this room." PLUME: Is it the film version of busy work? DAVIS: Sure. Go outside and dig a 20-foot hole and then fill it up again. Composers, whether they are or not, certainly like to view themselves as being creative and having a contribution to make to the process. There are some personalities, fortunately they are few, that seem to want to negate that. There's a point where it becomes too much of an insult to bear. If a composer is very highly successful, and James Horner certainly is, that means that he has to take less of that kind of abuse than a composer who is not of that stature. From my limited vantage point, it seemed like changes were coming in just for the sake of changes to come in, and I was wondering, as I was picking up these changed sketches, why Horner was going to such lengths to make this guy happy. Once the film came out, I understood perfectly. That's another tribute to James Horner, because he has not only an amazing visceral insight into what a film needs musically, but he knows how these situations work and he knows when to do something and when not to do something. You've got to hand it to the guy.

Yeah, for me it would mostly be all those lovely missing statements of the Past theme (Lupin and Harry on the bridge, the Patronus lesson, Harry and Sirius talking outside the Whomping Willow) but also lots of incidental cues like Dumbledore's opening speech, the second part of Hagrid's lesson, the Weasley twins dragging Harry through the snow, the "he was their friend" scene, Harry searching for Pettigrew through the halls at night, the trio heading down to Hagrid's before and after Hermione punches Malfoy, and the entire Shrieking Shack scene. Even the source stuff like The Leaky Cauldron fiddle and "A Winter's Spell" would be nice to have.

Ok, so, this is going to be a little harder than I suspected it would be. First things first. Judging this film by the trailers doesn't do it justice. However,if you think from the trailers and reports that Electro is utterly stupid and pointless, then you're spot on. Without his inclusion, or if he was replaced by something else, this would be a pretty nice movie. Everything about his storyline is either awkward, out of place, or purely ridiculous, even by comic book standards. Gus Gorman from Superman III sprung to mind a few times. I realise this is an over the top movie, but the whole concept of the character Max Dillon is just psychologically unbelievable and seems contrieved, from the moment he is "born", to the moment he "dies". Jamie Foxx does a very good job, but he goes nowhere, and in the end, his story just kind of fizzles away. Not unlike Venom in Spider-Man 3. Now for something positive. The relationship between Gwen and Peter is lovely, and Andrew Garfield really owns the character. I would rate his performance as Peter Parker higher than Maguire's, easily. It's also, in my eyes, closer to the character in the comic books. Unfortunately, that's as close as this movie gets to the original comic book series. Given that, according to the people behind the scene, this series was also made to get closer to the original, it's astoundng that in the end, they became even farther removed from the 60s comic books than the Raimi films. And that is also what hurts this film the most, namely that on one hand, it is in large parts too close to the Raimi films, and on the other hand, it takes tons of liberties with the Spider-Man story that are meant to set it apart, but don't really make up for any of it. Really, this film in many moments makes exactly the same points the Raimi films made, just that the name "MJ" is replaced with "Gwen". Even the situations are not that different. For starters, did Webb really have to knock off the graduation scene from Spider-Man? It doesn't do the film any service. It also revamps the "get to Spider-Man through Peter Parker" scheme for Harry. Ironically, when the film does deviate from the Raimi version and the comics and does its own thing, and tells us Peter and Harry haven't seen each other for almost 10 years, it diminishes the Harry-Peter arc, which should get its spice from their long friendship. Also, the subplot with Peter's parents doesn't seem necessary to me, unless it sets up the next movie. I just don't see what they point is of including the Parkers at all in this one. Peter's character development doesn't need it at all in this particular film. It all comes down to the fact that really, the thing which makes the film worthwhile is the story of Peter and Gwen. Even though it is reminiscent of the previous film series (and one could actually ask if this is really Webb's fault, since it was Raimi who imposed Gwen's story, minus her death, on MJ), Garfield and Stone do a great job of making it real and sweet, while the screenplay also does a good job of making it seem more modern, and not like a soap opera. And because of this, even thought it is, in typical Hollywood fashion, robbed of maximum drama by including needless action, Gwen's death at the hand of the Goblin does hit the mark. I just can't imagine the dry Maguire in this scene. What follows is a series of beautiful shots, and the sequence in which Webb shows Peter standing before Gwen's grave in spring, summer, autumn and winter actually got to me. It beats me though why they didn't have Goblin throw Gwen off the top of the bridge like in the comic, linking it to the scene earlier on at the same spot, when Peter swears to never leave her side. The finish of the film starts out promising, with Harry, locked away at the Ravencroft Institution, teasing the Sinister Six, but then becomes pretty silly. This is one thing I won't spoil, but jeez ...! And people complain about Desolation of Smaug's cliffhanger. A few words must be lost about Zimmer's score. As with the story itself, the Electro stuff irritated me, the English whispering detracts from the film. I didn't notice any significant material for Harry or the Goblin, which seems strange. The score collects plus-points from me in the soft and intimate moments, which Zimmer underpaints rather lovely. The big trumpet "hero" theme is something I still don't care for. It's not that the character doesn't need a hero theme, which he does, and it's not that it's too over the top, which the movie could stomach, it's just that it doesn't capture the spirit of the film or the character at all. It's as if it was written without having actually seen the film. But on the upside, in the film, it's worlds less irritating than the last few Zimmer scores. I can't really understand the criticism towards the score, being annoying or anything like that. What I can't understand, however, is why Zimmer was hired, who more or less did the same thing Horner did, just with a lot less panache. The visuals of the film are quite appealing, especially cinematography. Electro itself looks great, the lightning effects, however, especially in the big end scene, are far too video-game like to really get into it. Overall, I would give Amazing Spider-Man 2 a strong *** / *****

