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Let's all thank Frank!

Maybe there's some inner turmoil going on because he's trying to reconcile his love for trees with his love for paper...

There's like, cool notes and chords that give me the feels with emotional epic violins.

Film critics tend to praise scores they actually notice when watching films. Simple as that.

I've seen a couple of that guy's videos and my reaction always ends up being the same

Asking Giacchino haters not to hate on Giacchino scores is like asking the sun not to burn.

No thanks.

Apparently Don Davis scored a Japanese horror film that nobody knew about?????? Either way it's releasing next week! This should be interesting. http://filmmusicreporter.com/2017/07/18/tokyo-ghoul-soundtrack-announced/

I don't trust anyone in relation to Christopher Nolan movies, period.

I think the sheer majority of it is quite good. When he's in full John Williams pastiche mode it actually is quite fun. I prefer it to most of his works. Artistically, it was never to achieve much anyway. Karol

Film critics also tend to hate on the "common" JW sound, Memoirs of a Geisha received similar criticism

A really terrific piece, a nice companion to his other string soloist concert works. I only wish it was longer. Perhaps he'll jot down some more markings for Mutter or another soloist in the future.

Ever since Drax saw Woody Allen's Manhattan, it's like he said goodbye to his childhood. Good!

For some reason, and unlike the LotR threads, I never tire of Gia bashing threads. Carry on.

I agree! You don't need to throw away action, the spectacular or the fantastic to have some kind of deeper theme playing under the surface. But more than anything, I would love to see a different vision (or different visions) because Disney's idea of Star Wars is dull. Bond changed so why not Star Wars?

Yes, it is. Been following it avidly, and it's great that it's been scheduled so that it airs in the space between WALKING DEAD seasons. Since it takes place just after the zombie outbreak, it's not as 'mythological' as TWD, but it has at times even more character depth than its sequel. Hope it gets to live for a few more seasons.

Star Wars is not sci fi nor is it cerebral. It really wouldn't be star wars

2-hour ClassicFM interview with Nolan about his collaborative relationship with Zimmer. For those outside the UK, enter this postal code: SW1W 0NY, and you will be able to listen to the interview. Otherwise there are written excerpts.

Director in Name Only (DRINO) Poltergeiest contains so many of Spielberg's stylistic tropes, it's hard to see it as anything other than his work. Interior sets lit from the outside by huge carbon arc lamps (with slits of light coming through Venetian blinds), the iconic Spielberg dolly-in, the storm in the tree and pool scenes which seems to anticipate the JP films, the 'household appliances terrorizing a suburban family' (familiar becomes alien) theme from CE3K with all of its reverse wind machine effects and etc.

I just don't trust critics in relation to Christopher Nolan movies anymore. It's all overblown fawning and hyperbolic second coming of Christ crap.

Ilaiyaraaja. IlIaiyaraaja's compositions are like part of nature, Like a flower, like a beehive, or a child born. And if you talk about quantity, the musical stamina, Then if JW has scored 10 points then Ilaiyaraaja has scored 2000 points. JOHN WILLIAMS IS SOPHISTICATED SUB SUB SUBSET OF ILLAIYARAAJA.

Spider-Man 2 - 9 / 10

I listened to this score this morning, wanting to give it another chance. I had to pause it around the halfway point for lunch break. When I came back, I moved on to another score, couldn't even bring myself to finish it. It's just not my cup of tea

I had hopes during Lost, even after the first Star Trek and even Super 8. John Carter could have been really something but was compromised by a terrible recording and weak themes. After he took his break, I thought he might really shift into gear. It didn't happen, and his scores have consistently given me no reason to think things will change from what is basically a downwards trajectory. It's too bad. He has moments that betray a very sharp musical mind. I hope I'm wrong and he turns it around.

An interesting question indeed. If I may make a blunt observation; I'm astounded by the number of members on this forum who admit (despite evidently harbouring such an appreciate for fine music) that they cannot read sheet music. Is this just a lack of education, or opportunity? Where I'm from, this is a basic skill taught throughout 12 years of schooling. I own a fairly sizeable collection of the Hal Leonard Signature Edition Deluxe scores. They are quite expensive as they are, even before factoring in exchange rates and international shipping. But once they land in my hands there are zero regrets about cost. They are flawlessly engraved and published, and the ability to grab one off the shelf for instant reference is a huge pleasure. The lack of a digital version of these might very well be due primarily to legal and commercial reasons, but ultimately my guess is as good as anyone's. Making them available commercially would indeed democratise the product, and theoretically serve Hal Leonard's commercial interests. But if I were to choose digital vs paper, I'd still go paper, if for no other reason that the engraving, and the orchestrations are often so dense, that viewing them would be impractical on all but the highest resolution monitors. Maybe hire a computer wiz to hack into Hal Leonard's servers , or, if you're bold enough to go there, even try hacking into JoAnna Kane Music Service's computers .

