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Wasn't quite sure where to put this, but I had the pleasure of sitting down and talking with one of the greatest cinematographers of all time a couple of days ago. You can read it here (skip the Norwegian intro): http://montages.no/2013/09/vi-har-mott-den-legendariske-filmfotografen-vilmos-zsigmond/ There is a strong link between Zsigmond and Williams, since he's done many of the films he has scored -- CINDERELLA LIBERTY, THE LONG GOODBYE, IMAGES, THE RIVER, WITCHES OF EASTWICK, CLOSE ENCOUNTERS, THE SUGARLAND EXPRESS. And the guitarist John Williams on THE DEER HUNTER, of course. We talk abou

I wish I could say that my love of Williams music alone could get me into the theater, but if it hasn't been Indy or Star Wars, the last Williams movie I felt compelled to see in the theater was... The Patriot.

Okay . . . time to break the silence on this. Like everyone else, the last six months have made it brutally difficult for me to commit extra time to this project. As the creator and "sponsor" of this thread, I carry an extra helping of the guilties over it--but what's done is done. I'm going to make a real effort to get back to this, and in a better fashion than I did before. Part of the problem was that I burned myself out a bit in attempting to clean up every article that people imported from Wikipedia (by extracting the useless templates and links that were broken in the transfer process).

The Prestige This was one of the first blus that I ever bought, and I was surprised by what stuck with me as I had not watched it more than once since I initially made the purchase. I really like this film, and for a number of varying reasons, one of which is that this is 100% Nolan. As much as I love Memento, this might just be his definitive (there's that word again) film. There's a little bit of his early stuff and a little bit of his latter stuff here, or rather what one would would later see in his work. It's like a weird blend of Inception and Memento that takes place in the late 1800s.

It's the best of the three!

Drop the EE footage (Gandalf's line 'I am Saruman, or Saruman as he should have been') and the whole thing syncs perfectly without the need for any editing. This six-minute section of the score is my favourite of the entire trilogy. I love the little moment as Gandalf realises who he is.

Which provokes me to ask, "Is Williams 'open to new ideas' and 'always inventing'?" If not, who is? Did Goldsmith give this advice to Bernstein?

Yes, wanner's whole post is pretty much conspiracy BS.

The thing I never understand is why composers don't put music in the correct order on CD's kinda drives me crazy!! lol!

I rather liked Angels and Demons more than The Da Vinci Code. It felt bolder, denser and even maybe less typically Zimmer-like.

I'm not going to argue that Zimmer's major scores in the last few years have all been very similar, and on occasion quite disappointingly similar (ie. TDK:R); however that doesn't mean that they can't be appreciated on their own merit whatsoever. Inception, to me, was a fantastic score, and was a fine development of the synth work built up in Da Vinci Code, Angels and Demons and The Dark Knight. I also cannot think of a more suitable soundtrack for the film itself - something the Filmtracks reviewer completely fails to take into account. These are film scores, written specifically for the film

His duty as a reviewer is also to try and understand the timbre and style that the composer has gone for, rather than to dismiss it because it might sound texturally similar to some of his previous scores. John Williams scores are always orchestral, in the same way that MoS, TDK, TDK:R, Inception etc have all been heavily synth based and influenced. I don't feel that the reviewers ever empathise with that, nor even attempt to appreciate the emotion and mood conveyed by that particular style.

I'm just awaiting the inevitable savaging it'll get on Filmtracks. I can't work out why all the Zimmer reviews for the past decade on there have been written by people who clearly despise him and his style of music.