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This is the best poster.

Anyone a fan of shitty old DOSBox games? https://drive.google.com/open?id=1LiJhR2HlA0MpkMF8nKLqrbMcziHyounK

If anyone is interested, here is my transcription of the piece (by ear).

Rogue One? Extremely unlikely, but it would certainly fit the description.

2001 : A Space Odyssey. On a 50th anniversary re-release screening. I'd never actually seen it before ... my mind was suitably blown, it's an extraordinary piece of work.

For such a beloved franchise and fun forum, the Star Wars threads here are a demoralising, soul crushing, experience.

Officially a flop. I guess Disney can stick a fork in those Solo trilogy plans. Too bad. It was a fun, though completely inconsequential, film. And probably not a very good idea to begin with. I doubt we'll be seeing any more Han Solo movies. For home video they should change the name to "Star Wars: A Solo Story."

I'd just started working in a small classical CD boutique in Toronto in summer 1993, when Williams walked in alone. He asked for the Vaughan Williams section (lol), specifically wanting a good version of The Lark Ascending. I'm not sure what he wanted to do with it, review some of the elder's composing technique or demonstrate some idea to someone on his team. He said he was in town scoping out the Toronto Mendelssohn Choir for possible work on a score he was doing with Spielberg. Someone out there might be able to confirm some of the chronology concerning the score work for Schindler's. It seems late for him to still be considering who would record the choral segments, but there you go. Obviously with the VW CD he had writing for solo violin and orchestra top of mind. My encounter with Williams wasn't at a concert but during the day, just the two of us in the store, him dressed *almost* casually, chatting while he wasn't in a rush. Getting to let him know how much I'd paid attention to his work and how CE3K was my all time fav was of course rewarding, memorable, etc. Little did I know this was the big year it would be for him. We had a small number of JW titles on hand including JP, but I chose something from the delete rack for him to sign - cheeky of me. I explained how my dad and I had shared listening to Pops on the March and watched many of the concert broadcasts, so it seemed appropriate. It also saved another piece of cutout stock, and how.

The dynamic range is incredible in the Land Before Time OST. It was never better than on Horner albums. He seemed to push for as much dynamic range as possible. You'd really have to crank up the softer parts to hear, but then it would get incredibly loud and blow up your equipment. But it was worth it. Alan, these scores haven't existed since the cretacious period. What...?

Rankings disqualified for referring to Raiders as "Indiana Jones and Raiders of the Lost Ark." In fact you should probably be banned for this.

In that case, I took your great list and put it in a chronological format, hopefully somebody finds it useful 01 The Adventures of Han (3:49) 02 Meet Han (2:20) 0:00 Secrets FIRST APPEARANCE 0:48 Han (Searching) FIRST APPEARANCE 1:25 Han (Searching) 1:50 Han (Searching) 03 Corellia Chase (3:34) 0:05 Han (Hero) FIRST APPEARANCE 0:26 Han (Hero) 0:47 Han (Searching) 1:33 Han (Hero) 1:57 Han (Searching) 2:43 Han (Searching) 04 Spaceport (4:07) 0:06 Han (Searching) 0:14 Han (Searching) 0:25 Han (Searching) 1:56 Love Theme FIRST APPEARANCE 2:08 Love Theme 2:43 Love Theme 3:17 Han (Searching) 3:39 Secrets 05 Flying with Chewie (3:30) 0:10 Chewie FIRST APPEARANCE 0:39 Gang FIRST APPEARANCE 0:57 Gang 1:11 Chewie 1:34 Han (Hero) 2:15 Chewie 06 Train Heist (4:48) 0:46 Chewie 1:46 Gang 2:31 Gang 2:45 Coaxium FIRST APPEARANCE 2:54 Gang 3:49 Han (Searching) 3:53 Gang 4:10 Han (Hero) 4:23 Gang 07 Marauders Arrive (5:14) 0:00 Enfys Nest FIRST APPEARANCE 0:23 Cloud Riders Action Theme FIRST APPEARANCE 0:46 Enfys Nest 0:57 Enfys Nest 1:28 Han (Hero) 2:16 Cloud Riders Action Theme 3:12 Gang 3:26 Gang 4:07 Chewie 4:30 Gang 4:33 Enfys Nest 4:41 Han (Searching) 08 Chicken in the Pot (2:09) 09 Is This Seat Taken? (2:36) 0:10 Han (Hero) 0:25 Han (Hero) 0:35 Gang 0:45 Enfys Nest 1:19 Han (Hero) 1:46 Han (Hero) 10 L3 & Millennium Falcon (3:16) 0:03 L3 FIRST APPEARANCE 2:46 Enfys Next 11 Lando's Closet (2:13) 0:18 Love Theme 0:52 Love Theme 1:05 Secrets 1:26 Love Theme 12 Mine Mission (4:10) 0:00 L3 1:57 L3 2:05 Chewie 2:27 Han (Hero) 2:31 L3 3:21 Han (Hero) 3:44 Coaxium 13 Break Out (6:15) 0:11 L3 0:43 Chewie 1:23 Han (Hero) 1:51 Han (Hero) 2:12 Han (Searching) 2:32 Gang 3:13 Han (Hero) 3:49 Gang 4:10 L3 4:53 L3 5:40 Coaxium FINAL APPEARANCE 14 The Good Guy (5:24) 0:21 Love Theme 0:46 Secrets 1:11 Love Theme 1:51 Gang 2:48 Han (Hero) 2:59 Secrets 3:19 Secrets 3:21 Love Theme 3:38 Secrets 4:08 Secrets 4:54 Cloud Riders action theme FINAL APPEARANCE 15 Reminiscence Therapy (6:13) 0:35 Han (Hero) 1:10 L3 2:53 Chewie FINAL APPEARANCE 3:54 Han (Hero) 4:12 Han (Hero) 5:23 L3 FINAL APPEARANCE 16 Into the Maw (4:49) 1:07 Han (Hero) 1:38 Gang 1:39 Love Theme 1:53 Han (Hero) 2:02 Han (Searching) 2:13 Gang 2:43 Gang 2:56 Gang FINAL APPEARANCE 3:57 Han (Hero) 4:31 Han (Searching) 17 Savareen Stand-Off (4:26) 0:33 Enfys Next 2:30 Enfys Next FINAL APPEARANCE 3:19 Secrets 3:46 Love Theme 4:03 Han (Hero) 18 Good Thing You Were Listening (2:08) 0:52 Secrets FINAL APPEARANCE (film order) 1:17 Love Theme FINAL APPEARANCE (film order) 19 Testing Allegiance (4:21) 0:21 Gang 0:42 Han (Hero) 1:45 Han (Hero) 2:11 Love Theme 2:36 Love Theme 3:27 Love Theme FINAL APPEARANCE (album order) 3:45 Secrets FINAL APPEARANCE (album order) 20 Dice & Roll (1:54) 1:18 Han (Searching) FINAL APPEARANCE 1:31 Han (Hero) FINAL APPEARANCE

