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I like this

I haven't as of yet watched any of these curiosities, but perusing the pages I can tell they are as well meant as they are well received, and for that I salute user BloodBoal: Master of Effort.

I don't think film music *has* to be all craft and no art. It certainly is all too often, because it's harder to do "art" within the confines of scoring a film. But the big film composers certainly have made an art out of it. Korngold may have ultimately disliked his Hollywood era, but that didn't stop him from comparing his film scores to operas and reusing them in a concert hall context. The likes of Williams and Goldsmith surely have written scores that qualify as art - I would go so far to say that at least most of their scores have at least a strong "art" component. Mozart doodled tons of pieces that he probably didn't spend much time on or give a second thought to. Are they on the same level as his masterpieces? Hardly. But they're still quality pieces, and I don't think you can deny them "art" status just because they're not as carefully thought out. By the same standards, film composers for striving to write good music instead of only supporting a film may not have full control over the overall dramatic arc of their scores, but as long as they produce something of quality that is clearly their work (as opposed to generic "underscore" or just a copy of a temp track assembled by a director or one of his assistants) can stand on its own, I'm fully willing to call it art.

Heavily disagree with this. Agree with your disagreement. Copeland betrays here a sentiment that is common among classical musicians - that music is in its "highest" form when it is the central focus of a performance of any kind. The idea that music can participate in a multimedia experience, and therefore be subordinated to other elements, is one that people like Copeland find extremely unpalatable, that it somehow "cheapens" the music. I would counter that the fusion of music with film actually enhances the impact of the music precisely because there are other elements that add, not detract, from its meaning. And I say this as a classical composer of opera myself, like Copeland. Much of the brilliance of Williams, for example, lies in his ability to key into those other elements of the film and translate them into musical terms, which makes the music feel like a natural, often inevitable, fit with the film, even if one is not consciously aware of its presence. I think it's fair to say that this is what the best film music does, and so it succeeds in its purpose. An opera is more about the music than is a film. They're different media. Copeland makes the mistake of evaluating one kind of music by the standards of another. Not art? Please. Some would say that about many modern operas.

Bryan Cranston is incredibly talented comedically - check these videos out!

Well clearly we have a Gandalf's arrival at Minas Tirith style situation going on with the deluxe soundtrack, as we're presented with two cues for Radagast's trip to Dol Guldur. The track confirms that PJ originally intended it to be one whole sequence, though I think it works better as it is in the final cut.

What an outrage!!!!

Possibly my favourite sequence in the film, made even better with the choral parts intact (especially the first bit). Very much looking forward to the Radagast stuff. I have a few ideas in my head of where everything should go so it'll be interesting to see what you come up with.

Hmm, I like Affleck. But I can't get my head around this just yet. Could turn into The Affleck Show if he's not drastically careful. Still think it's a shit idea overall. Just give Batman a rest for a while. I'm bored of him in movies.

Not really a fan of the music in the trailer. I really hope the director doesn't (or didn't) push him to write music like that.

1) Sergei Prokofiev 2) Gustav Mahler 3) Erich W. Korngold 4) Bela Bartok 5) William Walton

I finally started watching this show, from the new reboot. Seems like campy fun.