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All of them are wrong, he always said No instead of Luke before the statement.

Bullshit. No matter what anybody has to say about anything, you're all like "Well, ACtually..." And if you do in fact disagree with everything, that's cool. That's your right. But you could just keep your trap shut about it every once in a while, is what I'm saying. Nobody needs your "disagreement" on every single topic. This is not exclusively true. I don't sit around with my friends and discuss all the things we disagree about. Who does that?!? We'll get into disagreement on occasion, of course. There's nothing wrong with disagreement. It can be both entertaining and instructive. I've rarely seen you practice it in that manner. What YOU do is run around trying to give people wedgies, and it's tiresome.

Let's hope he's snubbed for the Oscar nomination now. Fingers crossed!

The Golden Globes last night was simply damage control for Hollywood. They (or most of them) don't really care about abused and sexually harassed women since it's likely the A-listers already knew about Weinstein, particularly the veterans in the industry. Didn't Ashley Judd go public about Weinstein years ago but was ignored? Look at her career now...

Jones fell victim of Michael Mann's typical micromanaging when it comes to deal with music and composers, so I guess it's not much a matter of what he wrote. Kamen had an insanely tight schedule for Robin Hood, but imho he delivered such a good score given the circumstances. Yes, he had a lot of help from a large group of orchestrators (including top names like Bill Ross), but he was rightfully proud of the end result. He bought from his own pocket a full ad page on Variety to thank the full list of orchestrators. On a JW-related note, Kamen was invited by JW to guest conduct the Boston Pops in 1992, where he performed a specially prepared concert suite of Robin Hood among other things. Kamen also conducted Williams' Imperial March as an encore and it was a thrilling performance by all accounts.

Come now, I think @Chen G. has contributed some great arguments here. The same goes for @gkgyver whom I think has been a bit abrasive the last few days, but a member whom I've often agreed with on a range of topics. I like this range of personalities on here, it isn't a vanilla forum and no matter how much I disagree with someone I would never consider using the ignore function - even for obvious trolls like Skyy38! I think the best thing to do is to take a step away from this forum and the computer and do something else, then come back and read, respond, laugh, cry, cringe or destroy all of your equipment, or all of those things!

Conventional but good choice - and at least it's music. I was afraid they might give it to 'Dunkirk', which i would have shut out of the music category altogether (sound design is a fairer description).

Ross has always "got" soundtracks in terms of their place in modern classical music. I can only suggest The Rest is Noise for trying to understand that everybody steals, everybody was influenced by others, from Schoenberg and his 12-tone music to today's composers. There is no looking from above, no snobbing, good music is intemporal good music.

Thank Christ they didn't give it to Zimmer.

They're three polyphonic components of the same musical set-piece, yes. That's why I still call them all "Duel of the Fates." The reason I sort them out this way is that during the Battle of Naboo, they're treated at various points as separable and distinct motifs. In some situations, you hear just the five-note ostinato. On others, just the chordal fanfare, still others the palindromic little motto. A similar thing is true of Rey's Chimes vs. Rey's Theme, the A & B sections of the March of Resistance, and to a lesser extent the Main Theme and BotH. I try to make my criteria for labeling these materials extremely explicit. Anyone else perfectly free to prioritize different labeling criteria, but ideally they are consistently applied. For me, what's so exciting is that Williams's work (and scholarship surrounding it) is being recognized in such glowing terms in a publication with a long history of musical snobbery! That's a big deal!

Watch it be The Three Musketeers.

Jay excels at spreadsheets.

I wouldn't be so harsh. The writing is very solid and competent, both in the action department and in the more lyrical passages. The quieter moments have some nice troubadour-like ornaments that I particularly like (apparently, Kamen wanted to do the whole score just on period instruments, but the filmmakers wanted a more traditional approach). Some nice oboe and flute solos in some sequences as well. Kamen wrote in a very "busy" fashion, with lots of notes, perhaps sometimes he went a tad too far in terms of thickness during some accompaniment scoring (nowadays this kind of writing would very much be jettisoned for being "too distracting"), but I sincerely prefer such a balls-to-the-wall approach than most of anemic atmospheric scoring that became the rule a few years later.

Absolutely. But the craven and heinously corrupt nature of the press needs to be pointed out to in the same breath. The press is under attack. The press is relentlessly dishonest, biased and corrupt. Both of the above statements can be true at the same time and ARE true.

Yeah, Elgar is really good.

Another compete Michael Kamen score? Bring it on! While you're about it - complete LICENCE TO KILL now!

TLJ is closer to OT style than any of the Prequels and TFA Fathiers could have been an Indiana Jones cue

I just thought I'd chime in briefly: Williams' leitmotivic technique is often more symphonic than dramatic, which is to say that narrative/extra-musical connotation will at times be subservient to purely abstract musical qualities. An aspect of this, is that Williams will tend to deconstruct and develop his material on purely musical terms, working in this respect (unlike Howard Shore, since he is inevitably mentioned) more like a composer of concert music.

I'll second that! Now if Williams himself could only be convinced to allow a much-needed book on his Star Wars music to be written...

it'd be nice to have a concert version of Poe's theme . I guess it suffers the same fate as Tintin's Heroic theme, Sophie's Theme and to an extent Rose's Theme

I really love the march Kylo’s theme gets in “Peace and Purpose.” Feels almost like Williams has adapted it into a longer lined melody, which is appropriate since Kylo has finally become a “complete” character upon ascending to rule the First Order.

