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Harry Potter discussion even in the Minority Report thread?

My biggest problem in when people call Johnson a straight up asshole. He seems like one of the nicest people you could ever meet.

Is it KK's fault, though? D&D despite their receding reputation seem to be decent people who were tangled in multiple projects. It's not unreasonable for KK and Lucasfilm to want to take precautions when dealing with this mega franchise. I wonder what would've happened had Trevorrow been kept on, or Lord and Miller still on Solo - it could've been a bigger trainwreck. Also, I don't know about anyone here, but I can't go anywhere online without seeing 'Kathleen Kennedy was responsible for Rian Johnson, and he ruined Star Wars!'. It's disheartening because a lot of what we know from the BTS is there was a great camaraderie between Johnson and everyone who worked on TLJ. It was only "ruined" the moment "fans" saw it.

It's basically a perfect movie. No matter how many times I've seen it, the story and characters always draw me in. Still one of T. Newman's best scores too.

No one dislikes John Williams more than John Williams fans!

The whole film is brilliant. It's not a favourite of mine, not by a long stretch. But it's objectively a great achievement.

I love the oboe solos in 'Images Of Sean.' It's a beautiful voice to carry Sean's theme. I love the forceful low brass in the the first part of Anderton Escapes (Don't Run, John), and the segue from Don't Run, John into Anderton Escapes is awesome. I love the energy of the action cues in this score. I really enjoy the way this score flows chronologically and the different moods it strikes. It's awesome to have this score expanded and remastered!

Restrained it is,no doubt. But subtle it is not. Everything hits you right in the face. And the themes are all right there. I mean, the girl in red is not exactly subtle, is it? The ending is not less subtle than the rest of the film. It just feels more filmic.

Schindler's List is not "subtle." Spielberg just lets it speak for itself. I do think the "I Could Have Done More" sequence feels a little too on the nose. Just having him say that line once or twice would have been enough. But, I don't think it's really too much of an issue. It does not feel like manipulation to me.

"Seasoned Cinephiles" in this regard strikes me as a nickname for the emotionally-inert.

Hello folks - my first post here Yeah well, Thor, I actually feel a little bad now for asking you to host our concert, as it turns out it collides with other things for you left and right - not only the Vienna Williams concert, but also the Tromsø International Film Festival, which you graciously agreed to leave early to host our show. And I would probably have gone to Vienna too, if I hadn’t been performing Williams’ music myself at exactly the same time. But we’re really grateful for having Norway’s foremost Williams’ expert as our host! And I hope you are as excited as I am to have stuff like “Hassle in the Castle” from Checkmate and “Mambone” from Bachelor Flat performed live. (By the way, we haven’t actually ever won the Norwegian Championships - maybe you’re confusing us with Lillestrøm, only a few miles away, who win every other year or so. But we do participate in the upper divisions, so on a good day, we sound decent, too! And we like to call ourselves a concert band, not a marching band – we usually march only once a year, on National Day).

TLJ is way worse in that regards.

TFA is an incredible score, especially after a decade since Williams did Revenge of the Sith!

TLD was their last song, and it sounded more akin to the original single version than the stubbornly different one they recorded for 'Stay On These Roads'. Guess they've made their peace with it down the years. As I mentioned, they were my first gig 31 years ago ... and now at the age of 60, Morten Harket is still an annoyingly handsome bastard. Whereas the less said about how I've aged in the interim, the better .

I always thought it strange that TLW opened with the logo music and not pure sound effects, like the jungle sounds over the studio logo for Jurassic Park. My theory is the reason for the extended black screen at the very start of the film is because originally the new logo played silently over that just like the first film, but the studio asked for Goldsmith's fanfare to be included for the new logo's premiere appearance. But SS wanted the SFX build-up before the first shot, just like JP, so this was the compromise.

THE RUSSIA HOUSE It takes a competent thriller, and elevates it to something special. It is one of the sexiest collections of music, ever recorded. Period.