4 episodes in and I'm much more confident in this season then I was 4 eps in last year....

A Bridge Too Far both through the coming 70th anniversary of the actual event and with Lord Attenborough's passing comes the seemingly annual viewing of this, an epic in the old sense. Recently debated by such luminaries as Dan Snow and Al Murray as perhaps the greatest British war film, it remains a classic in this reporters book. The key roles for me remain Sean Connery, Hardy Kruger, Anthony Hopkins and Gene Hackman. Connery gets to play someone for whom his accent doesn't matter or would be noticed (Untouchables, Red October etc), Major General Roy Urquhart. Urquhart seemed pleased with the job Connery did remarking on his build (Urquhart was no shorty put it one way) and indeed, to me, Connery was quite good -especially in moments as the battle turns but assuredly versus Browning at the end looking somewhat jaded and shattered (Urquhart's post-battle trauma was deep and prolonged). Hardy Kruger purely for seemingly quite cool and unattached based upon SS General Harzer who was determined to blow Nijmegen even if Model wouldn't. The key moment is when of course XXX Corps blaze across and he watches stunned. Anthony Hopkins as Frost is quietly remarkable, Frost was no pushover it must be said Hopkins' portrayal perhaps lesser than the actual man but no less good. Frost's men held for five-six days to the two-three they were expected. A force of around 700 whittled down to less than half. And Gene Hackman, perhaps the best performance in the film as Sosabowski who'd been used as a scapegoat afterwards amongst others. Mocked by Murray for his accent, Hackman does the job and then so conveying the cynicism and disbelief in Market-Garden ("The Germans, General, the Germans!"/ "God bless Field Marshal Mont-gom-ery!"), the expression on his face when the messenger comes to get the Poles over the river and then after the massacre of his men. "One day men said, let's play a war game." If they had done around the same time a film based on Sosabowski's memoirs, Hackman would surely have done well. Can only wonder what Hackman thought of the film. Michael Caine for example appears...disinterested like in Battle of Britain probably a film to plug the gaps and build the house. True of many of the cast members (only perhaps Connery and Hopkins appear for the majority) like Caan and Redford who are mere cameos. Dickie Attenborough did a good job. Brave perhaps to do a film where for the Allies it goes balls up. Where effectively, the Germans win (Allied casualties double that of D-Day). Yet can't help but wonder what if there had been seperate directors for the respective nations like in the Longest Day or Tora Tora Tora. Or a different composer. John Addison's score I quite like and always have done but sometimes depending on my mood it doesn't feel right for certain scenes or scenes go without music that perhaps a touch of music would do. Anyway, gang, it's a fine film with some flaws yes but fine film all the same. Here's to Dickie.

Cool! You asked for it! Two of the best from one of my favorite filmmakers, Norman McLaren http://www.youtube.com/watch?v=h8uktqgKgw0 Some beautifully expressive work by Frederic Back I loved your mention of "Billy's Balloon", Don Hertzfeldt's stuff is so great. Outrageous. This one, Tale of Tales, is really one of the most beautiful things I've ever seen. It's often compared to Tarkovsky, and rightly so. http://vimeo.com/35186276 Lotte Reiniger's shadow puppet animation is quite fun and interesting. Her feature The Adventures of Prince Achmed is fantastic, the oldest surviving animated film, and her work was also the inspiration for the Three Brothers segment of Harry Potter and the Deathly Hallows: Part 1. My favorite scene from Prince Achmed: And of course all those countless great Chuck Jones, Walt Disney, Tex Avery, and Bill Melendez (Peanuts) cartoons, along with this childhood favorite that gets better and better every time: http://www.youtube.com/watch?v=oCEvL_hdN2A

And I'll be on the train up! Loving Ryan Adams' latest.

