Leaderboard

Our artistic elite are not comfortable with people making money from their art. Unlike Mozart, Haydn, and Tchaikovsky, who I hear worked pro bono composing music for the poor, the syphilitic, and the damned. Such was the wondrous life and art of true artists in the old country...

There's nothing random about the action music in TFA.

The Falcon chase music is very melodic in its way and my favorite action scoring of that film.

Sounds like a real challenge to use only 1 or 2 notes. Oh, wait, Williams already did that in 1975!

His Batman "theme" had 2 notes and Joker "theme" had 1 note (and I am using the term "theme" rather broadly here). His Han theme will go one step further and have no notes at all, or maybe even negative number of notes!

Zimmer will write a mighty, testosterone driven theme!

Not sure what you consider a "notorious score" or a "classic," but here are the Goldsmith scores by decade which I am still most looking forward to, in terms of definitive editions: 50s: Black Patch, Face of a Fugitive -- both excellent western scores, completely unreleased, which appear to be lost and would therefore require new recordings; here are complete score breakdowns I did for each, with accompanying YouTube videos which should convince any Goldsmith fan they're worth doing: http://filmscoremonthly.com/board/posts.cfm?threadID=119663&forumID=1&archive=0 http://filmscoremonthly.com/board/posts.cfm?threadID=113490&forumID=1&archive=0 60s: Freud -- Varese DE still missing a few bits, needs the Papillon treatment The General With the Cockeyed Id -- excellent short score only available on a footwarmer; should receive a legit issue/restoration: In Harm's Way -- Intrada "unlimited" title just went out of print...hopefully they or someone else found a source for the complete score, at last? Our Man Flint/In Like Flint -- Varese has perpetuity rights and would have to produce Deluxe Editions for each, the Twilight Time isolated tracks are nice stopgap to have but contain microedits and not every cue recorded Planet of the Apes -- Varese complete edition had inferior sound to previous Intrada edition; this deserves a modern complete Michael Mattesino facelift The Chairman -- most urgently needed score of the decade for me, an amazing work which should get a complete re-recording if tapes of the original are confirmed lost 70s: Crawlspace -- an overlooked GEM of a score; I did a complete breakdown here with YouTube of the film included: http://filmscoremonthly.com/board/posts.cfm?threadID=116952&forumID=1&archive=0 The Other -- one of Goldsmith's best scores of the decade, sadly controlled by Varese in perpetuity due to the 1-track suite they released in the 90s; fortunately included in extended form as an isolated score track on Twilight Time Blu-ray but once again, that contained microedits and missed some music that was even in the Varese suite The Man -- a film about the (fictional, played by James Earl Jones) first black president of the United States, with a sparsely spotted but excellent score, broken down here with full YouTube video: http://www.filmscoremonthly.com/board/posts.cfm?threadID=113568&archive=0 Pursuit -- excellent "mod" score, apparently lost to time and therefore in need of a new recording unless the tapes are discovered. Complete breakdown: http://filmscoremonthly.com/board/posts.cfm?threadID=117275&forumID=1&archive=0 Shamus -- similar to Pursuit; I haven't done a breakdown yet S*P*Y*S -- this one certainly qualifies as "notorious" and to be honest it's so zany I love it in spite of its reputation as one of the composer's worst A Tree Grows in Brooklyn -- GORGEOUS score, like S*P*Y*S released only in part on Varese Goldsmith box Ransom -- His first primarily action score, and unfortunately worst sounding LP album. Would probably require a full new recording as the original sessions seem to be lost. The Reincarnation of Peter Proud -- deserves a good sounding legit release Damnation Alley -- a third of this fantastically exciting score is unreleased due to missing synth elements. Read a complete breakdown and listen to an excellent YouTube suite culled from the missing cues here: http://filmscoremonthly.com/board/posts.cfm?threadID=117082&forumID=1&archive=0 MacArthur -- One of Goldsmith's most well-known marches, the complete score has never been released (and the LP may have even been a re-recording) The Swarm -- LLL is currently working on a definitive two disc edition 80s: The Final Conflict -- Surely Varese will get around to a 40th Anniversary complete edition of this in a few more years, since they did The Omen just this past year The Secret of NIMH -- A complete release is sadly impossible unless a source is uncovered. Under Fire -- Ditto. Link -- Despite the existence of the complete score on a footwarmer, a complete legit issue is unlikely until a better source for the unreleased material can be found. Legend -- See Link. The Lonely Guy -- A wonderful overlooked gem; not at all limited to just synthy comedy -- lots of exciting music here to be heard. The only remaining Goldsmith score released on LP (three tracks by him) but never CD. Supergirl -- While released "complete" before, still deserves a definitive Poltergeist/Papillon treatment. Lionheart -- Deserves a remastered Varese Deluxe Edition on CD, in chronological order with duplicate cue removed. Leviathan -- Better than its reputation would suggest. DeputyRiley did a complete score breakdown here: http://www.filmscoremonthly.com/board/posts.cfm?threadID=110196&forumID=1&archive=0 90s/2000s: Way too many goodies that Varese controls in perpetuity (Air Force One, Small Soldiers, Medicine Man, Mom and Dad Save the World...), plus The Russia House -- only 6-7 minutes missing but they would improve the flow of the score by offering some contrast: http://www.runmovies.eu/?p=7846 Mulan -- Now that the Disney Legacy Collection is back maybe we'll see this in the next year. The Mummy -- Kinda shocked no one's done this yet since it's so popular; maybe a hold-up because of the new Mummy film? The Last Castle -- This one would really shine better in complete form, with stronger film versions for a couple cues. In any case you can see there are still plenty of Goldsmith goodies (including from the 70s and 80s) which we are still waiting on. And this was not an exhaustive list -- I left off some unreleased film scores I don't like much (ie. Take Her, She's Mine, The Don Is Dead, Do Not Fold, Spindle, or Mutilate...) and TV series I do like (The Waltons, Barnaby Jones...hey we're getting a Vol. 2 of Thriller!) Yavar

