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13 seconds exactly. That's the best 13 seconds of music you'll ever listen in your entire life. 😜

Iconic.

If I may risk derailing your thread, I highly recommend it. It deals with heavy themes, of course, but it's done in such a compelling and interesting way. (You know it's good when it pisses off people on both sides of the debate!) Spielberg goes full '70s thriller here (in a way that sadly he didn't use utilize nearly enough in The Post), and features some of the best shots and sequences in his career. I could see some complaining that the movie doesn't know whether it wants to be a paranoia thriller, a historical drama, or a microcosm quasi-allegory of a much larger conflict, but I love it all.

I know, Mike, that's why we're leaving!

The prequels aren’t very good. The Thrawn trilogy and the later Zahn books aren’t very good. 98 percent of the EU isn’t very good. I like them all in some capacity, but I find it hard to believe that Heir to the Empire etc. would hook anybody today. Constant references to the original trilogy. Joruuuuus and Luuuuke. I mean, it’s better then the Kevin J Anderson books, but it’s never going to be as meaningful in 2018 as it was in the mid 1990s with an absence of ongoing Star Wars content.

The 1979 vinyl release is indeed superior to the Varese release from the 90's.

Star Trek Nemesis is a score about a man who is facing his mortality too soon and at the hands of a terrible disease. Except, the man who is dying isn't Shinzon. It's Jerry Goldsmith. I never appreciated Nemesis until just a few years ago. When it first came out, I hated it. It was strange. It felt like familiar Goldsmith, maybe too familiar, but distorted. As though the man's style had been taken and put through a twisted fun house mirror and sprinkled with rage. It was, and I would venture to say, is, a tough score to love. Something just isn't right, and to be honest I can't quite place it. Maybe it's the theme? It's off-putting. It straddles this strange border between melancholy and menacing. When I listen to the music I'm left in a hollow, empty, depressing mood. And unlike depressing scores like Schindler's List, there is not much innate beauty to the music itself. The whole score, like its main theme is in a profoundly uncomfortable place: sorrow and rage. And the struggle between the two is never resolved. No dramatic resolution of the two ideas into something beautiful, something more is made. It takes two disconcerting forms of human emotion and presents them as is. Raw. Maybe that's why it's such an upsetting score. Maybe that's why it feels half-baked. It's no wonder why I once thought this was a dud. I thought Jerry dropped the ball. He made a mistake. He made poor decisions. He fucked up, and we got an ugly, raw score that turned me and a lot of people off. Or maybe, maybe he just ran out of time? Maybe his heart wasn't in it anymore? Well, the highs and lows of twelve years of life since, a dash of hindsight, and the application of probability theories have all made me realize: I just wasn't getting it back then. It's simply unlikely that an artist, one like Goldsmith, with such an incredible track record, who still continued to write music well into his final days, would suddenly be uninspired, or make a mistake, or drop the ball. Instead, I realize now that every corner of this score was crafted with a very clear direction and purpose. And it was crafted by a man who had entered the frightening world of cancer. A world, where upon entry, people all-but merge with the technology and medicine that will preserve their lives. A world where people are poked and prodded to add months, weeks, month, or even days to their life. A world where they face their mortality every moment of every day. A world where they face their helplessly watching loved ones. A world where you're not sure if you have two more years or two more months. I can't imagine what it must have been like for a person in that world to watch and score a film like Nemesis, or a character like Shinzon. Or the breaking of the family. Loss. Moving on. The blood work. The rage. "Look in the mirror, see yourself." Indeed. When you let all that sink in, and you listen to a track like "Full Reverse," with its angry, raw, orchestral power, your mental imagery is no longer of CGI ships pulling away, but of a great artist expressing his own raw anger and his ordeal through the most personal of ways he knows: the notes written on a page. When you listen to a track like "Repairs" you begin to wonder if the track isn't perhaps the musical narrative of a day in the life of an ill Jerry Goldsmith. Distant warmness, cold technological...almost...medical synthesizers. Nauseating distorted electronics. It all of a sudden makes sense why the snare drums at the beginning of "Attack Pattern" sound like they are about to be ripped apart from the fury with which they are being struck. I honestly cannot think of a Jerry Goldsmith score that has as aggressive, direct, and raw a performance and writing as this. It gets downright ugly. What we have in Nemesis is a personal work of art. It is a glimpse into a world that few of us want to catch sight of. A window into the life of a composer in a profoundly difficult time. The dark score doesn't fit Star Trek like a glove. It's too depressing for the Star Trek universe. But Jerry gave us over three hundred scores where he lifted films from hideousness to tolerability, and from goodness to greatness. Surely then, the man deserves just one film where the score is more an expression of himself than the universe of the movie? Blume Score: 89%

I misremembered the title. I meant "Epilogue." Both are a bit generic in similar ways, in my defense!

