Leaderboard

John looks and sounds fantastic here, full of energy and spirit. If he's this sprightly writing TROS, I reckon we're in for one hell of a final Star Wars score.

Now could someone--anyone, really, don't have anybody specific in mind, anyone at all--explain to me how 2001 and 2010 create an overarching cinematic narrative? Are they two films loosely tied by thematic threads? How is the continuity between them?

Often overlooked, but Arrival on Utapau from RotS is pretty darn good, with a simply sweeping rendition of the Force theme around 11s. Obviously not my first choice, but nobody's mentioned it yet.

Surprised this one hasn’t been mentioned yet! I love the herald-like Trumpets and the way Rey’s Theme and Poe’s lead up to this big statement. It feels joyous and bittersweet at the same time. 0:45

Just in case this is useful to anyone else: I recently picked up the OST to Always and couldn't find a decent high res scan of the cover, so I made these. I think that big underlined text and catalog number are kind of ugly, so I took those out. Original version is here too, for the purists.

Another thread, I forget which, has sparked a nice little discussion about the Force Theme and fired up my curiosity. So, what are your favorite renditions of the Force Theme and why? It can be from across all media, the 8 saga films, Rogue One, video games, the tv series, etc. Please embed a video with timestamps if possible and write a bit to explain what makes this rendition memorable. To start things off, I love the slow, noble rendition that plays with Rey's theme in counterpoint from the end credits of TFA. It's a nice musical treat and signals the coda of the whole end credits suite:

Nicholas Roeg's only latently fantastic thriller is the movie M. Night Shymalayan wishes to own - here all the red (red in the literal sense of the word) supernatural herrings, set in a decaying Venice, are part of the movie's DNA and its philosophy (not a stunt to sell the story): Donald Sutherland and Julie Christie, after a devastating loss of their little daughter, move to Venice where from Sutherland's point of view we see things (supernatural visions and premonitions, a blind woman who is a seer) of foreboding mischief. A murderer is on the loose, but the signs point to messages from the dead girl. The fateful gloom is relied by art-obsessed, sinister images, be it a restored church, the moody canals or dark bridges. There is a long famous love scene between Sutherland and Christie that is conveyed very naturally but of course enraged many patrons, who felt incensed by how real it all seemed. Only in the end by way of a rather cruel joke a resolution is offered - i saw that first as a teen and i still feel uneasy about red raincoats. It's a real 70's movie, in the best sense. Thriller fans should love it, be prepared for the measured pace, though.

In JK Rowling’s case, I tend to believe her more than Feige or Lucas. Some elements, like the Horcruxes, really do feel like they’re premeditated.

One of my favorite renditions of the Force Theme and I feel it's overlooked as well, often because the Binary Sunset cue wins all the time in ANH, is the rendition @1:29 in 'Burning Homestead'. Lots of emotion tied to this cue. It's also, IMO, the darkest scene in all of the movies. No scene in any Star Wars movie is as grim or dark.

You'll be really satisfied by her subtle evolution in the last 2 episodes!

In the case of Lionheart there is another reason that you always seem to ignore while ranting about double dippers: The title would be back in print in physical format for guys like me who missed out on the item, before they even knew there was a guy called Jerry Goldsmith - so why not expand and remaster it at the same time?

Get a Zimmer clone!

And two very good scores, they are.

Anyone who genuinely thinks that Marvel had a well thought through - “extended universe” - plan beginning with Iron Man and being meticulously planned through the first couple of years, is kidding them selves. Half of it was guessing and taking it one step at the time.

Bran Stark wins. The viewers lose.

Seasons 1 and 2 were great too. Why do people keep putting those two down?

"2018 is gonna be one for the books", MV said last year. So is 2019... but in the opposite direction.

That's a very generous estimation.

Good luck to him but his axing was simply a brazen attempt to cut costs, probably due to skyrocketing salaries for the voice actors. They're within their rights to drop him and go with a cheaper option, even if it's a thoroughly shitty way to treat a show veteran (and a sad reflection of the times and the way these music houses are putting composers out of work and driving salaries down). Doesn't change the fact this garbage should've ended well over a decade ago. Depressingly, the show has been terrible for twice as long as it was ever great.

Union regulations. The reuse fees for TV music are very expensive. Its often cheaper to record a new score. It might even be required.