I was never too sure I was gonna be able to go to this because it's a 3.5 hour drive to Indianapolis and I work weekends but fuck it... It was so much fun. Will report more later. I got a shit ton of video!

Thanks a lot. Now every time I hum or whistle the Ark theme, I can't help but think of those lyrics.

1) Don't let negativity bother you, or you will have a short lifespan on JWFan and the internet in general. 2) Why do themes and orchestral complexity automatically make a score good? Bad music is bad music, whatever clothes it's wearing.

The Man Who Haunted Himself - 70s psychological thriller starring a post-Saint pre-Bond Roger Moore, who after recovering from a life-saving operation after a car accident finds his life dogged by incidents and meetings with people that he absolutely doesn't recall being there for ... does he have a doppelganger, or is he losing his mind? Intriguing and winningly weird, and one to sit people who insist that Moore wasn't much of an actor down in front of ... he's very good indeed in this.

Rey Rey-Rey-Rey, Rey Rey-Rey-Rey Rey-Rey Rey Rey-Rey-Rey, Rey Rey-Rey-Rey Rey-Rey Rey Rey-Rey-Rey... Rey-Rey-Reyyyyyy Rey-Rey-Reyyyyyyyyy.... Reyyyyy Rey-Rey-Rey Rey-Reyyyyyyy... Rey-Rey-Reyyyyyyyy Rey-Rey-Reyyyyyyyyyyy Reyyyyyyyy Rey-Rey-Rey-Reyyyyyy Reyyyyyyyy Rey-Rey-Rey-Reyyyyyy Reyyyyyyyy Rey-Rey-Rey-Reyyyyyy Reyyyy Rey Rey Reyyy Rey-Rey Rey Rey Rey Rey Reyyy Rey-Rey Rey Rey Rey Rey Reyyy Rey-Rey Rey Rey Rey Rey Reyyy Rey-Rey Rey Rey...

