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100% confirmed! Michael Giacchino to replace Williams on The Last Jedi!

I must be the only one who thought it was fine

http://boards.theforce.net/threads/john-williams-to-score-star-wars-episode-viii.50041407/page-12#post-54356645

So, Another Rey Of Sun?

Exciting news! Female singer listed under the music department for TLJ, as part of an ensemble! http://m.imdb.com/name/nm8849878/filmotype/music_department?ref_=m_nmfm_1 Also performed on Rogue One, La La Land and many other films but no previous collaborations with Williams. Her credits are quite specific regarding contributions to each film (ensemble, soprano, trio, soloist, etc.) so this is an exciting development if accurate. Wonder if she had anything to do the choir on Spielberg/Williams Vol 3?

Surprised no one's mentioned Planet of the Apes. That's my pick anyway.

http://www.parkcircus.com/in_cinemas/upcoming_releases/1334_sir_roger_moore_tribute Metro-Goldwyn-Mayer Studios (MGM), Park Circus and EON Productions are pleased to announce a series of special screenings in memory of Sir Roger Moore, to take place in cinemas around the world. The newly restored 4K versions of James Bond classics, The Spy Who Loved Me and For Your Eyes Only will be screened in aid of UNICEF. As a Goodwill Ambassador, Sir Roger had been a dedicated and passionate supporter of UNICEF since 1991. Weirdly enough Pathe in The Netherlands is only showing FYEO, but since I have never seen a Moore Bond in the cinema's I'll take this opportunity.

A hundred people or something have heard all of it! Some get to hear it every day for the rest of the year! They're getting paid for it! I'm so mad!

There is a lot of discussion going on the his new release (at FSM board) from Dutton-Vocalion label about a new and complete recording of Ralph Vaughn Williams: Scott of the Antarctic score performed by the Royal Scottish National Orchestra and conducted by Martin Yates. The cd is widely availble from UK and Amazon.com and also SAE. I'am also happy to learn that the cd is in SACD format. So quite excited about this new adventure score which as previously available was a suite on the Chandos compilation album. https://www.duttonvocalion.co.uk/proddetail.php?prod=CDLX7340 Anyone got this yet?

Does anyone else here like Roy Budd's film music? When I first heard anything by him I thought his music was a bit cheesy and too 70's for my taste way back when. However, that changed a few years ago when I was browsing in the soundtrack section of Tower Records and they were playing the car chase music from the movie Fear Is the Key; it is the first and only time I have ever bought a CD on the spot after hearing something played in a shop. Since then his music has really grown on me and I have read that some of his best scores will be remastered and re-released by Silva Screen this year. His best scores are typified by a heavy bass line, very 'fat' brass arrangements, funky rhythms and fiendish piano riffs (Budd was a magnificent jazz pianist). He died tragically young after suffering a brain haemorrhage in 1993. For the uninitiated, here are a few YouTube videos showcasing some of his best stuff: The first clip features Budd himself playing. I know it's the sort of music that probably isn't to everyone's taste (I think you have to like jazz / funk at least a bit), but I wondered what other John Williams fans thought about him.

Yeah it's a pretty stupid selection. Small Soldiers? Gremlins 1 and 2? No Planet of the Apes? No Sand Pebbles? The Goldsmith fans who seem to only care about his scores for trashy 80s and 90s movies are so weird.

I love this website

Jesus Christ.

The synthesizers used in the original SW scores are far more dated than the ones heard in JP, which are classic Williams synth patches at this point. They sound great.

City of Clouds, are you floating just for me? 🎵

That's not what I meant and you know it!

Chiming in with Total Recall. The Quartet release was a godsend

Why would they make Bond into Captain Kirk?

Wrong. TESB employs synth.

I'l tell you another thing...it's not series 31 either!

If JURASSIC PARK is Steef's third favourite JW score, then who are we, mere mortals, and stewards of his excellence, to argue?

I haven't heard as much Budd as I want to, but GET CARTER is one of my favourite films. And what a score it is! It's become somewhat of a crossover hit, even. I also like FEAR IS THE KEY and MAMA DRACULA.

A triple tie between Poltergeist and both Gremlins works. Why? I don't know! I just count the number of goosebumps I get compared to othe scores!