Lovejoy Chases Jack (and Rose)(alternate) The perfect archetypical Mellow Pastures Village music from every RPG in the first half of the 2000s!

0:28 - 1:06

Despite being gobby, populist trash, 'Year of the Dragon' still is tons of fun to watch (Cimino at least knows how to shoot a movie). It's a prototypical mission-movie (a cop takes an impossible stand against the hellhole of organized crime, NYC's Chinatown). It's the kind of movie where every time a patron enters a restaurant, a band of marauders enters with machine guns and kills approximately 100 people for no discernible reason, so it's either prophetic or part of the problem. Take your pick.

You're better off sticking with the "Apocalypse Now Sessions" album put out by the Rhythm Devils, and the Redux OST, even though the latter mostly contains early versions and alternate takes of the music heard in the film. Several major cues are also missing

Forget everything else, just the fact that it's Scorsese mean it won't get a fair shake and some people will feel predisposed to like it because he's such a legend. But I have take no prisoners approach. No one gets a free pass. Even old masters have to actually make a great movie to earn a great review.

No, the script is very problematic. It's mostly the same type of story you had in previous two. Plus you could remove the entire second act, or replace it with virtually anything else, and it wouldn't have any impact on the main plot. Hulk has nothing to do in the film. I don't really get a sense Thor grows as a character in this film. But yeah, the gladiator planet segment is entertaining... even if it does very little to contribute to the story. It's funny, sure. Entertaining, yeah. But best? Nah. Karol

I’m going on the idea that some of these orchestras on the planet that have already played The Force Awakens, or will play it before December, may book The Last Jedi between now and December to cash-in on the anticipation for The Rise of Skywalker, as the Tokyo Philharmonic Orchestra did. I have seen orchestras add more LTP concerts long after their schedule for the upcoming season has officially announced and while a season is in progress. Orchestras That Already Played TFA New York Philharmonic Orchestra. October 6th and 7th, 2017 I can’t picture the New York Philharmonic adding-on any more LTP concerts, they have 5 now for this season (CE3K, Psycho, Harry Potter, Singin’ In the Rain, and Mary Poppins). Last season it was 4 (There Will Be Blood, Home Alone, Red Violin, Bugs Bunny at the Symphony) National Symphony Orchestra at The Kennedy Center, Washington, DC. February 21, 22, and 23, 2019 During the 2018/19 Season, they played all 4 Star Wars concerts in Disney's series, plus Get Out. That’s 5 LTP concerts. I have seen this orchestra book an LTP concert while a season is in progress. During the 2017-18 Season, the NSO announced the world premiere of Jurassic World on April 3, 2018 for a May 30th 2018 performance. This season, the NSO has only 2 LTP concerts (Up, and a Harry Potter), so, they may fit in TLJ as a North American Premiere. Melbourne Symphony Orchestra. December 7th, 8th, 9th, 10th 2017. I don’t know the international orchestra scene, but if the Tokyo Philharmonic can book TLJ after a season schedule is released to the public, then the MSO may do it, too. The Sydney Symphony Orchestra will play TFA this September 12th through 14th, so, maybe you'll find TLJ being booked, soon.

Paging @Corellian2019

Cat killer!

Then you should definitely check out Schnittke's Requiem!

I'm especially happy to see these titles off the list. I voted Air Force One, Medicine Man and Hollow Man. Hopefully, the triple 80s L (Legend, Lionheart, Leviathan) will get a proper treatment soon.

Sorry, Kamakiriad is my favorite Fagen solo. 1. Kamakiriad 2. The Nightfly 3. Sunken Condos 4. Morph the Cat But all 4 of those albums are GREAT. Fagen has never once put out a bad album either solo or with Steely Dan.

Instead of a new compilation, I'd much rather that the LSO/Boston Pops started putting out CDs with entire recordings of suites, like the three HP ones, all the Star Wars arrangements etc. This would give the music a more serious nature, in my humble opinion: they should stop randomly recording whatever they please, so no Harry's Wondrous World but the whole suite.

Unlike most other people, I actually like CALLING ALL STATIONS (incidentally the only Genesis album I have in physical format!), especially the title track, "Congo" and "The Dividing Line". But then, it's Rutherford and Banks' baby, not Wilson's.

The Thin Red Line is a masterpiece of audiovisual storytelling. It’s not quite New World or Tree Of Life levels of Malick, and should be accessible to most.

