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No it was not intentional, but yes I am Bob Iger.

Today’s haul from Screen Archives...

And last night, I had another Monica Bellucci dream.

As you all know, The Lost World is my favorite one. It delivered exactly the type of Jurassic Parkian movie I wanted. I saw Congo a couple years prior and thought, you know, this sort of thing would be cool crossed with Jurassic Park. A bunch of guys with guns smoking cigarettes and having to fend for their lives together against creatures in the jungle. It still feels more serious and obviously 1000% better made than everything that came after in this franchise. A very badass testosterone-fueled flick with some expertly staged scenes of action and suspense reminding us why Spielberg was the best at what he did. Julianne Moore is also great and really carries the female side of things a hell of a lot better than Ellie Sattler. Later movies seemed to pander more to kids or a family audience and they just fucken suck.

Spider-Man: Homeless

From Disney Music Group First four episodes will interview Alan Silvestri, Pinar Toprak, Harry Gregson-Williams, and Henry Jackman Hope he can get Williams on for you-know-what.

Kevin Puts' very fine Piano Concerto. He is also a big time JW fan having grown up with the original trilogy, Raiders, E.T., the golden age and you can hear that in his music. Puts was born in 1972 and won the Pulitzer Prize in 2012 for his opera, Silent Night.

I actually bought it when it first come out, but just now picked it up from SAE. I place orders from them and then have them held for me to pick up every once in a while. And they hadn’t received their shipment of the HP box sets from LLL the last time I was there (mid-December 2018).

You waited this long to buy Harry Potter?

You evil man.

Luckily there ain't a lot from FOX the labels hadn't gotten to yet My biggest bummer is that we'll probably never get a truly complete SPEED 2 now, and it never leaked either, so I'm stuck with crappy Blu Ray rips to fill in the gaps for who knows how much longer, if not forever

I think it's potentially very interesting that the co-writer of his new Matrix movie is the author of the original novel Cloud Atlas, David Mitchell (not the comedian).

Both are funny as! GOLD starring Roger Moore, is a good film.

Relish that moment, she never does anything again.

Well... you don't fuck around with Therthei Lannithter.

Those are fantastic!

Here are some titles this generator came up with - looks like they fit right in:

Two things: Austin Wintory has released a new score for the game ERICA! And the release of JOURNEY on Apple devices gave me a good excuse to review Austin Wintory's music for the game :-) https://soundtrackworld.com/2019/08/journey-austin-wintory/

Totally agreed. Whoever saw the suitability of Ben Watkins in the musical MATRIX universe, was a genius. Both elements work wonderfully on their own, but the organix mix is something to behold; Juno's hard beats work suprisingly well with Davis' sharp tonal explorations. Also, I'm eternally grateful to the collaboration, because otherwise we probably wouldn't have had Juno's best album to date -- LABYRINTH -- which very much has the same musical DNA, even though it concerns Spanish conquistadors. I hope both Davis and Ben return for this sequel. As for the idea of a sequel itself, I'm kinda torn. I thought the existing trilogy finished beautifully in its kind of Christ analogy, even though it was also a bit downbeat. I would be curious to see how they would develop the storyline; re-inserting Smith would be a stretch, I think. He's had his day in the sun. True, although soundscape-wise the marvelous EVENT HORIZON score deserves credit for break(-beat)ing this particular ground, a couple years before THE MATRIX.

It could be a suppository.

You don't?

Boycott boycotts!

Boycott both.

Five minutes ago it was all 'boycott Disney'. Now it's 'Disney is the best, boycott Sony'. Fuck sakes, make up your minds, nerds! (Also, called the outrage!)