Yes for sure, but I somehow doubt that will happen as it is basically an overlap in the same format as the DG album. Also, I suspect ASM cannot appear on any CD label as a headliner other than DG. However, if we get the Blu-Ray, we should be able to get an uncompressed version of Witches off the audio track.

Even good directors are entitled to bad movies every now and again! Some would argue that Johnson’s was TLJ, even though that movie was good as hell. I’d argue that his bad movie was Looper. I’ve liked his other movies and obviously his work on Breaking Bad. Apparently Knives Out is excellent.

There are so many different versions of the story that I don't know which one to believe. Either way it's getting kind of ridiculous that like 70% of the directors hired by Lucasfilm have been fired and their movies cancelled (or reshot like Solo, and technically Rogue One as well). I've been a staunch supporter of Kathleen Kennedy since the beginning, and still am. However what's been going on the past few years is definitely bizarre. Whether this is all because of Kathy, or Bob, or whomever, I have no idea. But someone behind the scenes at either Disney or Lucasfilm seems to not really know what they're doing.

My favourite was probably this rather eccentric BBC Concert Orchestra version: That kooky horn line at 1:19 👍

And the episode is now up! http://goldsmithodyssey.buzzsprout.com/159614/1958638-episode-22-gunsmoke-love-thy-neighbor-old-faces-1961 There's lots of exclusive good unreleased Goldsmith western music here, and in music-only form thanks to a generous collector at FSM (Ron Burbella), who shared them with us. We also discuss one of the best episodes of television we have come across yet! I can't wait to hear what you think of it, @Fancyarcher @Brundlefly @Display Name @TownerFan @Disco Stu @Mr. Breathmask @Faleel J.M. @El Jefe @Modest Expectations @Laserschwert @publicist @BrotherSound @karelm @Modest Expectations @Jay Yavar

Yes, no subs. Of course, it's an open-back headphone. Closed-back headphones have always more sub-bass. However, some reviewers talk about deep bass, others say not to expect a lot of bass because of the open-back system. They sound really impressive on the Pioneer A9 but I feel the bass could have done with 2 or 3 dB more. Again, bass is more pronounced on the Denon (a brand famous for warm its sound) so it's probably just a matter of buying the right headphone amp.

Watch Lanzmann's Shoah documentary if you want the reality shorn of sentiment. Spielberg was making a Hollywood drama.

Who's the more emotionally inept? Those who need melodrama or those who prefer subtlety?

So moving! The crux of the film, surely?

To be fair, Abrams is allowed to pull a Johnson.

Bond sucks on a fat Cuban. Oo-er missus.

Thought you guys might enjoy some Williams-y music I did for some personal/fan Star Wars projects. (ca. 1:46 to the recap of this one turned out cool) (a bit of Howard Hanson-like material ended up in there too)

I can't believe no one has mentioned Holdo's theme. It's a fantastic tune.

Its an emotional low to the audience, seeing that this character has now fallen completely. Evil is sad; its pitiful. Doesn't make it any less evil.

To which Luke shuts his butt down...the film implies that Luke knows better. At the end when Rey closes the door and the dice disappear, there’s sadness in Driver’s performance, the way Johnson frames him, how it’s scored. He’s at an emotional low point at the end of TLJ despite a strategic victory.

ASM: So I stopped the performance mid-concert. JW: You can't do that! Shoot her! Or something!

So...I hear you're about to work with Zimmer? Yeah. He pays better than you, and I get free hot-dogs.

Anakin is now a ghost. He doesn't need to eat or sleep or go to the bathroom. He can literally harass Kylo 24/7 to the point of driving him insane.

I think the producer of the album should decide which version of a cue to put in the main and which in the bonus tracks. There's a lot of factors to consider with such situations, and sometimes those factors can differ from score to score even when by the same composer, and sometimes even with different cues within the same score. My goal as a producer would be to make these decisions with careful consideration, stand by them, but also try whenever there's room to make sure the bonus track version can easily be swapped with the main program version by the end user. Like for example if in the main program you combine cue A with cue B and cue B also had an Insert that replaced a part of it, don't just have the bonus track be the original version of cue B on its own, have it be cue A combined with cue B so the end listener can pick the version they prefer for their playlist. If you release cue B on its own, they have to bust out a WAV editor to do that

That guy sucks.

