Sir Hilary Bray

Star Trek VI (expanded): Clif Eidelman 2001: Alex North Rogue One: Giacchino LA Confidential: Goldsmith ET: Williams now that I've seen the film, hope to get the Solo OST soon.

watching it today, this shot from the Longest Day came to mind for the thread -a favourite scene from the film 49scs to 2m19

Maybe Quincy Jones.

and the theme, some say, bears a relation to Imperial Attack from Star Wars. I love Ice Cold though, Johnny Mills is on fine form, there's Quayle and Andrews who are always good for a quid and then of course, as the late Sir Donald Sinden remarked on a docu, Sylvia Syms in a nurses uniform. The book's worth a read, if just to see where it all came from. All of it filmed in Libya bar the odd studio set -something you couldn't do today I'd bet.

We're all prisoners chicky-baby, we're all locked in.

Jerry Goldsmith's Star Trek First Contact (expanded)- that theme never fails to stir. Also love the music that accompanies the escape pods being jettisoned. A return to Nelson Riddle's Batman '66 The Movie score -I had to buy a new copy and it seemed only fair to go back through it. Back to the time when Batman did his stuff to Nelson Riddle's score. Imagine Michael Keaton's Batman doing that. After having the theme in my head after not listening in ages- Star Trek Generations (expanded). It's okay but I cherry picked tracks for the re-listen- including that for the evacuation of the ENT-D and crash. I wish Goldsmith had done the score with respect to McCarthy- what with the mix of original Trek (Kirk Scotty and Chekov) and TNG it might've been a rollicking score. Battlestar Galactica The Living Legend & The War of the Gods, Stu Phillips ...some believe that even now, there are brothers of Man, fighting to survive...somewhere beyond the heavens...

in light of the news, plucked Superman off the shelf. The Trip to Earth of late reminds me of Yoda's Theme (or should that be the other way round, one coming after the other) but as mentioned elsewhere, I remain firmly in love with "The Flying Sequence". My favourite scene when I saw the film as a child and a lovely theme. My work to convert my John Barry supporting father (who previously said he thought all JW's works was the same all over) is halfway there. Loaning him my Saving Private Ryan disc he's become quite enthused by Hymn to the Fallen, loved my Jaws discs and hopefully, by now, the Summon the Heroes disc I loaned. Looking back, my first introduction to Superman's music, albeit it slightly different, was my Dad's old MECO cassette with 'can you read my mind?' and Close Encounters with "goodbye...goodbye..." at the end of that track. Anyway. The Flying Sequence makes me doff a cap to someone who on the quiet is responsible for most of the greatest themes in movie history and still coming up with distinctive love themes to boot.

sought out my Superman disc and after a couple of tracks listened to Flying Sequence and reminded of a short moment that for whatever reason always tickles. Could only find it on YouTube with the vocal for the love theme but... about 2.43 to 2.49. How it sort of dips and (to my mind) strengthens before pushing into the theme. Can't explain it but today sent a shiver down the spine but the theme generally always does that.

Jaws: 25th Anniversary Collector's Edition my first introduction to the score long before I got hold of the Intrada one. I almost went for the McNeely copy first. One day I'm sure.

Another part of childhood gone, watching Superman with my family and beguiled by the flying sequence and her portrayal of Lois in that first film. It's partly my Dad's MECO cassette but I thought tonight of Can you Read My Mind? But well...here's to Ms Kidder.

She was my Rushmore, Max.

in light of recent news returned to Blue Thunder. Fun movie -I first saw this when I was seven or eight and looking at it have to thank Dad for that but liked it all that time. From that time a fan of Roy Scheider (I read someplace he did this film in order to be unavailable for Jaws 3) and even now, the loss of Daniel Stern's Lymangood ("JAFO") has some impact. The music and him getting ran down. Indeed, I'd say the music makes the film -settles it firmly in the eighties on one hand but just adds to it immensely.

part of Perfect Storm ("Coming Home from the Sea") which seemed to segue into end of Apollo 13's "Dark Side of the Moon".

only just seen this, sad to hear. A huge fan of his Blue Thunder since I saw the movie as a kid. Sanity Check, Adios JAFO and River Chase/Hide & Seek top tracks. Seemed a largely unheard off score by and large, at least I never saw much written about it but it's so welded to the movie. 8.29 to about the 9 minute mark: "Come on you tub of s--!" RIP.

Actually, I am familiar with history, captain and if I'm not too much mistaken, you're dead.

“But I'm telling you, and I'm telling everybody at this table that that's a shark! And I know what a shark looks like, because I've seen one up close. And you'd better do something about this one, because I don't intend to go through that hell again!”

Caught up and it's brilliant throughout. Does a good job of underlining Williams' score as well as his contribution to Jaws overall. Blown to Bits has long been a favourite and from 3.05 to the destruction of the shark still ratchets up the tension. Good choice to highlight Brody's "smile you sonofa...!" Look forward to more examples of JW's various scores.