I never took that rumor seriously, not for a minute. Whenever it's time for a new doctor, it's best just to ignore the media.

Jane Seymour was achingly beautiful in LALD, once she was out of her Domino garb, but the Bond girl I got a lob on for the most in my teens had none of Seymour's class but disgusting amounts of the rubbishly veiled sauciness I like:

"Legend" is awesome, but nothing will ever beat "Alien"! Ridley Scott did really not know what he has got. "Alien" is musically complex and maybe the other score I mentioned is the only one that has the same atmospheric density. Additionally I have to mention the brilliant and unique instrumentation of the xenomorph which consists of conches, a serpent and a didjeridoo. "Alien" is a score that has EVERYTHING Jerry Goldsmith is admirable for! "The Mummy" was my first Goldsmith score, but the OST has a weird gap of a certain chapter of the movie.

For album -- THE MUMMY For score-in-movie -- probably ALIEN The first is simply a rambunctious adventure affair, filled to the brim with awesome ethnic elements, melody and catchy meters and rhythms (slightly more streamlined than he used to be). It's good in the movie too, but it really rocks on album. As far as soundtrack albums go, nothing beats Jerry in the 90s, IMO. The second is a tour-de-force of organic scoring, with elements mirroring and expanding upon all the audiovisual ideas in the film (both narrative and Freudian). I like his original conceptualization, but I think the Scott/Rawlings-edited version is superior in every way.

Just wanted to point out how brilliant and subtle the part-writing during the opening of Balin's Tomb is. It's sort of Sibelian, especially the clarinets, and the 3rd and 4th trumpets, and the trombones - beautiful crossing of voices with the bass trombone jumping over 1 and 2 at the big Dwarrowdelf shot. Easily lost in the full texture, but when you look at elements from these scores like this one under a microscope you see why everything fuses together in such a sonorous and satisfying way.

I have taken Panaka and the Queen's Protectors, edited out the break in the action (a real lull in tempo) at around three-quarters mark, then put onto the end Fighting the Guards and Escape from Naboo. It has taken the best of that material and formed a fairly seamless track (taking advantage of its flow in the film) of the best action music from TPM. I have it on a cycling playlist and like to listen to it when speeding around, dodging traffic, on sunny days!

do you have any better official piano transcriptions of Williams in mind? because i haven't. these are the best i have heard closer to the source.

"I meant"

Yup. The Wolfman is great Elfman.

I watched Jaws tonight, for the first time in 5+ years. The shark maaan, it looked... fine. It looks absolutely fine! 2017 - the Jaws hairstyles look more dated than the special effects. Timelessness confirmed.

HI-RES COVER ARTWORK: Release Date: 07/07/2017 https://www.varesesarabande.com/products/john-williams-themes-and-transcriptions-for-piano LINCOLN† 1. The People House (2:43) 2. The American Process (3:55) 3. Getting Out The Vote (2:41) 4. The Blue And Grey (3:22) 5. The Peace Delegation* (2:20) 6. Elegy (2:26) 7. The Meeting With Grant* (2:47) 8. “With Malice Toward None” (1.47) SABRINA 9. Theme (3:25) PRESUMED INNOCENT 10. Remembering Carolyn (4:48) THE EMPIRE STRIKES BACK 11. The Asteroid Field (4:33) RETURN OF THE JEDI 12. Luke & Leia (5:23) THE BOOK THIEF† 13. The Visitor And The Book Thief (3:13) 14. Max And Liesel (1:11) 15. The Snow Fight* (1:54) 16. Learning To Read* (2:45) 17. Max’s Departure (2:21) 18. The Visitor At Himmel Street (2:11) 19. Finale (2:56) SCHINDLER’S LIST 20. Theme (2:31) HARRY POTTER AND THE SORCERER’S STONE 21. Hedwig’s Flight (2:09) 22. Voldemort (2:45) 23. Hogwarts Forever (1:59) 24. Fluffy’s Harp (3:30) HARRY POTTER AND THE PRISONER OF AZKABAN 25. Buckbeak’s Flight‡ (2:21) 26. A Window To The Past (4:28) 27. Aunt Marge’s Waltz (2:18)

Neither are rhymes (at least sometimes)

One of my top ten (or perhaps top twenty, at least) scores ever. Speaking of Poledouris, I'm considering looking into Under Siege 2, though I have no desire to sit through the movie to find out whether or not the score is worthwhile. The idea of getting a package in the mail with Steven Seagal's face on it just sounds awkward. Can't we just pretend Katie McGrath saved everyone from the train hijackers instead?