Filthy habit.

ASM: John, why is Shawm not included on the Prisoner of Azkaban set? JW: That's because I told Mike not to include it, just to watch these people freaking out, it was so hilarious!

No, it's a cardigan, but thanks for noticing!

Did you know John Williams composed the Dreamworks logo music? I was blown away when I learned that.

I decided to whip up a quick breakdown of how each album was assembled. OST: 1 Minority Report (6:29) 8M2 End Credits 2 "Can You See?" (2:12) 0:00-1:02 = 1M1 The Crime 1:02-end = 7M1 Run !!! 3 Pre-Crime To The Rescue (5:48) 0:00-1:59 = 1M6 Stopping The Crime [edited at 1:29 (0:30 removed) and 1:59 (1:52 removed)] 1:59-end = 1M6 Pt 2 Stopping The Crime 4 Sean And Lara (4:46) 0:00-1:05 = 1M9R Image Of Sean (Revised) 1:05-3:07 = 1M9 Image Of Sean [final 0:40 removed] 3:07-end = 4M5 The Swimming Pool Scene [opening 2:17 removed] 5 Spyders (4:33) 0:00-2:28 = 5M2 Robotic Spiders 2:28-end = 5M3 In The Tub 6 The Greenhouse Effect (5:09) 4M1 The Greenhouse Scene 7 Eye-Dentiscan (4:48) 0:00-3:18 = 5M4 Saving The Eyeball [with the vocals placed at a different spot than in the film/LLL] 3:18-3:55 = 6MA The Man In The Window [ending missing] 3:55-end = 2M6A Elevator Confrontation [fades out early] 8 Everybody Runs! (3:10) 0:00-2:18 = 3M1 Anderton On The Run 2:18-end = 2M2 Agatha Springs Forward [opening 0:31 removed] 9 Sean's Theme (1:57) 8M1 Alt Piano Version 10 Anderton's Great Escape (6:47) 0:00-2:33 = 3M4 Anderton's Escape [with drum kit / electronics overlay for the first 15 seconds only] 2:33-end = 3M5 Conveyor Belt 11 Dr. Eddie And Miss Van Eych (3:08) 4M3 Dr. Eddie and Miss Van Eyck [fades out early] 12 Visions Of Anne Lively (3:27) 0:00-1:12 = 5M8 Agatha Sees All (beginning) [edited at 1:12 (0:47 removed)] 1:12-2:26 = 2M5 Annie Lively [final minute missing] 2:26-end = 5M8 Agatha Sees All (end) [vocals mixed distantly compared to the film/LLL] 13 Leo Crow... The Confrontation (5:55) 6M1 Crow's Hotel Room 14 "Sean" by Agatha (4:59) 0:00-1:54 = 6M3 Remembering Sean (beginning) [edited at 0:45 (0:09 removed)] 1:54-3:24 = 6M3 Insert 3:24-end = 6M3 Remembering Sean (end) 15 Psychic Truth And Finale (7:10) 0:00-3:43 = 7M6 Confronting Lamar [edited at 1:48 (0:05 removed)] 3:43-end = 7M7 Thought Transference And Finale 16 A New Beginning (3:29) A repeat of 8M2 End Credits (3:30-end only), with a loop inserted from 2:26-2:52 (repeating 1:19-1:45) LLL: 1-01 The Crime 1M1 The Crime 1-02 Creating The Red Balls 1M2 Creating The Red Balls 1-03 Pre-Crime To The Rescue (Part 1) 1M6 Stopping The Crime 1-04 Pre-Crime To The Rescue (Part 2) 1M6 Pt 2 Stopping The Crime 1-05 Images Of Sean 0:00-1:08 = 1M9R Image Of Sean (Revised) 1:08-end = 1M9 Image Of Sean 1-06 Presenting The Precogs 2M1 Presenting the Precogs 1-07 Agatha and The Containment Center 0:00-1:22 = 2M2 Agatha Springs Forward 1:22-end = 2M4A Containment Center 1-08 First Vision Of Anne Lively 2M5 Annie Lively 1-09 Suspicion 2M3 Witwer Snooping 1-10 The Elevator and The Collage 2M6A Elevator Confrontation 2M6B Schubert Collage 1-11 On The Run 3M1 Anderton On The Run 1-12 Anderton Escapes 0:00-1:26 = 3M3 Don't Run