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What an honor for Williams to get to lose to Morricone one last time this awards cycle.

Never got a shipping confirmation message, but the status does now claim it is "Shipped". So... We'll see, I suppose. With a bit of luck, that'll teach them a message: Giving the JWFan masses what they want = instant money! So they'll put some extra pressure on those Indiana Jones and Harry Potter soundtracks now.

http://www.grammy.com/nominees?genre=76&=Go

It's time for close encounters of the third kind (sorry, no video this time)

Judging people by the movies or the music they like is shallow.

Been listening to this since Friday and love how pristine the sound is. Amused to listen to Monster on the Loose and hear one trombone player holding the very first note a little little longer than the rest of the section. My kinda guy! haha In all seriousness though, what an awesome set. Haven't had time to chime in here yet but got a kick reading through this thread at comparing comments to the recording. Fun stuff!

Without a doubt Williams must be using a Steinway baby. And that's also how he addresses it.

I got the 'go' for press screening today (December 13th). Yay! But it's the same ordeal as last year, with signed embargos, frisking before entering the theatre etc. Insane. I'm dreading the Giacchino aspect, but looking forward to pretty much everything else, despite the controversies surrounding the re-cuts.

The Grammys? It's the Oscars for music.

It's a solid film but not near the brilliance of Hunger and 12 Years A Slave.

What is a man who continually quotes himself? - Koray Savas

Guy in the white gonna be awesome in this. Unless the script is shit.

The string motif at 0:15 is pretty Williams-esque, IMO. This score is sounding better and better with each new clip!

à propos: what better score for a pleasant, drowsy half hour off?

Making our country a better place one at a time

I apologise. Someone needs to Obliviate me, fast. Though I'm still wondering how Jack Thorne blackmailed Rowling into approving it.

If you look hard enough on the Internet you'll actually find a behind-the-scenes image of Voldemort's death shot "correctly": Harry standing over his dead body. But I guess the flashy CGI route was more appealing to them.

Karol

Back in the day (1993) I didn't even know you could buy this stuff from record stores let alone scoring practices. Hence I didn't notice the edit.

Mine is now sitting on my desk next to me

I'm in the same boat as many others in being initially disappointed by TLW score. I remember being unimpressed by the new theme (although I always liked it's energy) and how little in stood in the film. It was many, many years later that I grew to love the score. I think it took me really exploring JW's whole body of work and growing to understand his style of action music and the features that made TLW unique like the percussion and dark music. Now it is one of my favorite JW scores that is always, ALWAYS fun to listen to.

That's almost exactly the same as whem Draco Margot unknowingly became the master when he disarmed Dumbledore in HBP

Part of me thinks that Spielberg would only begin something like this in earnest once Williams has passed. Who knows if anybody else has attempted anything and been turned away, but you have to think it's occurred to SS to share the goldmine of footage that he's sitting on with the adoring public....possible that Williams himself is uncomfortable with the idea.

I dunno, I do think the trumpets are somehow more blaring than in previous SW scores. Stuff like this: I think the biggest discrepancy for me between the prequels and TFA was just the sheer density of sound, but I think a lot of that is composition/orchestration. Especially how he really limited use of choir, percussion, "ethnic" instrumentation, and I also feel like there are generally less moving parts in both the action and even dramatic and transitional/scenic stuff, the compositions less "busy" in a way. Maybe less overtly melodic too. I do feel like recording played into that in various instances as well, though. For example, the great Poe's theme statement in "The Resistance," you can faintly hear all this accompaniment going on with the woodwinds and the trumpets underneath the horns but somehow they don't make the kind of impression I usually expect with Williams. Also there was a surprising amount of texture/color in the concert pieces (especially the woodwinds in "March of the Resistance") that I had really never heard at all until the BSO performance recordings last spring. Not sure to what degree performance would have factored in to any of this.

Tomorrowland is a movie. All of Giacchino's recent scores have sounded much better than they did in the early 2010's, so Rogue One should sound good.

Not film music but it isn't pop or rock either so I don't know where to post it really but this has been going through my head all day God I love the Uileann Pipes .

