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I interpreted that to be a statement said playfully and in jest.

They're great. John Powell is who many people want Michael Giacchino to be.

Don't you mean:

And I think she's a changeling.

I just found this review of the TFA score by our student newspaper... http://www.cherwell.org/2016/01/08/soundtrack-review-star-wars-vii-the-force-awakens/ No words.. "Rey does not have her own theme yet" ... how can you review the OST without even glancing at a tracklist? 😛

Many parts of "Forrest Gump" from 1994 are similar to "Rudy" from 1993 (tune, instrumentation, atmosphere,...), some parts ring exactly like "Rudy". I've never heart such obvious and striking similarities between two different composers. Just compare "The Crimson Gump" to "Take Us Out". Your comment?

It's like choosing between gold and diamond. Both scores are, without question, John Williams masterpieces (there's that word again, but there's no other word for them). It's a question of which you like better, not which is better. Both scores fit their respective movies perfectly. I'd say... Movie: Jurassic Park Score: The Lost World

Notice how we didn't see JW's hands in the video? RJ must have chained them to the control panel.

Does this count?

Get back to work indeed! How much longer do I have to wait for this score?!

As did all sane people.

Hahaha

So it's BloodBoal: The Movie?

JURASSIC PARK is my favourite score of all time. And the film is ONE of my favourite movies of all time. So no competition. But THE LOST WORLD is still a great movie and score.

As we all know, the 1997 Special Edition OST 2CD set presented us with the complete recording sessions of the iconic Main Title on the last track of CD1. As we all know also, the sound quality of these separate takes is better (MUCH better, I think) than the final version presented on track 2 of the same CD1. I believe that some of you have already toyed with the idea of creating a version using the selected takes (18, 19 & 20, which the 1997 OST booklet dutifully informed us). So, to celebrate the 40th anniversary, here's my modest contribution (and the correspondent track from the 1997 OST for comparison). It was no easy task putting this together. In the end, it made me respect the work of music/sound editors, and EVEN MORE the work of music/sound editors of the analog era. Hope you like it!

nice, very strong vibes of Leia's theme there.

When I talk about the score to a film, I mean all the music written for it, not just what the filmmakers ended up using... As far as the questions at hand, I definitely prefer the first film, but comparing the scores is super tough. I'll vote for the first one simply because I've loved it for longer, but as you said...gold vs. diamonds. Either way you win.

As to score: Maybe it's because I've heard Jurassic Park so often already, and because we only recently got the complete The Lost World (which includes many previously unreleased highlights), but these days I prefer The Lost World. Seems almost fresh, new, and indescribably original in comparison. Still, Jurassic Park is a JW and film score classic on the same level as Star Wars and Raiders of the Lost Ark, and nothing will change that fact.

They can, at points, become overbearingly loud and unnecessarily frenetic (thanks to Dreamworks noisy house style) but especially in Part Deux, Powell manages a dramatic momentum that is head and shoulders above his colleagues working in the medium today (or at least 80% of them). It's still a bit of a number's revue but in the quieter cues he skilfully develops his themes and motifs and a guy who takes his cue from Sibelius (no, it's not just the software) and Vaughan Williams cannot be wholly without greatness.

I don't know what to tell ya there. I love the film more than most health specialists would recommend, but I would not neccesarily recommend it. I kind of have a minor soft spot for Blue Sky Studios in general. At the very, very least, it remains the only remotely watchable Dr Suess movie.

Really lovely melody. Need to check the film out!

Horton Hears a Hoo

Who cares! The world demands more Marvel shows!

Funny you should that, as I've been looking into Giacchino's family film scores lately. I've always liked Inside Out (both score and film), but they overall feel like music Powell could do in his sleep, yet Giacchino weirdly gets more praise and accolades (or at least more attention). Speed Racer especially made me think of Powell and want to put on his works instead. Ratatouille sounded nice, but it just didn't feel especially energetic or passionate. I like Giacchino okay, for the record. But I freaking love Powell, easily as much as I do Carl Stalling, Scott Bradley or Darrel Calker.