I love the songs in both. The Moana score isn't much more than functional, but Beck's Frozen score is quite good. I'm pretty sure he based his winter music on Wagner's snowstorm stuff from Die Walküre. And the finale cue where he incorporates the song themes is lovely.

I like the 1966 Batman TV show transitions.

Not what I was looking for, but this scene from Munich shows the power of Spielberg and Kahn at work.

The extended versions of Suo Gan and Exsultate Justi (for the finale) are superb. The 2nd CD is Additional Music, and I rarely listen to it, I never really listen to those kind of Bonus in fact. On my mp3 player, I always put them in a separate folder, to make sure they don't start to play after the score! Empire of the Sun [Original Motion Picture Soundtrack] (1987) (2014, La-La Land Records, LLLCD 1300; Rainbird, Williams, Ambrosian Junior Ch./McCarthy) CD 1 - THE FILM SCORE: Suo Gan (extended version)** (Performed by The Ambrosian Junior Choir); Home and Hearth**; Trip Through the Crowd; Imaginary Air Battle; Japanese Infantry*; Lost in the Crowd; Alone at Home*; The Empty Swimming Pool*; The Streets of Shanghai; The Plane; Jim's New Life; The Pheasant Hunt; The British Grenadiers (traditional); Cadillac of the Skies; Mrs. Victor and James*; The Return to the City; Seeing the Bomb**; Bringing Them Back*; Liberation: Exsultate Justi; Suo Gân (Performed by The Ambrosian Junior Choir); Exsultate Justi (extended version)**; CD 2 - ADDITIONAL MUSIC: Chopin: Mazurka, Op. 17 No. 4 (excerpt)*; Imaginary Air Battle (alternate)*; Alone at home (alternate)*; The Streets of Shanghai (film version segment)*; The Streets of Shanghai (alternate segment)*; Chopin Again; The Plane (alternate)*; Cadillac of the Skies (alternate)*; The Return to the City (alternate)*; Exsultate Justi. *Previously unreleased. **Contains previously unreleased music.

You have no business watching anything until you've seen Lawrence.

I do have some Spielberg movies I haven't seen but may at least a tiny bit be interested in lined up, and this is in there, so I will probably get around to it someday.

Hoooly crap. To answer the question, Spielberg's transitions are legendary. Tintin is full of them, but this gave me goosebumps in the theaters, and still does. I'm trying to find clips of some of the ones in Munich, like when the blood splatter in one of the flashbacks dissolves to clouds, but I'm having a hard time.

Carmina Burana by Carl Orff This is probably my favorite choral work ever. I went to see it in concert with the Canadian National Academy Orchestra and it was absolutely splendid. O Fortuna is so powerful and darn epic, and many of the solos were well done. If you haven't heard this, it's high on my list.

#Darling, its better, down where it's wetter#? That's just wrong.

The Star Wars Holiday Special isn't very good. The Ewoks cartoon isn't very good. The original trilogy isn't very good. Spaceballs is great!

Just watched the movie. It was really funny in a stupid way, much better than the first JW. The score was also surprisingly not awful, much better than the first JW. The mix plays a big role - the trumpets don't sound like pitched up sharts

I want him dead too, Maul. Oh yeah. I know all about you. Like how Obi-Wan cut you in half when you had the high ground. It just doesn't seem fair to me.

@Lockdown it's one of the first themes reeled off in the end credits suite with a new arrangement. He orchestrated the entire score with Giacchino this time around, it's a strong possibility he also arranged the Incredits 2.

No worries. I feel that way too i feel i've been much happier these last few years not looking for someone and listening to my film scores and playing video games

i'm sure Williams probably helped out with a few cues in an uncredited way. I think he did with the love theme.also the last 15 seconds before the end Credits The cameo was cool because it was designed to make you look at Star Wars wiki when you get home to see how it was possible

My Solo sense is tingling...if you know what I mean.

