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He means he's about to arrive in NZ, having left NY a week ago, and he and Howard suffering many misadventures along the way, including but not limited to laceration, evisceration, and incineration. Thankfully Pope was able to step in and conduct for a while!

Pics from the event here: https://www.facebook.com/media/set/?set=a.10151916416816278.1073741831.530696277&type=1&l=3b03991f26

All the people who work for these kind of big studio productions are obliged to Non-Disclosure Agreement, so it's perfectly understandable they cannot go into details. It's great that Conrad Pope is sharing pictures and comments about his involvement, though. I think it's very kind on his part to take time to read and reply to almost anyone who writes to him asking questions (which sometimes are closer to bothering!). He's a true gentleman.

I doubt they tinkered with digital technology back in 1975 The OST album is definitely a re-recording, no question about it. It was very much the common rule back then to re-record selections of the score for commercial album purposes. Mancini did it all the time and Williams did too quite a number of times even before Jaws. What is great is that Williams rethought and rewrote quite a few cues, expanding them in a very concert-like fashion (think about "Out to Sea" and "Preparing the Cage" of course, but also "Tourists on the Menu", "One Barrell Chase" and the end credits cue), including the now-iconic concert arrangement of the shark motif he still plays in concerts (even though he added an even more extended coda during the Boston Pops years). Also, the orchestral performance is overall better, much more refined, precise and nuanced. Some may feel it lacks the "rawness" of the original film recording, but the fact Williams was able to conduct and record without the contraints of synchronization produced what is imho a pretty much definitive performance of this score.

Pics from the event here: https://www.facebook.com/media/set/?set=a.10151916416816278.1073741831.530696277&type=1&l=3b03991f26

Oh I like Doctor Parnassus too, very underrated score. While not exactly film scores, or not at all, but... I just came back from a BBC Philharmonic concert in Nottingham where they played Manuel de Falla's The Three Cornered Hat Suite suite no 2, Prokofiev's second Violin Concerto, Maurice Ravel's Daphnic and Chloë Suite no. 2. and, most importantly Stravinsky's The Rite of Spring. The whole evening being basically a tribute to Sergei Diaghilev's famous ballet productions. Each piece was better than the previous one. And it really takes a live performance of Stravinsky's piece to understand and feel just why is it held in such a high regard - it doesn't make quite a same impression heard even on best recordings. And Nottingham concert hall's spectacular acoustics were clearly the star of this evening. I also have to say, Ravel's piece made a great impression on me - something I might want to investigate while preparing a next list of music shopping (just joking, I don't make lists like that): Karol

http://youtu.be/OEaXaigFTus

I'm an unparalleled judge of quality.

He also said that SW had no love theme prior to 2002.....

It's funny that most of the tunes are actually Christmas carol, but giving them this The Lord of the Rings kind of like choral treatment, they sound really impressive. It's a fantastic album and definitely among my favourite Christmas albums ever. Batman (La-La Land's first disc) Karol

That's too bad. Sounds like it would have been magnificent.

Strange that no-one has mentioned "The Abduction of Barry", possibly the most avant-garde thing JW has ever written.

I love the aleatoric stuff and think its one of the most defining aspects of the LotR sound. I also find it one of the most fascinating components of modern concert music.

heed the words of the great Bartok... heed the words of the great Bartok...

I think it gives it a old/classic movie theater feel..

Mine's Braveheart & The Mask if Zorro; first awareness of film scores are b-e-a-utiful.

What a great list of scores. It's hard to argue with Corigliano's Oscar win. Angela's Ashes is one of my personal favorites from JW. Episode 1 was a just tremendous showcase of what he can with a full orchestra, and is a score of so many different colors and moods that I'm in awe in the pure achievement of the thing. American Beauty was probably the most influential of the bunch. The Matrix planted the seeds for the (superior) later scores. Out of sheer sentimentality, my vote goes to Angela's Ashes. But it could as easily had gone to the Red Violin or Episode 1, for different reasons

no You're incorrect. The films and music are better than the decade that followed. Grunge music alone brings everything down.

Looks like this is gonna be a big hit. Nice to see a non franchise film doing well. http://www.thewrap.com/vast-majority-of-gravity-advance-ticket-sales-are-for-3d-shows/?utm_source=rss&utm_medium=rss&utm_campaign=vast-majority-of-gravity-advance-ticket-sales-are-for-3d-shows Apart from the visuals and acting another important thing that works in the film is the decision to set it completely in outer space. No scenes at Mission Control of worried technicians trying to deal with the situation. So scenes of relatives of either Stone or Kowalski suffering from uncertainty.

Start one! Anyone is welcome to start any thread about any subject at any time, you know.

Kempe + Wiener Philharmoniker + Sophiensäle acoustics = one of the most exciting of all opera preludes