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I'd hate seeing Batman next to all those superpowered characters. It just undermines the character so much and it simply doesn't fit tonaly. I've never even liked it in the comics

The OST to Skyfall composed by Thomas Newman will be released on Monday October 22nd (International) / Tuesday November 6th (USA) by Sony Classical. More info as soon as I get it. UPDATES: Amazon UK link with Monday October 22nd release date: http://www.amazon.co.uk/dp/B0096233ZW/ Amazon US link with Tuesday November 6th release date: http://www.amazon.com/dp/B009FBX5M0/ Cover art:

I finally watched this on BluRay between yesterday and today, with a friend who had not seen Jaws for many years, and it was superb. The image was vibrant and clear, considering that I HDMI cabled the laptop to the TV, the sound was excellent (my TV speakers aren't actually that bad, so I may hold of on upgrading the sound system for a while), and I couldn't help but watch with a giddy grin on my face for most of the movie, as I knew all the lines that would be spoken. It really is a perfect movie. Oh, and I noticed that when Chief Brody wakes in the morning, the nightstand that's beside his bed...I have two of those exact pieces of furniture. They were hand-me-downs from my grama, so go figure.

As someone who interviewed several film composers (I talked with John Debney, Elliot Goldenthal, Howard Shore, Alexandre Desplat, Dave Newman, Christopher Gordon and few others) I know very well that you have to be easy and relaxed when you're posing questions with such personalities. Even though you made your homework and prepared lots of interesting deep questions, you have to be careful to follow the suggestions that come out from the conversation itself. You can't just impose your own agenda over the course of the chat, otherwise the person who's being interviewed could have the impression you're trying to force words into his/her mouth. Of course it depends very much on the overall personality of who you're interviewing and how they feel in that particular day and moment, but one thing I learned from my own chats with those guys is that you don't need to make an impression you're clever and knowledgeable. They appreciate a lot if you mention a lesser-known work of course, but they appreciate even more when it's clear you're listening to what they're saying. Williams is such a huge personality with a large body of popular work that it's almost inescapable you end up talking about Star Wars, E.T, and Jaws, especially if you're committed to do a piece addressed to a general audience. The great thing about JW is that he never feels bored or annoyed when telling well-known anecdotes and stories. In this sense, he shows always a deep respect for the person who's interviewing him. This is anything but ordinary, especially when we're talking about celebrities of some sorts.

I listened to half of this interview this morning in my car on my way to work, hope to listen to the rest during the course of the day. I have to say that it's a pretty good interview, very well made. I love the good-natured, candid overall tone. The criticism I read toward Tommy Pearson is highly unfair. He poses all the right questions and conducts the chat with great command. I don't know what people expect from a Williams interview, but this is really the best and deepest you can get from him. He even goes personal in more than one occasion. I think sometimes we're too demanding from these kind of things. We always expect some kind of "revelation of the deepest secrets" from the words of the artist, but the reality is that music is something quite difficult to verbalize in words. Williams however talks in detail about his work, his creative process and illustrates always clearly his vision about his own music. I don't know what more you can ask from him.

It boggles my mind how good the show is. If they stick the ending, and I'm sure they will, it'll go down as one of the greatest pieces of television.

Pretty much agree with everything you say! I'm mid-way through season 3 right now, its all just so good One thing I love are the pre-Credits sequences, seriously some of the best ever done!

Here is hoping for an instrumental opening titles. But no producer in his right mind is leaving out a marketable song.

I've never listened to any of Shore's scores away from the films. That answer your question?

I had 1975 posts in a discussion of Jaws. Irony.

No, mate, we need David Arnold! No, if we need anyone, it is John Barry.