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Finally received John Carter! For only $17.50

Edward Scissorhands by Danny Elfman Mission: Impossible by Danny Elfman Across the Stars (Mutter/Williams) --- my first listen Karol

Goblet of Fire is the only score following Williams' three which I felt had a nice, cohesive narrative structure. It tells a story and does it well.

Here you go:

GoF wold be an instabuy.

From the description I am guessing it must have been Czarina Russell.

Real quick version of a cover using the Paul Shipper artwork for Empire's TROS cover:

A new episode was released today , continuing their track by track look at Raiders of the Lost Ark:http://www.theindycast.com/john-williams-special-25/ (I am mentioned a couple of times in it btw )

It's the stock of his rifle. You can see it more clearly in the uncropped image.

The fact that I post here should answer that question.

The Other U.S. Marshals Looney Tunes: Back in Action But to be honest I'd much rather have: MacArthur expanded Twilight's Last Gleaming The Public Eye rejected

Eh where dafuq did this suddenly come from?

Got it! Karol

World Trade Center (2006) Oliver Stone shows restraint in this 9/11 tribute. The movie is a little slow to get off the ground (and there are too many 2005-2006 details in terms of cars and fashions), but once we arrive at the WTC the acting and effects come together quite movingly. Definitely a strong, respectful effort. 3/4 United 93 (2006) Excellent film. In its best moments, you never really feel you are watching a movie. You rather feel you are there. Greengrass's handheld style works very well here. But, most key is how mundane everything feels. I don't think I've ever seen a movie that so convincingly shows people going through the routine. And, when everything turns upside down, Greengrass never gets anywhere near cinematic excess. The cast is not so much acting as reacting, and the overall effect is very real. Yet, Greengrass never lets go of control. He remains in the director's chair, directing our attention to certain elements, throwing in some interesting moments, all serving to channel the flow of the action's energy. And he lets the climax play out without undue embellishments or elegiac melodrama. And the counterpoint provided by the frenetic efforts of the various traffic controllers really serves to hold the film up with structural weight and context. 4/4

Yaaawn...

So how would all the ource music be handled on GoF? All the World Cup stuff (duduk, ney fit, percussion, sitar, oirish, bagpipes) could maybe go after the main program better. Was Hogwarts, Hogwarts, Hoggy-warty Hogwarts recorded with a choir? It has no place to fit in the cue sheet but if it was, it should be in there somewhere. I'd be bummed if we only got the fleshed out OST version of the Hogwarts March, the abruptly interrupted version works so well between Voldemort and Cedric's Death and an incomplete version would belong well after Dumbledore's Warning to frame that whole final setpiece.

AFO I mean. The site hadn't refreshed when I posted my reply...

It seems there's nothing new to talk about in this thread...

Too bad someone scribbled on the cover.

Glad you enjoyed the show, @pete. It’s one one of the best concerts I’ve ever been to.

So is the movie. So is everything Yates does.

Intelligent, sure. Desplat always is. But that DH1 score is dull dull dull.

Intro to Rozsa and Korngold for dummies.

I think DH1 is a great score. I put it on a par with GoF. The others aren’t as good but shur they’re not Child’s Play 2 levels of crap or whatever.

Quality's bad, but this gives you an idea. It's a perfectly good piece of music, but in context of a serious action film it's lacking tension - something just feels off about it. I haven't heard the rest of the score (https://www.youtube.com/playlist?list=PLohYzz4btpaQY-aEpctqOSzx0-f_yMK0v ) but like you, the idea of Randy Newman scoring an action film feels odd.

I am glad I was able to keep you "across the Czars", so to speak.

I guess that's why there was a years 1-5 vinyl box set release so! So unnecessarily messy. Urgh. Oh I have the leaks but its not the same. I want the full schebang.

THX wins!

Last night's Seoul concert was great. The Lion King suite had so much positive energy, and the band and Hans seemed to be love every single minute on stage. Hans spoke quite a lot between pieces sprinkling anecdotes - one being that he first met the woman who sang "Now We Are Free" when she was 4. Don't recall her name, sorry. It wasn't Lisa Gerrard, the singer on the OST. The set list was almost identical to the 2017 Prague concert that was released on CD and DVD. The differences were I think Wonder Woman theme "Is She With You" from Superman Vs Batman followed The Man of Steel piece. Also, the short piano introduction of Rain Main segued to Thelma and Louise. I'd love a recording of that version. It featured a guitar solo that is missing if memory serves from the version on the On Wings of Film live CD. The musicians were just a treat to watch: guitarist Guthrie Govan is perhaps the most technically proficient rock guitarist in the world and while it wasn't his show, he had his moments in the spotlight. And Tina Guo attacked her electric cello all night. Surprised it didn't break in half. Lebo M still has all the vocal chops he displayed decades ago in the original Lion King and The Power of One. The concert certainly revitalized my interest in his music. I'm not all that familiar with a lot of his more recent scores.I feel motivated to get to know those better. Super Vs Batman and Spiderman 2, and the Blade Runner sequel being some of those. And I just read Dune and its first two sequels for the first time, so I'm quite looking forward to the score.

Hooper, ya idiot! Starboard! Ain't ya watchin' it?!

Now the hull's not designed to deal with that pressure, so what happens? She splits, right down to the keel.

The new Leia's Theme is insanely fine writing. JW is at the top of his game here, simply stunning. What an amazing prelude to whatever he's written for TROS.

American dollars

I was listening to a little Ferdinand, like any good Powell fan would on a Saturday morning, when I immediately thought that there was something about it that said Bizet. Then I listened to, incidentally, a Mutter album containing Sarasate's Carmen Fantasy based off of Bizet's beloved opera. The feeling of similarity, even though there is a difference, solidifies my feeling that Ferdinand, obviously rooted in Spanish opera to begin with, is a very Bizet-esque score. The Sarasate piece is quoting Aragonaise from Carmen of course.

You're both adorable!

The broadcast premiere of AIR FORCE ONE (DELUXE EDITION) on CINEMATIC SOUND RADIO. WEB: http://bit.ly/2nnO8Nv APPLE PODCASTS: http://apple.co/29zAyyL SPOTIFY: http://spoti.fi/2PfYHPb Enjoy! -Erik-

Thanks, but I prefer Spotify!

It’s fun. I miss when comics movies could be weird as crap like the Burton Batmans, but I’ll take the light fun over the dour grimness that threatened to take over in the 00s any day.

It's not getting a penny from me!

I just watched the CBS interview and it brought a tear to my eye ffs I love this man so much.

One of the best is when Indy lowers himself into the map room. A reminder none of us need as we'll never forget the time when Spielberg, Lucas and Williams delivered the coolest stuff we'd ever seen or heard.

Friday night seems a good a night as any to crack this open.

These gifs hurt my head...

It is a specific passage from Alan Silvestri's score to Captain America: The First Avenger; "This Is My Choice." One of the reasons I believe Alan Silvestri outdid himself with the score to Avengers: Endgame is not just the large scale sequences, but the intimate character moments as well, particularly this one. It completes the character's arc perfectly, both in terms of what is happening on-screen and score.