Bran will assemble a montage of images to be shown to everyone - it'll show Ned and Lyanna, a close-up of Lyanna's kid, and then a sudden cut to the adult Jon Snow just as the music climaxes with the Stark theme. Nobody could doubt it then. That will be a matter for Benioff and Weiss, depending on how they need things to work for the plot! In the books, even Daenerys is not immune to fire (not even to her dragons' fire).

Before, after, before, after

Disney will probably save the more psychologically-involved, headier premises for future spinoffs, rather than actual saga episodes. Even with R1, we got to explore the shadier "gray" area, in between the usual black and white of good and evil that is common in Star Wars. We haven't even gotten to the third Disney-era Star Wars film yet; give them time to settle a firm, familiar foundation with the fanbase that they will eventually build off of, in terms of newer storylines for future films.

"Recent" Spielberg efforts like Minority Report, AI, Catch Me If You Can, Lincoln and Munich are exceptionally shot movies. The mise en scene in almost every shot is compelling with detail. You can tell when Spielberg isn't fully invested because you end up with visually uninspired efforts like KOTCS and TLW, which filters through to the cinematographer. I guess to be fair, Spielberg blocks the shots and chooses the lenses, Kaminski just lights it (but can anyone explain WTF he was doing with the jungle sound-stage scenes in KOTCS?)

Disney and Marvel have made the same film 20 something times in around 10 years and it's yet to go south for them.

Yes, I'd be very interested to read thoughts from our music theory familiar members!

HACK IN THE USSR GET HACK I've never smiled when I've stepped in it, but each to their own. I'll go on record by saying that I like his scores. Like Horner, he seems to have genuine talent. He just doesn't know quite what to do with it, sometimes.

Oh, no. Don't be mistaken: I'm a Gia fan. I'm just patiently waiting for the bashers to come in. It's as inevitable as rain in a British summer.

Interesting, Jerry, but I think that the SWU is too established to change. The idea of A.I. has been explored in many fine films, and I'm not sure if the SWU could add anything. A more cerebral approach would be good, but The Mouse has $ in its eyes, and that's all it gives a flying fuck about. In the end, and as far as Disney is concerned, money will win out.

Why not? Why must it always be big, formulaic, fantasy-based action movies every time? Wasn't the whole point of the stand alone films to try different things? Does every film need to be another 'Hero's Journey' retread? Or is that just asking for too much? Shouldn't the idea of droid sentience be explored? The impacts of light speed engines on the galactic environment? The human colonisation of worlds across the galaxy? Cultural and societal clashes between civilisations on different planets? A satirical look at a war from the stormtroopers'/clonetoopers' perspective, while exploring their genetically designed conformity and one's desire to defy? There's heaps that SW could do!

To Muad'Dib, you listen!

I was not thrilled with GALAVANT. No score on it. Album too long. But several of the songs were OK. Anyways, I hope -- like I've always hoped -- that Menken will break out of the Disney/musical theatre mold and compose something for, say, an action movie or thriller or straightforward live action drama at some point. Not just the same old, or reworkings of his old material, as much as I adore it.

Elliot Goldenthal!

Everyone here is basically an eccentric loser who needs to post here to find other eccentric losers. This is doubly true for the people who claim not to be eccentric losers.

Surprised more people aren't talking about this. Haven't listened to the OST yet but the score in the film is pretty great and gets a lot of space to shine. The film's great too. On first impression seems like one of the best Giacchino efforts in recent years.

It really is funny how ridiculously boring that movie ended up being, especially with the kind of cast it was boasting.

"Unusual instrumentation like tribal drums" Yeah, OK.

Kennedy is a super talent person but I've never gained anything from hearing her speak. She's a producer and I always feel she's selling me something when she's taking. It all seems so false and everything was wonderful and amazing and we're lucky for it! Not attacking her personally, she hasn't lasted this long and been this successful with having the skills, I just don't find her very interesting to listen to.

The key difference with the original score is that 70-80% of the film's underscore is just inversions, retrogrades, retrograde-inversions, transpositions and aggregates (chords) of a single 12 tone row. That gives the score a thematic unity that is extremely subtle (and barely perceptible to the average listener) but hard to beat.

Ah shit! Don't know how I forgot that.

Sure it did. When Rey calls the lightsaber to her, that's tracked in from the 1977 recording.

The little insider knowledge i have is that till RCP changed the musical landscape, it's been a mutual process of agents courting studios/producers for their clients and vice versa. If a property is hot, like TITANIC or LOTR, it sure made the rounds between all A-listers at the time. There was an interview with the POWDER director who said Williams was interested in scoring it, but only on his conditions (pretty much of the 'no veto' variety), so he decided to go ith Goldsmith who was more pragmatic but a pain-in-the-ass when finally scoring it.