I loved this movie. Qi'ra is the best female Star Wars character ever And Ioved the WTF cameo at the end

Anyone else think Tobey was the best Spider-Man?

We waited too long. Well, keep checking them! Keep lookin'!

Indeed I quite like Terry Johns' account as well. https://www.hornsociety.org/295-newsletter/991-terry-johns-interview Also really fascinating to hear David Cripps (principal Horn of the LSO at the time) speaking of the sessions. We wanted to speak with him as well, but alas couldn't come across good contact information. Thanks for listening!

It's an interesting perspective, thanks for posting. There are quite a few musicians who have a different recollection which is equally fascinating.

I was too busy staring at Daisy Ridley to notice the movie going around around her.

I have the OST on vinyl.

Alright, I ordered Bad Girls, Bandolero! Rio Lobo, Stagecoach, Take a Hard Ride and 100 Rifles/Rio Conchos at LLL! Including shipping costs that's 95€, so it's 13,50€ per score! Normally I would pay 150€, so that'd be 21,50€ per score! There is no way the toll is so high that it wasn't worth ordering it from LLL!

Yep, the whole Fisher situation is another problematic issue. Plus how to deal with Luke, because clearly that was one of the issues that saw Trevorrow get the ass. Do you bring him back in a meaningful capacity (Force Ghost haunting Kylo)? Do you retcon what TLJ did just to appease the fanbase? Do you stick to your guns and let the past stay dead? And as you said, you have to wrap up not only this trilogy but the trilogy of trilogies! It's a hard ask for any director and writer. There'd be less than a handful of people I'd entrust with that job... and Trevorrow definitely isn't on that list. And the deadline is less than 18 months away, without even starting production... No wonder these directors love Williams writing the score, because it's one aspect of the production they can basically just "set and forget."

The analysis on this page could explain why I find Powell's themes so memorable - the 'sliding' nature of them and constant chord changes really seems to excite me. Even though some of them are quite simple in construction, they're still memorable. A lot of other composers also use a wandering style, but I think their use of chords must be different or more static. His action material is occasionally OTT, with too much going on (first HTTYD especially), but his melodies.... sublime.

I had the pleasure to attend a concert of John Powell in Hamburg. What a privilege to hear it live! https://soundtrackworld.com/2018/06/hollywood-in-hamburg-john-powell/

Books drag on for too long.

The prequels are great movies, man.

By the time they start shooting you'll need to change the period to 1980's! Karol

The Rocketeer by James Horner: Definitely among my top 3 Horner works. The whole score is such a joy to listen to, the exuberance and marvel of flight, positive energy, and swirl of big emotions sweeps you away. The themes, the action and the arc of the drama are all well-rounded, certainly a nod to a film scoring eras of the past but never so that it hinders the composer's own style or dramatic impulses. P.S. I love the little diegetic film scoring bit for the Laughing Bandit which underscores the filming of a swashbuckler in the movie. Hearing this little piece makes me wish Horner had written the rest of the score.

We have the kings of that here. It's educational. Even Americans fuck up cue-queue. I wish people would stop mixing up should've (the contraction of should have) with should of, which is how you know the person is an idiot. Maybe we should color code the accounts of the non-native English speakers.

I like it when he uses the Tintin harpsichord (spoilers)

Anyone else think the "DEVTECH" theme sounds a bit like Tomorrowland? Really good score overall, Giacchino's best work in a while.

I think this is Gia's most entertaining and musically confident score in years. It sounds like he's completely in his comfort zone with this score, from the heavy dramatic writing to the jazzy action music and comical stuff.

No audition, they know me (and my passion for JW) I'm not living in Helsinki any more and they have their usual substitutes but I still hope they will hire the drunken hornist!!!

It's Finland, all he has to do is challenge them to a drinking contest. We could help him remain conscious between shots by posting here that The Book Thief sucks and is Williams' worst score since John Goldfarb!

Yeah I can agree with most of that but it’s his analysis like the Star Wars oxygen stuff that I go to him for. I found that show brought me back to and old friend with new eyes in the Star Wars scores. Where I go to something like cinematic sound because erik and his folks have impeccable taste and put on a great show! Room for both?? edit: I don’t think David’s new show would have near the hype in the community if it wasn’t for the reach that rebel force radio had with oxygen either.

The beginning of Slalom on Mt. Humol.