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I was lucky enough to attend the Grammy Tribute last night. John Williams attended! He also gave a wonderful speech which paid tribute to the orchestras he has worked with. He was introduced by Gustav Dudamel. The event was surprisingly underattended. We were invited to move to a closer section to fill in the seats for the camera. Other attendees included Neil Diamond (who performed "Daydream Believer" with Micky Dolenz followed by "Sweet Caroline"), Emmylou Harris, The Meters and Sammy Hagar. Tina Turner accepted by video but nobody from Queen participated. We instead had to suffer through an uninspired "We Will Rock You" led by Sammy Hagar. The main point though: John Williams was present and it was a wonderful evening. I stole a few pictures but this it it because i didn't want to fall prey to their no camera policy.

My package from La La Land arrived today, and one from Amazon!

The title is pretty self-explanatory. But I'll clarify a couple of things: - The expanded releases don't count. - Your ranking of the scores themselves is irrelevant. This is about their representation on their respective OSTs. - In the case of TESB, we'll speak of the 2-LP program (but you can rank the shorter one if you want). - I'll personally forego discussing sound and mixing issues in my list, as I'm only familiar with the OT original albums from the recent reissues, which obviously don't accurately reflect the sound of the original releases. But feel free to include analysis of that aspect if you want. - You can include the non-JW SW scores if you want (I chose not to, since I'm still familiarising myself with SOLO). Anyway, my own choices best to worst: 1. THE FORCE AWAKENS + Almost everything important is present (save for "The Resistance", the imperial march fragment, and the Falcon crash landing cue) + Well judged near-chronological (and the deviations are well-judged) track order. 2. STAR WARS (A New Hope) + Almost everything important - and almost all music, for that matter - is present (Important omissions: the Mos Eisley arrival; the final battle intro cue) + The suite assemblies are absolutely sublime (particularly "The Rescue of the Princess" and "The Last Battle") - Most of the big rebel fanfare renditions are concentrated on the first half of the album, making it a bit lopsided "blows it's load too soon" experience. 3. ATTACK OF THE CLONES + Most highlights are present (Missing mainly: Anakin's confession music; Carrying Shmi home + the funeral; The heroic statement of Yoda's theme at the end) + Well judged near-chronological (and the deviations are well-judged) track order. - The development of the B(or C?)-section of the love theme (the part resembling Dies Irae) is poorly represented due to the Anakin's confession cue being omitted. 4. THE EMPIRE STRIKES BACK + While many highlights are not present ("Carbon Freeze" is sure an odd omission, and there's a LOT more...), it's nonetheless a generous amount of music, with all the themes well represented. - Side 4 makes no musical sense whatsoever in it's sequencing, and suffers as an album climax due to having no action tracks in it. 5. THE LAST JEDI + Well judged near-chronological (and the deviations are well-judged) track order. + Thematic material pretty well represented... - ...save for the desperation motif being only barely present. [The more unsatisfying ones are below:] 6. THE PHANTOM MENACE + Some of the suite assemblies are great, especially the bit where the creepy voices seque into the Darth Sidious theme (track 14) + It mostly flows well as a listening experience (except in the middle, where it meanders) - Why is the Coruscant arrival music included twice? - Pointless identical repetition of concert suites (end credits) instead of using the space to include more unique music - Missing thematic material (Qui-Gon's theme) - "The Tide Turns" is omitted (omitting your action climax cue is rarely a good thing) - Lots of missing highlights in general, much of it more important than some of what was included 7. REVENGE OF THE SITH + [Nothing stands out in particular, save for the music being good] - Many omitted highlights, much of it more important than some of what was included. - The needle-dropped and out-of-place Throne Room segment (see the previous point also) - Missing thematic material (the theme introduced in "Another Happy Landing") - Nonsensical (and often awkward) edits and microedits. - Insane and nonsensical sequencing that flows poorly. 8. RETURN OF THE JEDI + The sequencing isn't terrible, I guess... - Missing so much important music in general. - Pointless identical repetition of concert suites (end credits) instead of using the space to include more unique music (Personally, I would have edited the end credits bookends into a continuous cue, especially considering the short running time allotted to representing this music)

Nice haul but you lose points for the boring non tablecloth image.

