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About igger6

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  1. THE POST - SCORE Thread

    Wow, "The Miami Convention" should have been First Order music!
  2. THE POST - SCORE Thread

    What is the best cue in Nixon for someone who doesn’t like athematic mood music? The last time I tried it, it tasted like cough syrup, but the Nixon-shaped gap in my “JW: One of Each” playlist is starting to bug me.
  3. This Super Bowl commercial was a hoot, and that music sounds like it's gotta be from the OST. Can anyone with more encyclopedic ears than mine verify the source cue(s)?
  4. Wow. Every minute Williams spends not conducting or composing new scores should be spent messing around with his old themes to this type of spectacular effect. Orchestral Fantasy on the Love Theme from The Terminal, please!
  5. Oh, you’re right! I’ve owned that for years and never gotten around to watching it.
  6. It is a strange fate that two of the only isolated Williams score tracks in official home video release are for two of his littlest-known scores.
  7. Amazing news! Makes me wonder how much else he has socked away on his desk. I wouldn’t be surprised if that “new piece” he referenced was just a casual way of referring to the end credits callout. Johnny’s not exactly a model of precision when discussing the particulars of his catalog entries. I do hope the Solo theme is a fresh composition, though. Poe, Rey, and Rose prove that he can still crank out a corker when he’s got something to work with.
  8. The shoe drops: Kaufman it is for the first half of the Chicago show. I was hoping for special treatment, but if this enables JW to keep touring, I’ll gladly take it. Notice it doesn’t affect the price, though... Also, kudos for nixing the screen this time around! Been there, done that, and it’ll be nice to get to focus on the musicians for a change.
  9. Doug Adams' new podcast on Indy scores

    Boy, I hope the time comes soon! I finished this today, and it's phenomenal—a cut above the rest in what's becoming a wonderfully crowded genre of podcasts. Adams brings a professionalism and polish that's unmatched. The snappiness of his organization and abundance of his audio samples bespeak a whole lot of preparation. It had the sheen of a Freakonomics podcast, but it centered on film scores. What more could we ask for, except another episode ASAP?
  10. Desplat wrote some of the best melodies of the year for The Shape of Water, so I'd be totally OK with that winning. I enjoyed that score more than any of his previously nominated scores. Williams' winning for TLJ and not for TFA would be bittersweet, but a win's a win, and he's sorely underpaid in Oscar gold for his contributions to the art form. So yeah, it'll probably be Dunkirk. Because ticktickticktickticktickticktick.
  11. Great finds! I was dimly aware of the existence of the other pieces (the hilariously self-important "Fugue for Changing Times" particularly rings a bell; come on, folks, all times are changing times), but I'm not sure I'd ever heard all of them all the way through before. Those trumpet licks in the scherzo are insane! Has JW ever asked so much of his trumpets before or since? I know he did "The Mission Theme" concert arrangement live as an encore in Chicago in 2007, back when "encore" actually meant an entertaining but somewhat obscure chestnut to send us off with, rather than just the place to put Star Wars pieces. B-) (For reference, his other encore that day was "The Accidental Tourist"—in other words, a pair of deep tracks so deep they didn't even make Lockhart's CD last year.) I'm afraid nowadays there are just so many AAA tracks in his oeuvre that he needs the encores just to fit everything in.
  12. Doug Adams' new podcast on Indy scores

    Oh, that's a good point. I'm sure you're right.
  13. Doug Adams' new podcast on Indy scores

    Is this neither downloadable as an MP3 nor available on Apple podcasts? So much for listening in the car, where I do literally all of my podcast consumption. Come on, Doug! Platform exclusivity is the path to the Dark Side!
  14. John Williams YouTube tributes thread

    Williams-loving piano wunderkind Enguerrand-Friedrich Luhl is back with a new version of "The Flag Parade" for piano and orchestra. I think I prefer his two-piano transcriptions, but this is an interesting change of pace...