Couldn't put it better myself. I don't know Quint... What does it sound like?Karol Show me a better melody recently. I desperately want to hear it. And if I go back longer than two years, I can get quite a few more in there.

I don't know Quint... What does it sound like?Karol Show me a better melody recently. I desperately want to hear it. OK but I don't know what melody you're talking about... Is that a song tune? Or something else? Can't remember any themes from this film. Not seen it since 1998 and I just listen to a few action tracks on the album. Maybe this is a best way to re-acquaint myself with it? Karol

Is it ironic that I was totally fine with the golden arrow "plot fix"? I don't understand why the actual Who legion would complain about something like that when I thought such convenient devices were long considered part and of parcel of the show?

It's a good score, I gave it a 7. The synth elements, including the shitty choral stuff, completely stop it from being great. It has a nice couple of primary themes though; could have been so much more.

I've only seen the film once in full (when it came out), so I'm largely unfamiliar with the score in context. Going by the heavily re-recorded and alternate-filled OST, I enjoy the bits exploring the wreck (someone on the shrine made a mock-up of it, and it's really good), the Southampton scenes, and most of the material for the sinking scenes. Much of the rest I've either never noticed, or doesn't do much for me.

A deliberate creative descision

Chicks dig this score.

I reckon ET is a drag in chronological order. But the OST arrangement is one of the finest albums ever.

Never seen anyone describe the ET score as boring

It's like night and day. Get the box set.

The sound quality on the Rhino CD makes it harder for me to appreciate Superman's score. Are the improvements in the FSM set enough to warrant a purchase? And on the subject of Harry Potter, has J.K Rollins ever voiced her opinion on Williams' theme or scores?

Lots of good stuff missing from PoA. Yes, the grandiose actiony flight stuff is already there, but some of the highlights for me were the quiet bits which unfortunately didn't get released. Pettigrew theme and that lovely part before the apparition on the train are things I would love to see released

My favourite moment of Titanic score is the actual sinking scene (from 6:50). It's a very eerie and scary moment - all those ghostly synths: Karol

They need subtitles for their own home produced content so it doesn't surprise me in the least. Wife Swap USA actually had subs for the trailer trash dialogue - which I was able to understand with no issues from across the Atlantic ocean. I think parts of America have a major syntax blind spot where regional varieties of the English tongue are concerned.

I still want the complete score with all the film versions. It's irritating that there's a bunch of extra re-recorded music and music inspired by the film that I tend to skip on the original album and Back to Titanic, but the film versions of Southampton, The Portrait, the opening scenes, Jack and Fabrizio catching the ship, Jack and Rose running from Lovejoy and other bits and pieces have never surfaced. I don't know what the hell the anniversary version is supposed to be, but I don't even want the music on discs 3 and 4. That bastard Horner knows we want the music, too. I doubt we'll ever get it.

SOoooooooooooooooooooooooooo disagree. OK the POA OST has a huge portion of the highlights yea. But DEFINTELY not all! That HP1 teaser music does indeed need to get out, cause it's really cool and different from the way the theme is used in the rest of the score. But 2 minutes compared to the 30/40 + missing from HP3 just doesn't compare!

We need the trailer version of Hedwig's Theme more than unreleased Azkaban.

You're thinking of Quidditch Match, in fact Williams did lift a lot of that from the Chase Through Coruscant.

I need three or I'm seriously thinking of jumping off a bridge.

The ride was eerily prophetic. A long boring wait with some neat elements of Indy-ness along the way, Indiana Jones not killing anyone or sounding like himself, silly fake-looking phobia creature of exaggerated size, phoned-in musical score, annoying women in trucks, corny ending...sounds a lot like Crystal Skull.

Hi, long time follower of the site, first time poster. Anywho... http://www.pbs.org/wnet/gperf/rejoice-itzhak/3459/ It's a fairly new episode with John's theme at the beginning.

499.2: He is/was the first ninja turtle.

297. His glasses are a fashion statement; they don't actually have lenses in them.