I'm simply speaking from personal experience that I can't really get excited about anything Potter related anymore (height of my fandom was 2002 to 2004), so I think I've just grown out of it. I might rediscover it someday, who knows? And yet there are things I never grew out of like Jason movies, TMNT, or Count Duckula.

Also, I like that I was less formal than @mstrox for once, with my contraction of 'I would' like I'm just a casual summer boi

It kept the pace of the movie up at a part where it might have sagged.

Deathly Hallows Part 1 was the better of the two parts, I think they did well in capturing the 'road trip' vibe of the book. @Holko On the Battle of Hogwarts section: I think one of the decisions they made when it came to adapting that section to the book is the fact that they have certain liberties to add visually to the story that is necessary for a translation into film. Personally, I didn't think the duel went on long enough, and the spectacle of the fight was something that I wanted to see in the film, instead of being locked-in to Harry's perspective, the film can move around and see multiple characters' perspectives at once. Harry's explanation felt deserved by that point as I assume people who had not read the books wouldn't be clued into the changing of the ownership of wands and the significance it had to the final duel. I think it's a bit harsh to claim the films (Deathly Hallows 1&2 or the rest) were 'hours of missed potential'; the burden of having to successfully adapt a book that not only ties into the established storylines from the film series with the book, but to give the film enough gravitas and poignancy to be the send-off that it needed to be must've been an incredibly daunting task, and accounts from the filmmakers and Rowling describe exactly that. To me, as someone who adores the books and the films, it didn't seem like a mistake when for instance, in Half-Blood Prince the Death Eaters set fire to the Burrow - a scene which got fans in a right knot. Or when Lily's eyes weren't the correct colour (I couldn't tell) because in both instances they didn't impact the story. I wanted to see the Death Eaters to be far more untamed and violent and attempting to destroy the Burrow just added to that which wasn't in the books. Now, for Lily's eye colour I think they weren't going for necessarily the significance of eye colour, but the very importance of the similarity of the structure/shape of their eyes, that one family member can share similar eyes in more ways than just colour. After all, the eyes are like windows to the soul, they're the most expressive and familiar features we have.

I used to be a huge Harry Potter fan. After seeing the first film on a whim, I fell in love with it and immediately read all the books that were out at the time, and continued through the series in both mediums with anticipation and excitement like so many others. I remember always trying to see the latest movie set photos that could be found, listen to podcasts to hear fan theories of what was going to happen in the upcoming books, and then hear theories about what would be changed in the film adaptations.... etc etc etc. I would even "dress up" for the movie premieres (and I was certainly NOT alone; they even had contests for it half the time). It as all really incredible, nothing really like it except maybe Star Wars (back in the day, anyway) in terms of sheer excitement around the world for the stories. Then... Deathly Hallows: Part 2 came out. The book it was based on is likely my favorite of the series, and I thought the first half was adapted pretty well. I of course was filled with anticipation with how the second part would turn out. Although I share a lot of resentment for the film in areas people already mentioned, for me there were just as much amazing parts (Snape's Memories, anyone?). Yet, despite being mostly pleased with how it all ended... it was like immediately after that exciting screening, I was DONE. It was so strange; like knowing I had completed the entire thing, finally, it was like I suddenly felt burnt out. I only watched it I think a couple more times in theaters (I can't recall, but it wasn't as much as I had seen some of the others), and only watched it in full at home I think once. I never even did a full run-through of all 8 films once I had them all in my possession. In fact, I haven't seen a single one all the way through since then; just bits and pieces on TV. What had happened? I think it had all been consumed in my life for so long, and so deep, that I think once it was formally done; so was I. Like I had no room for any more. The Pottermore stuff, The Cursed Child, and even Fantastic Beasts... I just couldn't care less. I did read about Cursed Child and it sounds like a bizarre train-wreck, but still have no desire to read it. Fantastic Beasts I saw only once, when it came out in theaters, and I actually enjoyed it MUCH more than I thought I would. I had zero expectations for it, didn't follow any of its production... it was nothing like before, for me. It was all gone. I'll likely still follow the rest of this series, as far as it goes, but I am not excited for it whatsoever. More just "merely curious". I feel like the same will actually happen with me and Jurassic Park/World. I've been following it all for so long, and now that they have put a lid on the island (for me the one aspect of mysticism the series had), and are essentially ending the story with them all over the world in one capacity or another... I'm just kind of done. To me it's not growing up; it's simply just being done with the story. Especially when it feels like "here is the end". Every good story, in my opinion, needs to have one. Unfortunately, in these days in Hollywood, sometimes you have to choose when to end it yourself; because they may not. I think some stories can, and should, only ever go so far.

