Leaderboard

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

Clearly you didn't see the fear in JW's eyes as he winced at Rian's withering words.

I can't believe the level of disrespect shown by Johnson to Williams. JW sinks back in his chair almost taken aback at the insulting tone, clearly laughing only out of nervous energy. No doubt he is already thinking of ways to rip us his contract with Lucasfilm so he can abandon the series for good. I wouldn't be surprised if we soon hear that Williams has burned all the TLJ recording session tapes in a fit of anger. That's just my read on the situation, anyway.

Not sure about It Can't Be over the speech, but I'm pretty convinced about the use of Lament. Lots of sync points.

Indeed, @toothless, the perfect sync point hits at both the Stormtrooper fist raise and, even more so, the first planet explosion are absolutely thrilling. There's a very high chance that the destruction scene was temped with "Lament." Hard to say about the speech scene with "It Can't Be," but it's definitely very possible.

Does this count?

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

Which works against it, for me. The sequels are so far below the original with their more standard Hollywood idioms. Wouldn't have inferred that, if only you'd not felt the need to make the comment about second year music students. An absurd judgement, and an absurd standard. I assume you've never dealt with second year music students, nor been one.

The Last Session

Not really.

The guys not English? Really? Wow! Perfect British twat I thought he was.

Depends on the workflow. Williams needed copyists with some ability to fill in details more than he needed orchestrators. He is really familiar with ranges, tone colors, and blend, no doubt from all his years on a podium as well. There are tons of composers who don't know that level of detail, and thus need someone to flesh out their ideas more clearly, or they work in a team environment where they do more signing off of material than actually writing it and call those people "orchestrators." Orchestration and Copyists have been a dying art form anyway. It was sort of the middle man built by the pace required in Hollywood. Finale is so quick now, most competent composers don't need much help. Finale even indicates now when a note is out of range for a particular instrument while you are writing. The biggest annoyance is formatting the parts for page turns, anything that might overlap accidentally, and printing. For that JoAnn Kane is a blessing, as most printers have NO clue how to do music.

That's amazing! How did you know?! It's pathetic that you people still think you have the right to police the internet, but...you will not live to see the day when all JWfan is ruled by us Brits!

Inception is a great undemanding and pleasant album. I actually appreciate it's a very brief and concise one. Karol

Craig Armstrong's JNH's The VIllage on the Temp? The Matrix Reloaded by Donald Davis. The most accessible and mainstream of the three.

...featuring Indiana Smith !

Spielberg apparently lobbied to direct one back in the 70s, but was told that Broccoli and Saltzman didn't hire outside of the cadre of Bond directors they already had. George Lucas told him 'I've got an idea that I think's better than James Bond' ... and tah-dah, Raiders Of The Lost Ark.

He turned from that path long ago, he has chosen Indiana Jones!

Shore abandoned us long ago. All our hopes now lie with Doug, somewhere in the wilderness.

Perhaps it's time you returned to something more interesting?

FAR FROM THE MADDING CROWD I'm listening while I wake up, and potter around my flat, making a cafétiere. Oh, wow, this must be the most "English" OST that I've ever heard, by, probably, the most "English" of all film composers. This will be going into heavy rotation, on my CD player. I like it

He might have more talent in running a motel.

Fanboy alert!

Depends on your application. Diamond is a poor conductor but makes excellent drill bits. Gold makes solder joints brittle but fine dental work. Either should get you some action with your lady though.

Let's be reasonable here. He was probably not likely excited about doing some internet thing in the middle of work. Thus, he was out of his element and "acting," but not because he was in any way dissed by Johnson.

Not good, but I also didn't enjoy the first score. I've never enjoyed a Bates score. His main theme for the Guardians returns in a few notable instances, it's still ineffectual window dressing. The perfect songtrack is what's important in these movies. I love 70s pop.

A very fine late romantic work...

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

As did all sane people.

Just came across this on youtube. I think it works really well from 00:48 to the end

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.

No thanks.

"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.

Those sound an awful lot like the first reactions to Prometheus...

Time to uncover the classics:

I thought that was in space with a mummy on board.

Just saw a ballet adaptation of Sibelius' Kullervo at the National Ballet of Finland with choreography/direction by famed Finnish dancer/choreographer Tero Saarinen with Pekka Louhio and Johanna Nuutinen as Kullervo and his sister and as their musical counterparts soloists Tommi Hakala (Kullervo) and Lilli Paasikivi (Kullervo's sister), the music performed the Finnish National Opera Orchestra and Chorus conducted by Hannu Lintu. The symphony itself is dramatic, tragic and electrifying but the ballet aspect brought its own visual energy and vibrancy to the equation with tremendous intensity. The whole piece had a wonderful modern visual flair with especially well designed light effects that had its own stark beauty to it and while my knowledge of modern dance is quite limited this was a tremendous experience both visually and aurally. Breathtaking stuff to be sure. A promo still from a performance as no photography was allowed in the concert.

All of us right now

Everyone should be able to plagiarise a little bit here and there.

Indeed, there was a time when the Alien universe was void of anthems, marches, polskas, and polonaises. In fact, somehow I don't associate Alien (1979) with a score.

Heigh-ho, heigh-ho, it's off the chest we go...

I really like the AV Club's review of "Thin Ice": http://www.avclub.com/tvclub/doctor-who-hasnt-been-fun-agesor-serious-254510 I'm going to rewatch the episode at some point this week, I like it more and more as I think about it. I was spending so much time just trying to understand the dialogue, I wasn't really immersing myself in the story. Maybe I'll torrent the episode with a subtitle file. Oh! And I can't believe I forgot to comment in my previous post about "Thin Ice" how exciting it was to hear four knocks on the vault door at the end of the episode

That information is still easily figured out on the paperwork. For example, during the morning session of March 5th 1977, this is what was recorded at Anvil Studios Takes 1-7 = 7 takes of 9M2 The Swashbucklers Takes 8-10 = 3 takes of 7M1 New Is It a Bird? Takes 11-15 = 5 takes of 9M3/10M1 Ben's Death Takes 16-20 = 5 takes of the Main Title Takes 21-23 = 3 takes of 3M1 Rev. The Princess Appears Makes sense to me? Maybe I'm not understanding what it is you think is inferior about this standard.

Yeah, see, we call those opinions.