Powell's ASCAP acceptance speech And if anyone ever wants to make a snide or disparaging comment about the assistant/additional composer system, just watch this acceptance speech of one of Powell's former employees to see how important it is in the modern age, after the disappearance of robust studio music departments

No possible way to know.

Best theory I've seen yet! Especially if it's one of a few Varese held titles I'm too embarrassed to admit are low-key grails for me.

Agreed. Nothing makes me less likely to take a point seriously than angry and entitled vloggers overanalysing things.

Casino Royale. With live orchestra and David Arnold playing a guitar during end credits. Karol

Kong was undoubtedly a bit long, but I think it has some excellent set-pieces and JNH's score is great for the absolutely mental scoring process they went through.

Fuck all of you. TLW is awesome.

Leonard Bernstein's famous debut concert with the New York Philharmonic, which included a performance of Rozsa's Theme, Variations, and Finale is now available on CD and digital download. Here's the link: https://www.pristineclassical.com/products/pasc533

The Land Before Time. It's a film inextricably wedded to my early childhood and the score never fails to brings out the tears. Littlefoot running against the rock face chasing what he believes to be his mother, that is in reality only his own shadow, is probably the most profound moment in any Don Bluth film, and one of the highlights of Horner's career.

I attended the Jurassic World In Concert event on May 30 and the NASA event on June 1 in Washington, D.C. Both were great! (I got to meet Giacchino at both. He's a great guy!) I tried to get a video recording of Giacchino's new "Voyage" piece, but an usher was standing close to me, so I was only able to get an audio recording, if anyone would like to give it a listen. I thought it was a beautiful piece, and I hope an official recording gets released someday! My recording from the back of the Kennedy Center doesn't do it justice. (The orchestra started playing as John Cho finished reading a poem, so the audience claps at the start of the piece.) Voyage by Michael Giacchino (June 1, 2018) It's been almost a year since I last posted, even though I've been a daily reader. Looking back at Giacchino's 2017 scores (I thought they were all great), I would rank them: 1. War for the Planet of the Apes 2. Spider-Man: Homecoming 3. Coco 4. The Book of Henry I'm incredibly excited for The Incredibles 2 and Jurassic World: Fallen Kingdom!

I buy every expanded Williams scores now, so I don't care... Even if it's an expansion of Images.

This thread should be renamed Tablecloths, tablecloths, and other recently purchased tablecloths.

Well fuck you!

Who said anything about pre-90s? If anything, MV's quote makes it sound like a more recent release, to me.

Using Satie to calm my addled brain

Oh, it's the superior Star franchise.