The Mummy Returns liner notes are written by Tim Greiving aka @Maestro, that's awesome!!!

I wonder if Intrada takes La La Land gift certificates..........

Tell me the code. That way you have a backup incase you ever forget it.

Just post the code here as a safety measure. Or better, PM me.

I loved Star Trek: Independence Day.

I always liked this too. The devil waiting for you just outside.

But Shelley Winter's death was necessary just to have that image:

I tried to explain. I understand what you’re saying. Just with these particular scores (the Star Wars OT), the association of the music with the film action is too strong for me to enjoy that musical flow, as you say, on its own terms. It’s odd for me to get sucked into the Death Star one minute, and find myself back in the Jundland Wastes the next.

The OSTs are all about creating a new musical flow unrestricted by the film's narrative, why would you want to rearrange combined cues into semi-chronological order instead of seeking or waiting out the truly complete and chronological editions?

Yep.

Do you live in the remains of the sets for 2001?

I have students who still check out the books...practically none of them have seen the movies, and are barely cognizant of their existence. *addressing Harry Potter film series about the books*: "They will be found! You won't!"

I'm not a Potter fan, but I do not deny that the books and movies were a hit.

While driving a taxi about 20 years ago one Sunday night, I tuned the radio into Australia's Classical FM station. "The Bat Attack" was playing, and since I had no context to place the piece, I spent a frustrating few minutes trying to recall what the music was. It was my discovery of a Sunday night film score show.

Disagree. Lillian Gish as protector of wayward children is great.

Oh fuck off, the Burrow attack serves no goddamn purpose even if you ignore the books. Does anyone get hurt physically or emotionally? No. Does it make the threat real? No, because the house is 100% fine and dandy a few months later in 7. Does it add anything to the characters? No, nobody ever mentions it again and we see no reaction except for looking in the distance, which is somehow substitute for acting these days.

Any other tablecloth can be but a pale imitation of the Holy One! That's why I don't try and substitute my floor carpet instead.

