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I interpreted that to be a statement said playfully and in jest.

They're great. John Powell is who many people want Michael Giacchino to be.

Don't you mean:

And I think she's a changeling.

I just found this review of the TFA score by our student newspaper... http://www.cherwell.org/2016/01/08/soundtrack-review-star-wars-vii-the-force-awakens/ No words.. "Rey does not have her own theme yet" ... how can you review the OST without even glancing at a tracklist? 😛

It's like choosing between gold and diamond. Both scores are, without question, John Williams masterpieces (there's that word again, but there's no other word for them). It's a question of which you like better, not which is better. Both scores fit their respective movies perfectly. I'd say... Movie: Jurassic Park Score: The Lost World

Notice how we didn't see JW's hands in the video? RJ must have chained them to the control panel.

Get back to work indeed! How much longer do I have to wait for this score?!

As did all sane people.

I need a quality recording of the Jedi Steps concert suite in my life.

JURASSIC PARK is my favourite score of all time. And the film is ONE of my favourite movies of all time. So no competition. But THE LOST WORLD is still a great movie and score.

When I talk about the score to a film, I mean all the music written for it, not just what the filmmakers ended up using... As far as the questions at hand, I definitely prefer the first film, but comparing the scores is super tough. I'll vote for the first one simply because I've loved it for longer, but as you said...gold vs. diamonds. Either way you win.

That's me in the leather jacket at 1:45!

My dad is watching The Phantom Menace this morning. I need brain bleach everytime Jar-Jar or Jake Lloyd are on screen. Actually glad Lucas sold his company to Disney. I dread what the sequel films would've been had he been onboard.

As to score: Maybe it's because I've heard Jurassic Park so often already, and because we only recently got the complete The Lost World (which includes many previously unreleased highlights), but these days I prefer The Lost World. Seems almost fresh, new, and indescribably original in comparison. Still, Jurassic Park is a JW and film score classic on the same level as Star Wars and Raiders of the Lost Ark, and nothing will change that fact.

15. The Raptors Appear */High Bar and Ceiling Tiles * 11M2 The Raptors Appear 11M3/12M1 High Bar and Ceiling Tiles The following cues have a large number of small edits. This effects-heavy sequence was probably trimmed down in various places after Williams scored it. In one case, there's several music edits within a continuous shot. For that part I just synced the picture to the music (which is why you'll see some blank screens within an unbroken shot). I also don't think this sequence was heavily restructured - just trimmed. In the film, the end of The Raptors Appear is replaced with tracked music from High Bar and Ceiling Tiles to underscore the false relief of Kelly and Sarah finding a way out. But as written, the percussion moves straight on into the next cue. High Bar and Ceiling Tiles is another edited track. During the first half, there's tiny edits at several points. The pause after Kelly lands is slightly longer in the film to give room to Malcolm's line. The cue continues after this pause for Sarah's escape to the roof. After distracting the raptors with a bunch of loose roof tiles, Sarah tumbles down a hole and escapes. In the film, her reunion with Kelly and Malcolm and their dash towards the helicopter is tracked with the Lost World Theme concert suite, giving a sense of relief and closure to the island adventure. But as written, the piece continues in much the same way, keeping the tension going all the way until they reach the chopper and embark. As the group runs towards the helicopter, the Island’s Voice theme is interwoven, repeated in full force, backed by synth voices as the helicopter takes off. The last part of the track, scoring our heroes inside the flying chopper is used in the film.

They can, at points, become overbearingly loud and unnecessarily frenetic (thanks to Dreamworks noisy house style) but especially in Part Deux, Powell manages a dramatic momentum that is head and shoulders above his colleagues working in the medium today (or at least 80% of them). It's still a bit of a number's revue but in the quieter cues he skilfully develops his themes and motifs and a guy who takes his cue from Sibelius (no, it's not just the software) and Vaughan Williams cannot be wholly without greatness.

Really lovely melody. Need to check the film out!

Horton Hears a Hoo

Who cares! The world demands more Marvel shows!

I always got the impression Giacchino gets all the big blockbusters nowadays because he's a really nice chap to work with, not necessarily because his actual work is particularly impressive. Powell doesn't get much attention because he mainly sticks with kiddie flicks, which probably offer a lot more creative freedom and opportunity (since the actual films don't get much attention, so there's less pressure) than, say, the average billion dollar-budget superhero nonsense. On another note, every time I try to listen to Beck's Ant-Man theme, the Mission: Impossible theme starts playing in my subconscious.