John 1:26-end = 3M4 Anderton's Escape [without the drum kit / electronics overlay at all] 1-13 The Conveyer Belt 3M5 Conveyor Belt 1-14 The Greenhouse Effect (Extended Version) 4M1 The Greenhouse Scene 1-15 The Operating Room 4M2 Dr. Eddie's Operating Room 1-16 Dr. Eddie And Miss Van Eyck 4M3 Dr. Eddie and Miss Van Eyck 1-17 The Swimming Pool 4M5 The Swimming Pool Scene 1-18 Deploying The Spyders 5M2 Robotic Spiders 1-19 Freezing Water 5M3 In The Tub 1-20 Saving The Eye 5M4 Saving The Eyeball 1-21 How Much Time Have We Got? 5M5 How Much Time Have We Got? 1-22 Another Vision 5M8 Agatha Sees All 1-23 The Man In The Window 6MA The Man In The Window 1-24 Leo Crow...The Confrontation 6M1 Crow's Hotel Room 1-25 The Revelation 6M2 Last Scene With Crow 2-01 "Sean" By Agatha (Extended Version) 0:00-2:03 = 6M3 Remembering Sean (beginning) 2:03-3:33 = 6M3 Insert 3:33-end = 6M3 Remembering Sean (end) 2-02 Run! 7M1 Run !!! 2-03 Anderton In Halo 7M2 Anderton In Halo 2-04 I Never Said She Drowned 7M3 I Never Said She Drowned 2-05 Confronting Lamar 7M6 Confronting Lamar 2-06 Thought Transference And Finale 7M7 Thought Transference And Finale 2-07 A New Beginning (Film Version) 8M1 A New Beginning 2-08 Sean's Theme 8M1 Alt Piano Version 2-09 Minority Report 8M2 End Credits 2-10 Pre-Crime Commercial Pre-Crime Commercial (Source) 2-11 The Crime (Alternate) 0:00-0:15 = the film version opening of the cue 0:15-end = 1M1 The Crime (end) 2-12 The Collage (Alternate) 0:00-0:30 = an alternate opening 0:30-end = 2M6B Schubert Collage (end) 2-13 Anderton Escapes (Alternate Segment) 3M4 Anderton's Escape [with the drum kit / electronics overlay over the whole cue] 2-14 Freezing Water (Alternate) 0:00-0:35 = the film version opening of the cue 0:35-end = 5M3 In The Tub (end) 2-15 The Man In The Window (Alternate) 6MA The Man In The Window (the version used in the film) 2-16 "Sean" By Agatha (Alternate) 6M3 Remembering Sean 2-17 A New Beginning A repeat of 8M2 End Credits (3:30-end only), with a loop inserted from 2:26-2:52 (repeating 1:19-1:45)

All of these solos were performed by legendary horn player James Thatcher, who's actually part of the facebook group I originally posted these in ! And here's the comment he made about the JFK one The original part :

Horner. It has this magical and whimsical "we're at the movies" (as Terry Gilliam once pit it) vibe. Goldsmith's is great but it feels like it could be used for anything - sport event, coronation ceremony. Doesn't feel specific enough. Karol

Well, once again, just say that instead. I am not really interested in calling out anyone or bickering with them, not that you were, Mr. Big. I was merely commenting on something I have seen on this forum for discussion that is not conducive to discussion. It's the type of echo chamber tactics that I think deters a lot of people from coming here. I have commented in the past how that type of stuff is why I myself am so on-and-off with this site myself. I certainly can't imagine that Cantus will feel compelled to continue to share his/her opinions, however difficult to interpret they are, after having them written off like that.