A few of the mid-point action sequences in JNH's score feel a bit rough to me, but most of the score (and everything on the album) is quite astounding given how little time he had. I also got the impression from interviews at the time (including the video diaries) that he enjoyed the film - that's got to help in situations like that.

That's really super, Supergirl.

S.E.E.T.E.C.H. A.S.T.R.O.N.O.M.Y.

Which part, exactly? There is absolutely nothing stopping Lucasfilm from monetising not just the entire Star Wars series of complete scores, but all the Indy scores as well, if they so desired. Their refusal to do so does nothing except encourage fans to find alternate means to acquire these materials. If the entire film stem for TOD leaked, I wouldn't feel an ounce of sympathy for Lucasfilm because they've done jack shit with the property in a decade! It serves them right for sitting on their hands and letting an obvious opportunity (both in streaming and physical releases) go begging. As evidenced by the speciality labels, there is a market for these scores and an audience who are fully willing to pay premium price to access them! Their steadfast refusal to do anything except regurgitate ancient masters or outdated assemblies (for two decades in the case of SW and one decade for Indy) is entirely worthy of criticism.

I always compare it to the old renaissance painting masters - they had a studio where they accepted orders, the master (like Verrocio, for example) drew the guidelines, did some parts and finishing touches, and his apprentices did a lot of the work to learn their master's techniques. Obviously it's not a 1:1 comparison but similar I think. And of course there's the story of Verrochio giving up painting because his young pupil Leonardo did a much better angel than him, so it wasn't THAT limiting of a system.

https://itunes.apple.com/us/album/the-lord-of-the-rings-the-two-towers-the-complete-recordings/1386667298

Maybe you'd like it better if you didn't sleep through it. I''ll bet Darth Maul pops up in the inevitable Obi-Wan film.

The negative reaction and low box office numbers make it so tempting for me to love it...but I just can't convince myself it was good.

I'd buy that, for a dollar!

Link?

Grrrrr!

I keep hearing from people on the internet about how they don't care how much money it makes (or doesn't make) simply because they enjoyed it. Yeah that's fine, I enjoyed Masters of the Universe, John Carter and Cutthroat Island, but they weren't in a hurry to make a sequel. And that's why people care, because a film's box office is the most accurate gauge into the general audience's interest in the film, and if it doesn't make the expected returns, then that has a significant influence on the TPTB and their decisions on the future direction of the franchise. In short, money talks. EDIT: and Independence Day Resurgence rightfully bombed hard. That'll teach them to make better movies next time.

Meh, that score never clicked with me.

I think Blume started a thread once for us to record our voices or something. I used the opportunity to trick people into listening to Zimmer.

I didn't even know ESB was regarded as the best one until I got the internet in 1999.

The Lost World: Jurassic Park by John Po- whoops, I mean, uh, Williams I've gotten the impression it's safe around here to say, as an isolated listening experience, I've always preferred this to JP.

What?

SOLO - John Powell Final verdict: whatever one thinks of the modern aesthetics Powell employs here, the score offers the musical 'fluidity' Powell himself cited recently as one of the most daunting traits in Williams' music he had to emulate. It eschews - by design - a full-tilt return to the past but the spots where it does reveal deft compositional resources at display, especially in regards to orchestration. Case-in-point is the cue 'Train Heist', going from silky neo-romanticism (more Rózsa than Williams, it recalls the modal 'Ivanhoe') to bubbly calls-to-action with energetic brass and string work (modernized Williams all the way, from 03:07 it's old trilogy counter fanfares galore) - and as far as i'm concerned, all the Hollywood bigwigs who could write like this are either dead or out-of-business (besides Williams, obviously and i don't count Silvestri who is more simplistic). The variations on the old rebel fleet fanfare Powell offers here are certainly more varied than Williams' own regurgitations of the force theme. I'm still not too enamoured with the maximum-overdrive approach to the many loud cues - burying the music's subtleties - but on the whole, it's the best that could have happened to the franchise. Alas, Powell's fate seems to be chained to the somewhat limiting surroundings of big franchises and commercial tentpoles. But then, there are worse spots to be.

Then he said: Powell baby, now go back and rewrite the entire score using my awesome new theme.

I'm incredibly impressed that each track doesn't feel like it drags at all, and holy shit I've never heard such fast-paced and intense action writing before that never lets up but also doesn't lose my interest. this is the Star Wars score I never knew I wanted, I'm getting more and more used to the 'un-Star Warsy' elements as I continue to listen because it just serves conveying the emotion and action of the scene so well. EDIT: the moments where Powell goes pure romantic Hollywood are fucking sublime and take me immediately back to the era of the Original Trilogy.

"I always wanted to work with Ramin. It is a dream come true. His talent and artistry when creating rich musical accompaniment to diverse fantasy worlds of Westeros are unparalleled in this medium. We started out with this approach with Howard on Middle-earth films but now we're really taking it to the next level" - Peter Jackson Karol