Direct video address, yes! But he's been popping up on Instagram a lot recently, with all these hip, younger talents getting in on the action (Koby Bryant, Daisy Ridley, John Boyega).

Star Trek.

He wrote a good score for Irvin Kirshner's The Eyes of Laura Mars.

No thanks.

"Click-bait" is a misleading title or such that would prompt one to click on a link they would otherwise not clicked. In this case, the title is perfectly appropriate and not "click-bait". All of us here would have clicked on any Johnson/Williams video (right?). We just, most likely, wish there had been more to it.

There's too much Goldsmith stuff that is better. Best example is Hoosiers.

I hate obnoxious modernisations of classics. Especially those stupid modernised operas. Let the time in which they were written live.

To replace the finale of Ceiling Tiles was the worst of Spielberg's musical decisions. That last part is so awesome and keeps the tension until the end! Looking forward to it!

This moment is absolutely sublime (just listened to this concerto for the first time this week).

John Frizzell at least tried. And, to be honest, he penned at least a couple of good themes for his score. Shame about the bigger action/horror moments. Karol

I don't know those scores or films.

Yes! QUANTUM OF SOLACE is Arnold's best, and classiest work for Bond.

I can live with that.

We'll just have to settle for 75 minutes of brand new John Williams Star Wars music instead.

And it only took 4 years for each of the LOTR CRs to be released after their respective film. It is over.

Oscar-winner Michael Giacchino wants to score ‘The Batman’, and he probably will 100% confirmed that Giacchino will score Batman!

Ponyo I've been going through Miyazaki's stuff and saw that this was on xfinity. Wish I could have watched it in Japanese though. Oh well. Still pretty good.

She doesn't have any actions later, the woods is the last time we see her. The scene at the end is the future robot's interpretation of what she would do. No it isn't. He's a robot. They know how he'll act. They weren't. Totally agreed!

Well, even Michael Bay has made one really interesting action movie that deals with international and absolute network in a critical way.

Sounds like The droid Battle from TPM.

The thing that really struck me as I watched the film (and forgive me if I sound a little corny) was the emotions. I knew about the rape case. I knew that it was possible that Kobe had done some bad things. Yet, aside from larger questions of whether Kobe is a "good person," that doesn't mean that the emotions displayed in the film weren't completely genuine. Kobe realized his life dream. And now he's looking back and saying thank you. It's all really quite inspiring, and quite probably completely from the heart (although we can never be sure). Sometimes in life you have to learn to separate the message from the messenger. We expect people to be perfect and then get our hopes crushed when they aren't. We lose our trust. Every time I see John Williams make one comment that isn't 100% humble, or every time I see that a politician I admire took money from special interests, it's pretty crushing. I will be honest. Worst of all, one would imagine that nearly every famous person has some major moral failing, even if it hasn't been revealed. So there's a constant cloud of suspicion in my mind. But it doesn't have to be that way. Ultimately, one, we don't really know whether any celebrity is a good person, regardless of what's been revealed publicly. Even people who do terrible things can reform themselves. So we should be hesitant to judge too strongly the moral character of a person we've never met, even as we support appropriate legal punishment for rape and other crimes if they are proven to have occured. Second, as I said, it should be possible to separate the message from the messenger. The messenger need not be even nearly perfect for the message to be perfect, or at least worth considering.

Finally saw the film. I was not impressed. It felt like any blockbuster from the last 10 years with SW background characters--so freaking formulaic in both execution and dialogue. Say what you will about Lucas's writing, it never sunk to the level of "rebellions are built on hope" set up and then repeat by the main character after she has committed herself to the cause. What is this, Transformers? Also the space battle was pure ROTJ, down to the admiral and his ship. As for the score, I think had Gia not already done ST, I would have found it good. But now is just sounds like ST with the SW themes thrown in.

Arnold at his best is more fun than Williams somewhat on auto-pilot. even though Williams is the better composer.