The Dracula OST isn't really that hard to figure out once you have the sheet music 01 Main Title & Storm Sequence (5:08) [0:00-1:12] = 1M1 Main Title Fix, with some additional low end that isn't heard in the film [1:12-end] = 1M2 The Storm (without bars 44-46) 02 The Night Visitor (2:12) 10M3 Lucy Attacks 03 To Scarborough (2:42) 11M3 To Scarborough 04 The Abduction Of Lucy (3:34) [0:00-0:22] = 4M2 "Give Me Your Loyalty", but only bars 6-11 [0:22-1:22] = 2M2 A Quick Change, but only bars 1-22 [1:22-end] = 11M2 The Capture of Lucy, but only bars 32-end 05 Night Journeys (5:12) 7M3 The Love Scene, including choir not heard in the film 06 The Love Scene (2:04) 7M3 Love Scene Revised, but only bars 42-end 07 Meeting In The Cave (3:29) 1M4/2M1 To The Cave 08 The Bat Attack (2:46) [0:00-1:30] = 8M1 Mina Impaled [1:30-end] = 10M2 The Bat Attack 09 For Mina (2:15) [0:00-1:20] = 5M4 Mina's Funeral [1:20-end] = 4M3 Mina's Death 10 Dracula's Death (2:57) 12M1 The Death of Dracula, but bars 1-17 then 42-end only 11 End Titles (3:58) 12M2 End Titles So, therefore, the chronological order of the OST is 01 Main Title and The Storm Sequence (5:08) 07 Meeting In The Cave (3:29) 04B [0:22-1:22] (1:00) "A Quick Change" 04A [0:00-0:22] (0:22) "Give Me Your Loyalty" 09B [1:20-end] (0:55) "Mina's Death" 09A [0:00-1:20] (1:20) "Mina's Funeral" 05 Night Journeys (5:12) 06 The Love Scene (2:04) 08 The Bat Attack (2:46) 02 The Night Visitor (2:12) 04C [1:22-end] (2:12) "The Capture of Lucy" 03 To Scarborough (2:42) 10 Dracula's Death (2:57) 11 End Titles (3:58) Or, if you don't want to bust out a WAV editor, you can get close to chronological with this 01 Main Title & Storm Sequence (5:08) 07 Meeting In The Cave (3:29) 09 For Mina (2:15) 05 Night Journeys (5:12) 06 The Love Scene (2:04) 08 The Bat Attack (2:46) 02 The Night Visitor (2:12) 04 The Abduction Of Lucy (3:34) 03 To Scarborough (2:42) 10 Dracula's Death (2:57) 11 End Titles (3:58)

I don't know, I kinda thought that sequence was pretty cool.

Yo Chen, check out Return of the Jedi. Luke realizes what fighting is doing to him, throws away his weapon, and defeats the toughest motha in the galaxy with love.

I am listening to Mission Impossible: Fallout by Lorne Balfe as well. It is a waste of my time 😕

Westworld (the film) is another example. And possible Night Of The Hunter too.

This comparison is really far-fetched, because the 'unstoppable nightmare'-aspect you mentioned is basically the only thing that unites the three movies.

Dinosaurs! by Ronald Stein and The Lost World by Paul Sawtell

You... Still can see the sequel. It's bad but it's not unwatchable. Some of the action setpieces are repeats of those in the first movie, and The Rock in CGI is terrible, but it's still a fun ridiculous adventure. I could have done without the Rick backstory retcon, but how else to bring back Oded Fehr. The lost pyramid in Mummy Returns really reminds me of my favorite episode of Disney's TaleSpin from my youth.

I've probably said this all before, but it's definitely the best of Spielberg, and the worst of Spielberg. His visual prowess and imagination is so keen, he probably likes Koepp's work because Koepp can come up with some really cool setpieces and dramatic scenarios; stuff that makes Spielberg think, "That's gonna be so cool to film." I enjoy so much of the visual storytelling in The Lost World; in addition to trailer scene, there's the long grass scene, and I'be always been very partial to the compy scene (my favorite pairing of music and imagery in the movie). But then characters start talking, with exchanges like "You lookin' for a problem?" "I found you, didn't I?", and then you realized Spielberg filmed a screenplay by a high schooler. Thankfully, though, Spielberg seems to have moved on to other writers.

I always make sure to watch the George C. Scott version of A Christmas Carol around that time of year. It's my personal favorite adaptation of the story.. Great score, too.

Like I already said, I vote for this to be Bear McCreary's big tentpole break.

You really don't get SW, do you? Karol

Brilliant pair. Great film. Good score.

The Remains of the Day Watched this classic masterpiece last night because my wife hadn't seen it and Merchant Ivory has been on my mind lately. She doesn't go for the Merchant Ivory to the degree that I do, but she liked it. Who can resist two of the finest screen performances ever given by Emma Thompson and Anthony Hopkins? PS The novel is also a masterpiece. It remains Ishiguro's finest work and he's one of my favorites

Suscribe if you want to see more content from mstrox!

