Marian Schedenig

The Big Lebowski Eternal Sunshine of the Spotless Mind La fille sur le pont La leggenda del pianista sull'oceano Sneakers Star Trek II: The Wrath of Khan

That's why I know it. I just watched the series followed by the documentary (I still have to watch the other one that's on the DVD set).

How about the David Gilmour concert I attended two years ago? A woman talking loudly on the phone for the entire first half (more loudly when the music got louder). Then a drunk guy behind me who made a kerfuffle behind me in the second half, began singing along loudly (!) with the introduction to Shine on You Crazy Diamond (and if you know the song, you know it's no for singing along, and certainly not loudly) and nearly started a fight when people complained. Tickets were €100 by the way, a bit much for just phoning a friend or getting pissed. A few weeks ago, I was sitting next to a middle-aged guy at a Prokofiev concert at the Musikverein, who briefly started singing along with the music twice...

Still waiting for my Intrada order to ship.

I do. 1997 is as far from 1995 as it is from 1999. And 1993 is even closer to 1995 than it is to 1990. Plus, many of us were in their mid to late teens in the 90s, giving us a very subjective perspective on individual years.

I know. Blessed must have had sore eyes for the rest of the day.

The culminating brass triplets at the end of each bar are straight out of the 9th. I've never heard anything so clearly like it before The Spark.

I love the march, and it's quite distinct from all the other scores in the series. And his Spock theme is nice, too.

More people I know have binged GOT, often repeatedly, than any other show I'm aware of. I have several friends who have binged it more than once (and more than twice) before the release of a new season.

It's always been a strong contender for best non-Goldsmith Trek score for me. I guess ultimately TWOK wins out because there's just more to it; Eidelman's score is mostly moody underscore, which becomes apparent when you compare the complete release to the OST and realise that there's hardly anything new of importance in it. But it's handful of highlights are just as classic as Horner's, and really capture the final farewell spirit of the last TOS movie. And I like what he did with the Courage theme.

Somehow I seem to have missed this thread. But JS is right - in fact it's the only time I've ever heard Williams base anything directly on a Bruckner piece, and so closely too that it cannot really be a coincidence. Curiously he didn't post the Bruckner bit that seems to be the direct origin of The Spark:

There was a "beyond" missing.

You really sound more and more beyond salvation the further you get in the series. In its complete form, the score is second only to STTMP.