Funny you should that, as I've been looking into Giacchino's family film scores lately. I've always liked Inside Out (both score and film), but they overall feel like music Powell could do in his sleep, yet Giacchino weirdly gets more praise and accolades (or at least more attention). Speed Racer especially made me think of Powell and want to put on his works instead. Ratatouille sounded nice, but it just didn't feel especially energetic or passionate. I like Giacchino okay, for the record. But I freaking love Powell, easily as much as I do Carl Stalling, Scott Bradley or Darrel Calker.

Direct video address, yes! But he's been popping up on Instagram a lot recently, with all these hip, younger talents getting in on the action (Koby Bryant, Daisy Ridley, John Boyega).

Something along the lines of: "Rian johnson and John Williams May The Fourth be With You Message"?

He wrote a good score for Irvin Kirshner's The Eyes of Laura Mars.

"Click-bait" is a misleading title or such that would prompt one to click on a link they would otherwise not clicked. In this case, the title is perfectly appropriate and not "click-bait". All of us here would have clicked on any Johnson/Williams video (right?). We just, most likely, wish there had been more to it.

There's too much Goldsmith stuff that is better. Best example is Hoosiers.

I hate obnoxious modernisations of classics. Especially those stupid modernised operas. Let the time in which they were written live.

To replace the finale of Ceiling Tiles was the worst of Spielberg's musical decisions. That last part is so awesome and keeps the tension until the end! Looking forward to it!

This moment is absolutely sublime (just listened to this concerto for the first time this week).

John Frizzell at least tried. And, to be honest, he penned at least a couple of good themes for his score. Shame about the bigger action/horror moments. Karol

Oil Fields is the most badass piece of music in the whole Craig era.

Yes! QUANTUM OF SOLACE is Arnold's best, and classiest work for Bond.

I can live with that.

It makes sense with the movie though.

Thankfully they cut the bit where he keeled over right after.

Ponyo I've been going through Miyazaki's stuff and saw that this was on xfinity. Wish I could have watched it in Japanese though. Oh well. Still pretty good.

She doesn't have any actions later, the woods is the last time we see her. The scene at the end is the future robot's interpretation of what she would do. No it isn't. He's a robot. They know how he'll act. They weren't. Totally agreed!

Couple tidbits from Rian Johnson

In Casino Royale and Quantum of Solace, he's the young and inexperienced Bond. In Skyfall, he's suddenly an old agent struggling to stay relevant to the system. I feel like we missed a few Bond movies in between to show Bond in his prime, much like how there was no film in between The Dark Knight and The Dark Knight Rises to show Batman in his.

Sounds like The droid Battle from TPM.

The thing that really struck me as I watched the film (and forgive me if I sound a little corny) was the emotions. I knew about the rape case. I knew that it was possible that Kobe had done some bad things. Yet, aside from larger questions of whether Kobe is a "good person," that doesn't mean that the emotions displayed in the film weren't completely genuine. Kobe realized his life dream. And now he's looking back and saying thank you. It's all really quite inspiring, and quite probably completely from the heart (although we can never be sure). Sometimes in life you have to learn to separate the message from the messenger. We expect people to be perfect and then get our hopes crushed when they aren't. We lose our trust. Every time I see John Williams make one comment that isn't 100% humble, or every time I see that a politician I admire took money from special interests, it's pretty crushing. I will be honest. Worst of all, one would imagine that nearly every famous person has some major moral failing, even if it hasn't been revealed. So there's a constant cloud of suspicion in my mind. But it doesn't have to be that way. Ultimately, one, we don't really know whether any celebrity is a good person, regardless of what's been revealed publicly. Even people who do terrible things can reform themselves. So we should be hesitant to judge too strongly the moral character of a person we've never met, even as we support appropriate legal punishment for rape and other crimes if they are proven to have occured. Second, as I said, it should be possible to separate the message from the messenger. The messenger need not be even nearly perfect for the message to be perfect, or at least worth considering.

Finally saw the film. I was not impressed. It felt like any blockbuster from the last 10 years with SW background characters--so freaking formulaic in both execution and dialogue. Say what you will about Lucas's writing, it never sunk to the level of "rebellions are built on hope" set up and then repeat by the main character after she has committed herself to the cause. What is this, Transformers? Also the space battle was pure ROTJ, down to the admiral and his ship. As for the score, I think had Gia not already done ST, I would have found it good. But now is just sounds like ST with the SW themes thrown in.

Arnold at his best is more fun than Williams somewhat on auto-pilot. even though Williams is the better composer.