Yeah, never really understood the criticism there. The impact of Voldemort's death wasn't lessened by the way they portrayed it in the films, the look on Fiennes' face as he dies is actually quite powerful - the cruel, soulless being had tears in his eyes as if for one last fleeting moment before the end he was human again.

Great haul-just 13 bucks and brand spankin' new!

I can't speak too objectively about movies 1 and 2, they're my childhood. 3 is probably the best of the bunch in everything but the script. 4 is over-the-top and fun, barely has anything to do with the book. 5 is fun, then Yates slowly devolved it into generic dumb identityless Hollywood so-dark-you-can't-make-out-anything-on-the-screen garbage by the 8th. The biggest problem with 8 is how it turns what should be satisfying character moments into dull action beats. In the process the core themes and important threads of the books were completely lost. I hold 6-8 as unwatchable. The books I love, 7 is my weirdest - the camping part until Ron comes back is not my favourite part at all, but after that, it does become my favourite in wrapping up everything. 4 is a very surprisingly complex and well-planned mystery story. And after a whole book of Harry being angsty about anything, 6 going back to fun slice-of-life things in the main thread (with Voldemort's past having big emphasis being very important!) was refreshing.

Using my electronic piano and my ears. Maybe those days, a guy like Mike Matessino use ProTools to help him to adjust the speed of an analogue recording. A thing is sure, it's not automatic. You have to tune a certain part or a certain sustained note of a recording. But not long time ago, it was done using our ears and a keyboard... And So I still do it this way. But this morning my ears tricked me. And let say it, that's not the easiest partition to tune, with all those semi-tone variations! Welcome to the wonderfull world of analogue recordings!

SHIPPED AT LAST!!!

Track 26 ... Anyone else reminded of Goldsmith's Planet Of The Apes?!

I explained all of this in a previous thread (the one about the remastered CDs, I think). I can't provide a specific source as this is all stuff I know firsthand and it obviously wasn't printed in the Hollywood Reporter or Variety or an article on FSM. I have a good reputation on the board - I don't post often, but when I do, I post accurately. My post is not a thesis, it's what happened. Consider this - AD was offered and took the job because he had worked with Gareth Edwards on Godzilla. Having already followed JW's footsteps with Harry Potter, he made it clear on this one he wanted to make his own contribution to the Star Wars universe of music, rather than just ape JW's style. To that end, he insured with the filmmakers that he wasn't going to use JW's themes or style. This is all fine with everyone involved at this point because the movie is SUPPOSED to feel different. He doesn't want any SW music used in the temp scores, he wants to do his own thing. Now, a year or so later, Disney has mandated that the film's tone needs to be completely rethought, including the music, which should feel like Star Wars. They don't mean a quote of the Imperial March here or there, they mean a ground-up rethinking of the film's score to be comfortably in the Star Wars style, to do what AD considered to be "aping" JW's sound. The entire temp was redone from scratch using over an hour of JW"s scores from the 70's. The way Hollywood works, if AD says "no, I quit", he gives up the balance of pay due him. If he refuses to quit and waits to get fired, the studio has to pay him the balance he's owed. So, savvy businessman he is, AD understands he has no reason to give up on his ideals of not imitating JW - if he sticks to his guns, the studio will either back off and let him write what he wants, or fire him and he gets paid anyway. Up to this point, the Oscar-winning AD had never been fired from a project, so he felt bulletproof. On top of that, the longer Disney waits to replace him, the less time the replacement has to write a score, something which also works in AD's favor. The filmmakers dragged their feet on this decision for over a month, from August to September of 2016. Part of the reason was loyalty to AD, part of the reason was that R1 had already replaced so many key people on the film that they feared replacing another would doom the film's publicity. In the end, no one wanted to insult anyone, no one wanted to hurt anyone else's careers, so they allowed the story to be that AD had to leave due to scheduling, which is all fair and good, and minimized the damage done to the publicity by making it AD quitting the movie rather then being fired. Again, I can't prove this to you, so feel free to not believe it, but I promise you on my reputation here on the board, which is all I've got, that it's true.