I was also incredibly bored with Dany's storyline. She seems to be conquering some new place each season and I go "didn't she do that last year?". It doesn't help that I never really liked her character. She felt incredibly entitled without showing much charisma. I suppose the way it went down wasn't that surprising after all. I sort of always expected that. Karol

It's got some fart jokes too. Is that right for a show that strives to be dark and disturbing?

As an illustrator and someone who has a degree in fine art, having studied it for six years, (and a Tolkien fan) it's abundantly clear to me why Jackson sought out Alan Lee to help bring Middle-earth to the big screen. Lee's work has an extraordinary sense of being otherworldly, but also suggests a great deal of detail too, working in intricate details that illustrate a world that feels real and tangible, something that would (and did) help when producing the films alongside John Howe. I might be biased because Lee has been such an influential artist in my own life and career, but I think it's a bit ridiculous to say you can't see why Christopher Tolkien and HarperCollins chose him, when Lee's work, as muted as it might be is so evocative of Tolkien's descriptions. I love Nasmith's work too!

I only managed to get through the big booklet and first CD last night. In terms of sound it's wonderful and miles ahead of the old 1997 disc (which was good for its time). It actually sounds like a brand new score now and certainly not like something that's 51 years old! The set looks very nice as well. They took a similar approach as the HP set where the main booklet gives tracks listing, slate numbers, lots of pictures and brief overview of the music and album history by Mike Matessino and each jewel case has its one generous booklet with Jeff Bond's analysis of each score. Can't wait to dive deep into the other four scores and booklets over the weekend. Karol

You mean "John Williams plays Yo-Yo" I guess?

Even in GIF form it's DiCaprio's greatest performance!

deleted

@9:08. This is the first time in the saga and the only time in the film that the theme's first phrase ends with this particular major chord (the Neapolitan, or flat-II). Instead of having the usual chord (major IV, which has a raised note) to sound optimistic the way most Force theme statements do, this one (which has a lowered note) is infused with a feeling of tragedy even though it's a major chord - something that normally sounds positive. And what a time for it to be used - just as Vader tosses the Emperor to his death, in turn sacrificing himself as well. It wonderfully captures how this act of heroism is carried out unexpectedly by the villain. This harmonization of the theme becomes a regular facet of ROTS, where it has the reverse effect because of Anakin's status as a "good guy" - it suggests his darkening deeds as he plunges towards the Dark Side.

The big statement of the theme towards the end as Luke calls out to Leia is another one of my favorites. I love how the strings soar above the clouds and how the music quiets down just as Luke concentrates with the force before the big statement kicks in.

By my rough calculations (and I could most certainly be wrong or have missed one), the Force theme first shows up in... The Phantom Menace at 6:50 when Qui-Gon Jinn shoves his lightsaber back into the, um, blast door. The Attack of the Clones at 30:49 when Anakin and Padme arrive on Naboo. Revenge of the Sith at 2:10 right after the opening crawl when the Jedi starfighters come into view. Rogue One at 17:03 when Bail Organa first appears. A New Hope at 4:53 into the movie when Leia programs R2. The Empire Strikes Back at 9:29 when Luke reaches out for his lightsaber in the Wampa cave. Return of the Jedi at 26:15 right before the Rancor picks up Luke. The Force Awakens at 42:27 when Han tells Rey and Finn that he knew Luke. The Last Jedi at 11:42 when we get Leia's reaction after the Dreadnought is confirmed to be destroyed. The films in order of shortest amount of time to the longest amount of time for the Force theme to show: ROTS, ANH, TPM, ESB, TLJ, RO, ROTJ, AOTC, TFA. So you are indeed correct! It takes the longest amount of time to show up in TFA, with almost 3/4ths of an hour passing before it graces the film, and obviously the shortest amount of time to show in ROTS, with it showing up just over 2 minutes into the film.

When Ben tells Luke to use the Force in The Battle of Yavin II, stopping for a religious moment then reigniting the determination, energy and rythm in place of the hopeless chaos that begins when Luke starts his trench run. Here you go: Even though a REAL Star Wars music fan would be able to recall all of the above mentioned ones in their head just based on the description

1. The melancholic, wistful version: The Binary Sunset (A New Hope) 2. The action-packed, militaristic version: at the beginning of the track "Revenge of the Sith," right after the Main Title (Revenge of the Sith)