Damn, I misread 2010 as 2000 and just wasted 10 minutes of my life coming up with a list

The reactions to this movie are so interesting to me haha. I watched it a couple years ago (the full 3 hour version) and I ended up fairly positive on it but still somewhere in between the people who consider it a flat-out masterpiece and the people who think it's one of the most annoying things ever. I do wish Lonergan would/could make more movies. Just watched You Can Count On Me the other night and loved it and now I've kinda been wanting to give Margaret another go. Probably will, especially if I really love Manchester by the Sea (have you seen it yet?)

Psh, Rogue Leader and Pod Racer beg to differ. Oh man, you were one of the PC snobs back in the 90s weren't you Jay?

There's simply now way they'd include Giacchino's Rogue One score in this DLC. That Gordy Haab is a talented guy, they should release some CDs of his Battlefront music

Mine has finally made its presence known in the UK. I'd expect to receive it either tomorrow or (more likely) Weds. Even my lay colleague wants to hear this, as he watched JP many times as a kid. I suspect this is going to sell very quickly for LLL. Hopefully that also sends a message to Universal that this stuff sells when aimed at the right market.

No, it makes more sense to do it by the premiere date of whatever country you're in. That's how all newspapers and portals do it here, including the one I work for. It may make less sense in an international forum like this, but that's how we've structured it. Take my no. 2 movie of 2016, for example -- SAUL FIA (SON OF SAUL). It premiered in a handful of places in 2015, but had its major international distribution in 2016 (including Norway). So unless you were especially up-to-date on this film in 2015, and had a rare opportunity to watch it that year, it becomes a 2016 film. Otherwise, it wouldn't be on a lot of international lists!

1. Amour 2. Melancholia 3. Uncle Boonmee 4. The Turin Horse 5. A Separation 6. Inside Llewyn Davis 7. Inherent Vice 8. Margaret 9. The Assassin 10. Goodbye To Language 11. Toy Story 3 12. Tabu 13. The Tribe 14. Nymphomaniac 15. Toni Erdmann

I think I've made my distaste for Birdman, The Revenant, and Inarritu in general, clear elsewhere on this forum and I don't to want belabor the point. I'm happy to see someone else who was as taken with Brooklyn as I was. I still need to see these! 03. Beasts Of The Southern Wild 04. The Hateful Eight 13. Ex Machina 14. Steve Jobs 15. Rush

Malick > Nolan > all other well known living directors in their current form

The man is going to be 85 years old in two months. Hasn't he earned the right to sleep in his own bed after a long day of work? By that of course I mean they should ship his bed to London while he records with the LSO.

The Reivers by John Williams: There is something eminently inviting, warm and joyous about this music right from those sweet bluesy Americana guitar chords that open it.

This is Manikin Skywalker. He doesn't do jokes.

What strikes me about 'The Lost World' is how positively Goldenthalian some of the more baroque/bombastic moments are (in a wonderfully excessive way). This was how action music in the mid-90's sounded? Lo and behold.

Really? What kind of crap reply is that?

A.I. Artificial Intelligence LLL Expansion Disc 1 - John Williams Perfect soundtrack for a cold late Fall Sunday afternoon.

I kinda feel like each of the three Die Hard scores was an improvement on the last

Sink the Bismarck theme, as Kenneth More walks across Trafalgar Square.

I want only one; THE 10-DISC COMPLETE CLOSE ENCOUNTERS OF THE THIRD KIND SESSIONS, WITH BONUS BLU-RAY DISC OF THE COMPLETE SCORE IN DTS MA 7.1

Surprised there isn't more enthusiasm for Tintin. I admit I didn't vote for it either (Indiana Jones does outweigh it), but otherwise I do consider it pretty high on the wishlist. Aren't there supposed to be rather a lot of alternate tracks from the early recording sessions?

Hello, one more video in these jurassic days ;-) this time, with the interview before.

They kind of just kept taking it further and further with each movie. In GOF the smoke was basically just them coming out of the Dark Mark, essentially Apparition as you say. In OOTP it's sort of Apparition and sort of just Bellatrix flying around, but I don't think it's used in combat (maybe a little in the prophecy room). In HBP it's clearly more than Apparition because they're using their smoke clouds to destroy things like the bridge and the Burrow. And then by DH it's basically all of the above and more. Yeah, in the book Voldemort shows up flying during the sky battle and it's made out to be this shocking thing that he's learned how to do, they're all freaked out about it when they land at the Burrow. In the movie, it's a non-issue because everybody does it.