So I suppose I should review the concert! The evening began with Keith Lockhart coming out to thank some of the sponsors, then left the stage again. After the rest of the musicians filled in, he came back out to another round of applause, and just got started right away! One thing I appreciated was that the screen was 2.35:1, it wasn't like a standard screen they use for everything that could have black bars based on what they're showing; The image filled up the entire screen perfectly, which was nice! One thing I didn't like was that they put subtitles for all the dialogue on the screen. They do this at some LTP concerts I go to and I don't really understand why; People are there to hear the music, not the dialogue, and are fully deaf people actually going to music concerts at all? The image quality was terrific; I assume it was either the blu ray, or the 2K master used to make the blu ray. Jaws Titles I had forgotten how quickly the movie starts! And that meant the music started right away too.... And sure enough, like clockwork, as soon as the first 2 notes of the shark theme were heard, the audience started laughing. So odd! And the abrupt ending of the cue is more apparent in the live venue, when we suddenly cut to the beach kids, and the harmonica and guitar playing. The First Victim First time they had to really make sure they were synced to picture and it was perfectly done. The music really amped up the scene, as kind just when you're smiling and having a fun night out, you're reminded you're really watching a horror movie! Remains On The Beach One of those short, subtle cues you barely even register is there when watching the film, but with it being played loud in concert I really took not of how effective it is at increasing the dread that Brody is feeling (Typewriter Chord) This was not restored for the live presentation The Empty Raft Around this point in the film I was really admiring Spielberg's direction, the whole beach scene with Brody eyeing the false alarms as different people come up to him was so well done The Pier Incident The cue starts with Brody flipping through the shark books which I found incredibly effective and not anything I noticed when watching the film before. By the end it switched over to the Wild Shark Theme, they didn't restore Williams' original intentions. Father And Son Another cue I never paid much attention to when watching the film, but I actually found to be one of the most effective, here! The whole scene is so adorable, and the music is so unlike most of the rest of the score and it was played really well; Possibly it was so noticeable because the scene has no dialogue. Really liked this. The Alimentary Canal This was restored and I am SO glad it was! It really increases the tension and dread, it goes well with the moody atmosphere. Really cool. Ben Gardner's Boat Marcy jumped when his head floated into frame, which was awesome. These two cues in a row were a super fun blending of atmosphere visually and musically The Montage The Boston Pops pulled off the quirky nature of this cue quite well! Added some much needed pep to the proceedings. Into The Estuary Don't remember much about this one Out To Sea / Intermission Break I figured before we arrived that this scene and cue would end the first half of the concert, and lead into the intermission break, and I was right! What they actually did was, begin the cue where it's supposed to, covering the great shot of the shark jawsbone over the window, the boat taking off, and the wide shot that shows it sailing out of see, but then the picture faded to black before the shots of them chumming the water, and so the music actually transitioned to a "new" intermission break - it was made up of some bit of some other cue I couldn't place at the time. Anyway, this was a perfect pot to place the intermission; It makes it so the first half is entirely Amity, and the second half is entire 3 guys out to sea on an adventure. It's roughly 2/3rds through the film, but probably less than halfway through the score, as there's more music in the third act of the film than the first two. The intermission break was met with a round of applause and everyone filed out. We were having a great time so far. I'll post about the second half of the show in a bit!

I love all three Matrix scores.

An MCU film of similar quality will get 4 stars every time.

So! At Symphony Hall last night, Marcy noticed that they had for sale this album on actual pressed CD, and we picked one up!

@Incanus maybe you should head over to that beach already. Summer is almost upon us. The Matrix Revolution. Bit of ear abuse. This is almost like orchestral death metal. Karol

I only knew Patrick Gowers from his great Jeremy Brett Sherlock Holmes scores, but this is just sublime.

I've never liked his Bond, but Moore seems to have been a fine fellow regardless.