Working my way through the thread, like to say what a good job's been done Disco Stu on these vids. In Man Against Beast Beast replayed that part where the shark first passes a couple of times. Excellent.

And when the wind blows hard and the sky is black - Ducks fly together!

What with revisiting Benchley's book, opted to listen to the 1975 release of Jaws' soundtrack (what forms the second disc of the Intrada release) as I read the book and then also Michael Small's score for the fourth, er, film. Forgive my descriptive as I tend to get muddled on the themes but from the off, I'll say that listening to this original release I had the same thought virtually ad infinitum, that this is one of the best film scores going (in any form, the original release through to the recent expanded Intrada) and quite honestly, top 3 now on my Williams list. I've always liked the Orca theme (though when I first heard it, before I even came across this forum, used to think of it either as Brody's theme or a 'sea shanty', too many trips to Portsmouth as a kid methinks) and whenever I hear it, just elevates the score. But then you have the action music, that on this particular release comes early in "Sea Attack Number One" -immediately conjures to mind the trio of Quint, Hooper and Brody lurching into action to get after the shark. The first version of the score I ever got hands on was the anniversary edition by Decca and thus to me, the last say twenty minutes or few tracks is relentless, a mesh of the shark/Jaws theme, Orca but just action in the score which is why the final track is one of my favourites generally. In my mind, Williams' way of saying you've just been pulled over the coals chasing this shark, fighting the shark, losing Quint and now -like Brody and Hooper, you finally make it to land and you're done. Dare I say it's pleasant. But then the expanded of course has delights like Father & Son, Montage (which brings to mind Hooper's sarcastic "You're all gonna die" as he watches the hunters leave to find the shark), Into the Estuary etc. Every track a hit, every hit a smash. As for Jaws 4, to me, the score is so far removed from the film. Easy to forget it's attached to that film. Yes, it's nowhere near Williams' two scores for the 'franchise' but Small does something to the theme that feels or sounds rather, quite fierce and savage especially with "Shocked Shark" towards the end but the end theme which I didn't twig until listening to it on headphones, weaves Williams' end title (from the first film) into the background whilst still doing the shark theme. Though I do miss the days when I only had watched the first film and never touched the sequels. Both made the book fun to read, in a way...!

Isle of Dogs. liked it, ideally the whole film should've been Jeff Goldblum. It's classic Anderson though and the animation, like Mr Fox, is top notch.

Huge Anderson fan here. Went to see Mr Fox with two friends, audience mostly kids with their parents. I had been sceptical of Anderson and animation but it's a spectacularly neat film. I have high hopes for Isle of Dogs. -- sadly my last film was nowhere near Anderson. Being the new F1 season, Rush boy, to go back in time to the 70s and see Hunt in his prime. Yes, one hit wonder I suppose with the championship but the man had a certain legend.

a few John Barry's but foremost, though not quite a score -The Beyondness of Things I read someplace ages ago this was to have been the Horse Whisperer score but was rejected by Redford. I similarly read it became some sort of love letter by Barry -either way, it's quite beautiful in places. A Childhood Memory, Kissably Close, Give me a Smile and the title track are classic Barry -yes, at times the album sounds like an extension to Dances With Wolves but it's almost impossible to find a bad Barry in my book (or at least my Dad's. Yes, some of it's 'samey' but so be it!) On a total aside, was listening a fair bit to my Sinatra 'Ol Blue Eyes is Back' album and thanks to 'Dream Away Child' am seeking out Man Who Loved Cat Dancing. I have the title track someplace. I see the song was written by John [and Paul] Williams. I half hope there's a story someplace of Sinatra and Williams working together.

watched The Black Hole having gotten it on DVD this weekend. A dark, foreboding Disney film. Well, dark anyway. It has a fine John Barry score that elevates it above and beyond. Max Schell is on fine form. and The Flight of the Phoenix shared with the book of being seen as frankly unremarkable but personally, a film I always like to watch. It's the cast more than anything (with only Hardy Kruger remaining now) -Stewart, Attenborough, Bannen, Finch, Kennedy, Borgnine etc but also the main title sequence, that stopstart freezeframing of the cast almost in sync with DeVol's music.

been trying to get my John Barry-loving Dad into more Williams' scores but I got ET and Schindler's List returned without a word -unlike Hanover Street which I did a copy for (amongst others). -- recently listened to a few scores including: The Italian Job- Quincy Jones (should I ever drive through Italy, this might well be the score). Getta bloomin' move on, Arthur! The Bridge at Remagen and The Great Escape- Elmer Bernstein. ("Blythe" is one of my favourite Bernstein tracks) Rush- Hans Zimmer ("I'm James Hunt, and this is what I do") Starsky & Hutch- Theodore Shapiro and a re-listen of the second disc of Empire Strikes Back. I've mentioned it on the other thread, but a new favourite of the short musical moment is "Leia's Theme" in "Rescue from Cloud City/Hyperspace")