For such a long review, he goes into surprisingly little detail or exploration of the score. His review of TFA was pretty exhaustive where he really examined every piece of music available. His TLJ review glossed over a lot, disappointingly.

Williams was robbed that year.

@Loert Congrats, you're the first one to dare answering something else than the obviously correct choice. I salute you!

I will give it a try. Maybe the 15 years since i last heard it made all the difference.

Don't tell him!

Agree with this almost word for word. Well the fuck done. Now I know what it must feel like to be Jason whenever Disco Stu made a post.

At 110 minutes plus this new presentation would give the score a whole new life. Looking forward to it ie. I really hope it is ROBIN HOOD and not THE THREE MUSKETEERS. It would be quite a shock if it turned out to be the latter. 😁

I see Oprah will be your new president in a few years.

Too long for me to consider reading.

Don't be put off by the relatively slow build up though. It's the kind of score that gradually gets more exciting. The final act is an action music heaven. Karol

In terms of Kamen action scoring his magnum opus would be Die Hard 2. Karol

Exactly! You get it!

"As I turn and look into the twin suns, Rey burns my eyes..."

Naotora: The Lady Warlord by Yoko Kanno was the best score of the year: The runner up is Star Wars: The Last Jedi by John Williams. Other than these two top picks, there were only other scores which had one or a few cues in an otherwise nowhere near as satisying whole. Overall, it was a weak year, there weren't that many scores that I cared for, especially not as a whole outside of a track here and there. I thought both Dunkirk and Blade Runner 2049 were OK, but not what they could have been, especally not Blade Runner which is by far the biggest missed opportunity of the two. I expect the upcoming Greenwood score to make my top 20. There is also an unreleased Hisaishi score that could be good. As usual, nothing Pemberton or Burwell did impressed me - neither did Wintory even if he did some solid work. Giacchino did fairly weak work as usual, his Apes being his most OK effort of 2017. Desplat had a solid year, but none of his scores were compelling outside a few cues here and there. Composer of the Year goes to Ryuichi Sakamoto if we are allowed to include his none film score work as well seeing his album async was one of the best albums of the year, otherwise it would have to be Kanno or Williams if we only are allowed to count score work.

I’d be very happy to see Desplat win the Oscar too. One of the best composers in Hollywood at the moment.

Jonny Greenwood

Damn them if they do! I paid big bucks for the Blue Box! Everyone else should be made to pay the price for the first Superman score just like I did. While I appreciate the other three scores more now that I have the collection the first one is really the main attraction for me in the box.

I think there's a sort of "Quasimodo" category for half-formed themes. Some themes don't have as many sections as Rey's or the Imperial March, but they still aren't mere phrases like either one of Kylo's. I'd say Sophie and Poe both fall into that category. They don't have stanzas like the big ones, but they definitely have multiple lines.

Yeah I doubt anyone had heard TLJ before nominations were closed, so it wasn't eligible. Might hurt its chances of an Oscar nom.

TFA and TLJ don't live up the OT scores but they're both still excellent. Williams' golden years of film scoring are long over and we'll never hear an OT style score from him. However, that doesn't mean his recent output is any less special. Film making in general (particularly blockbusters) and Williams' style have evolved quite a bit within the last 40 years. I hope his music is continuing to inspire this generation much like he did every decade since the 70s.

How many times have you posted this message in all of the TLJ threads and have you actually read some of the excellent replies to the same thing about 2 pages before this? I have to say that I had been looking forward so much to share the joy of discovering this score with everyone, however I've been avoiding the TLJ threads lately because I don't like to be reminded again and again with non-arguments and contradictions why I should *not* like the score as much as I would maybe like to. Even if the score may not be top-tier Williams (but who gives a damn at this point in his career!), I - and I guess like many others - am simply happy to have this score and have been enjoying it for the past few weeks. Why does that bother you so much?

Do you think you would like it more if you owned an additional copy?

Beauty and the Beast '17 A group of high quality houseware items conspire to engineer a romance between a bookish local girl and their monstrous goatman owner, all to achieve their goal to become human again. Weird movie. The chick in it is rather pretty.

What does this have anything to do with me I like how you go out of your way to be an asshole every time .This is the second time this week you post exactly the same thing

HP1 I would venture is one of the Top 3 best treated JW scores ever, if not the best. There is literally wall to wall music and it is mixed unusually loudly so that the music is showcased extremely well. And the music is just outstanding all the time - literally a dozen memorable themes all very beautiful and long lined which play at full blast almost all the time. It is a film score delight. Also the movie is extremely old-fashioned with slow cuts and longer scenes allowing the music the space to breathe and develop.

I believe that John Powell has gone through things considered more insulting than having to score a Star Wars movie and having to deal with John Williams composing a theme for one of the most iconic characters of the franchise for which he dedicated 40 years of his life.

But probably not for being not able to deliver 'real' SW music. Or they got really shafted by Giacchino on this one.

It's precisely because of the dissonance that Rose's theme becomes more interesting. If it were a simple I-II shift, how boring would that be? I don't really understand Lehman's gripe, Williams is obviously experienced enough to know what he's doing.