Far From Home turned Shield into a bloody joke. All the people I've seen whining about the fact that future Spidey films won't have the same MCU presence are creatively bankrupt if they think it can't work without it. I wish they'd cut back on this interconnected universe and focus on the individual characters where they can have time to breathe in their own neck of the woods without some hanging nostalgia and sense of duty to Stark and The Avengers, and fucking Shield. Homecoming and Far From Home are entertaining for the most part, but I felt as if Peter didn't have much of a character, or a sense he existed outside of the scenes he was in (like he's a living script). Both films rely too heavily on the worldbuilding established in the Avengers series instead of working to build a world for Peter where we can care about his life, his struggles independently. The other versions gave hints of this by giving him an interest in science and his job at the Daily Bugle. His interest in science in these films are basically fiddling around with Stark holograms and his suit. Show Peter in school, give more of a sense of his day-to-day life, what does he love? Who does he love? Work in a relationship, and a good villain with an interesting motivation (that wasn't in some way influenced by The Avengers' actions) and you're set.

Just finished it. I've been waiting for this episode for a while now, and it didn't disappoint. A really thoughtful examination of what I consider one of Jerry's finest half-hours of television composing. Admittedly the actual discussion about the episode could have come sooner, but I enjoyed the interview, and discussion on Goldsmith's scores prior. Really interesting too. You mentioned him using an electronic organ, and I had no idea. I also think the lack of theme adds to the eeriness of the episode. It makes it seem "otherworldly", which is a huge part of why I think it's his accomplished TZ score (admittedly maybe not his most listenable). It helps that I'm a big fan of the episode. Those strings you mentioned too, actually frightened me when I first saw it. Just a really masterful example of the music matching the images on screen.

Two words, man: Monica Bellucci

Here is Goldenthal describing the structure of the work: The piece consists of two movements: Moderato con Moto and Rondo Agitato. The first movement encompasses a four-note motive spoken from the bassoon and a five-note phrase in the oboe section. These motives happen against a “rocking gentle percolation” on the harp and violas, and the four-note motive is stated boldly at the end of the first movement before being repeated in diminution form in the second movement. “I needed to compose a first movement with the intent to ‘feel’ more expansive than its 13- or 14-minute duration,” describes Goldenthal. “I did this by opening up the vistas and featuring the sections of the orchestra rather than presenting the orchestra as a block—with its composites melding as one.” In contrast to the rising expanse of the first, the second movement possesses a dense atmosphere that features the brass and percussion sections more heavily. Consequently, the principal motive is developed against an unsettling background of music until the momentum picks up and resolves in a chaotic rush of sound from the entire orchestra, alluding to the original motive only quickly before the percussionists take over in a primal voice. Goldenthal gives a little insight into the meaning of this as he expresses, “The percussionists have a ‘conversation’ that attempts to bridge the gap of human long-distance communication....the first ‘wireless’ conversation that existed millennia ago, with hands and drum, warnings, war songs and love songs across tree tops, mountains and time.” Yes, there are "self references" but he did that in Alien 3 and Cobb as well. Prokofiev, Vaughan Williams, and others did this too. Bernard Herrmann did that in one of his greatest film scores, The Ghost and Mrs. Muir and his gigantic opera, Wuthering Heights, too. The reason was because they generally considered film music to be, well, disposable. They liked the material and felt it had legs.

Matrix Reloaded is a really good movie. Revolutions is just ok. I love the Wachowskis no matter what and I hope this is good.

Yeah but Marvel was the main creative force behind those two hit films. At least as I understand it. I like the MCU but it’s whatever. I liked it before Spidey and I’ll like it after.

Well, I grew up with a compilation tape that must have been a precursor to the current The OMD Singles. Electricity (which was the first song on it) is still one of the quintessential OMD songs for me. Sugar Tax came out just when I used to listen to the charts (before I discovered John Williams), so Sailing on the Seven Seas has always been a favourite as well. English Electric is on order together with the Mutter/Williams CD, so should arrive in September, and then my collection of OMD albums will only have two remaining gaps of 3 albums each both sides of Sugar Tax.

Still trying to make a second great Matrix movie!

They got this all screwed up. "No, time to die!"

Decent title Still hoping the score gets rejected and Arnold doe a replacement

Thanks for the compliment, Jefe! Our latest (and perhaps greatest) regular episode of The Goldsmith Odyssey has now arrived at last, two months after actually recording the conversation! Oscar-nominated composer/conductor David Newman returns as special guest, and acclaimed author Jeff Bond joins us for the first time as co-host! I am exceptionally proud of the latest foray of The Goldsmith Odyssey, as it is probably our most epic and ambitious examination of Jerry Goldsmith’s work yet, for the monumental conclusion to his contribution to the original classic Twilight Zone, “The Invaders”. In fact, calling this installment “regular” is fairly misleading, because, similarly to our first Thriller podcast with Leigh Phillips, we begin with a substantial hourlong conversation with Jeff and David, who a decade ago became the only other person in history to have conducted this complete iconic Goldsmith work, since Jerry’s original recording session back in 1961. (Jeff afterwards joins us for our usual cue-by-cue deep dive into the score.) If you love Jerry Goldsmith, The Twilight Zone, or great conversations about film music, I don’t think it gets much better than this! I hope you will share your own thoughts, after listening. http://goldsmithodyssey.buzzsprout.com/159614/1569241-episode-21-the-twilight-zone-the-invaders-1961 Also, in case you missed it (because I was super busy when it was released and didn't get around to sharing it here, we also put out another Odyssey Interview of mine at the end of last month, with Jerry's longtime recording engineer, Mike Ross-Trevor, who worked with him from Legend through The Mummy: http://goldsmithodyssey.buzzsprout.com/159614/1470520-odyssey-interviews-mike-ross-trevor @Fancyarcher @Brundlefly @Display Name @TownerFan @Disco Stu @Mr. Breathmask @Faleel J.M. @El Jefe & @publicist -- I look forward to hearing your thoughts! Yavar

I think we once had a cinema called Savoy too.

I'm surprised they don't play Jane Eyre in the published order. I'd have thought Williams might be attached to the suite's structure.

Williams wrote a new theme for Luke (to reflect his change in circumstances), two new themes for both new main characters, multiple action motifs for the Resistance, four completely unique source pieces (after sitting them out entirely for TFA), even something as obscure as a motif for one of the new planets. And people are still whining about Williams being 'past his prime'? Get stuffed. People either have absurdly large expectations about what Williams should deliver in the 8th score for a series of films based entirely on the principal of leitmotivic writing, or are completely ignorant about the subject at hand. Short of binning all existing themes and writing new ones for every character, Williams delivered exactly the score that film required -- and did a sensational job in the process.

Concert program for the Film Night is out: https://www.bso.org/Performance/Detail/100154 JOHN WILLIAMS, host DAVID NEWMAN conducting JOHN WILLIAMS’ FILM NIGHT WHITING/arr. WILLIAMS Hooray for Hollywood WILLIAMS “The Cowboys” Overture WILLIAMS Two selections from “Jane Eyre”: Reunion—To Thornfield WILLIAMS Marion’s Theme from “Raiders of the Lost Ark” Celebrating Alfred Newman NEWMAN 20th Century Fox Fanfare NEWMAN Theme from “How the West Was Won” RODGERS The Carousel Waltz (film orchestration supervised by Alfred Newman) {Intermission} WILLIAMS Theme from “Star Wars: Galaxy’s Edge” Opening sequence from “E.T. The Extra-Terrestrial” Excerpts from “Jurassic Park” Excerpts from “Saving Private Ryan” Dry Your Tears, Afrika, from “Amistad” TANGLEWOOD FESTIVAL CHORUS, JAMES BURTON, conductor Three Selections from “Star Wars” The Adventures of Han from “Solo: A Star Wars Story” Luke and Leia from “Return of the Jedi” Star Wars Main Title

Ah dun wan et

I managed to get the triangle part for $500. Absolute bargain!

Great to hear. You have no idea how listening to your podcasts makes my working hours that much more enjoyable. Terrific work

.

Not the Throne room again, mercy!

It's thrillingly John Barryesque ... until Smith opens his mouth. After that, it's pretty much what you'd expect from a young, sensitive gay man attempting to convey in song the perspective of a veteran 'tough cookie' Secret Service operative of avowedly heterosexual tastes.

The orchestral arrangement is just right for a Bond song, but the voice is grating.

1:33-onward. Gets me every time, man.

Spielberg was on his Tintin kick here: The texture of the cloth being worked on suggesting ploughed land, and we transition to the unlikely effort to make the barren field so.