You ever find yourself singing a character name or thing to their respective theme from a Williams-scored film? For example, Superman is the obvious one. But another is the ToD Slave Children's Crusade where you can pretty much sing: "Indiana Jonnnnes... Indiana Jonesss Indiana Jonnnnnes... and the Temple of Dooooom!" A more obscure and less obvious one is the Ark motif from Raiders. You can literally sing it as "Thhhhhe... Lossssst Arkkkk... Thhhhhe... Losssst Arkkkk" Don't forget Harry's Wondrous World, where like Superman, it's essentially a fanfare where you can sing "Harry Potter! Harry Potter!" And one you probably never thought about, Hook. Yep, the main theme is really "Peterrrr... Peterrrrr... Peter Banning". I'll never forget years ago, someone on this forum made up lyrics to Jurassic Park that went: "It's Jurassic Park, It's Jurassic Park, Where the dinosaurs livvvve." Do this and you'll never hear Williams music the same way again.

Europe is united...just not with the UK. ...always overdressing for the wrong occasions.

Trump-fan!

That's the second biggest crisis facing America, after the Russian election interference. Good movie themes that go underused in crummy movies.

Funny, when I was young at those things we sang the "God is great" blessing to the Jeopardy! think music melody.

Fuck me! Roger Moore, in DW???!!! Whoa!!!

It is, Lee. It's one of those films that you'll find on Channel 4, at 3:30, on a Saturday afternoon, in between the racing, and some gardening programme, but don't let that fool you. It's a little gem of a movie. Also, check-out Moore's star-turn, in Brian Pern; priceless!

"The Resistance", "I Can Fly Anything", "'Follow Me' and The Falcon", and "The Ways of the Force" are stand-out staples of TFA's action music. Exhilarating stuff!

There was another Luke?

It is an absolutely outstanding theme and one Williams' best but it's a heavily romantic theme. It can represent Han's relationship with Leia but it can't represent him alone and his exploits. It's much too romantic for that. Han's theme would be for lack of a better word a manlier theme. Representing Han with the Love theme would be like representing Indy with Marion's Theme.

As Captain Picard once said, he mellowed a bit in the last few years.

If Williams screws up, I'm sure they'll have time to get Giacchino in at the last minute

Joey's theme in the trailer sort of match up with the text ("Faaaaar from home" "Across all boooor rders" "Hope Suuurrrvives"). Also, it reminds me of "It's a Hard-Knock Life" from Annie (maybe that's what they were going for).

It's also interesting that we never find out what caused their marriage to fail in the first place. In the flashback where Rebecca visited Chuck for dinner (and he pretended the power was out, and was cooking by candlelight...), and again at Jimmy's disciplinary hearing, there was no evidence of any lingering animosity between them, in fact they seemed quite cordial with each other. I wouldn't be a bit surprised if further flashbacks fleshed out their divorce, particularly if Jimmy was involved in any way...and then also showed the beginning's of Chuck's "allergy."

Woah, great insight!

I agree that the failure of his marriage was probably the catalyst for his initial breakdown, but I still like the idea that a combination of resentment and deep guilt about Jimmy is what fuelled it in the first place. I'm not sure what the exact timeline is, but I'm under the impression that Chuck's marriage ended around the same time he prevented Howard from promoting Jimmy out of the mail room. It's incredible to see how Chuck and Jimmy have shaped each other and brought the absolute worst out of one another. Their whole arc has the distinct vibe of a Shakespearean tragedy about it.

Very interesting! I am very involved with this composer and it's quite an interesting story. He wrote a piece for the orchestra I was composer in residence for many years ago however the sheet music had been lost to time and I had to modernize/typeset it from the original manuscripts for publication since he was a composer of some repute. We premiered it's revival.

I still dream of JNH doing a Star Wars spinoff, and being inspired enough to produce action music like this.

Of course; at the time of their separation, there's no way in his mind that he was at fault for the breakdown of their marriage. She walked out, she betrayed his honour. Chuck is that arrogant.

Oh no, I know you'd be far better at it than I would be. No no, I'm in awe of your talent. I am nothing compared to the master.

Lovely video! The only Williams-relevant bits seem to be: 1) A brief quote at around 50 seconds in 2) At 19:20, the long section on "Music for Brass" begins, lasting until around 22:50 I believe that's it.

The ostinato he uses at the start is straight out of Khan's ostinato from Into Darkness, and his Vulture theme is basically his general villain vibes from his Trek scores but reorganised. I do like the statement of his main Spider-Man theme though, at 0:35.

Treating this thread as one for general Disney music. A new Mickey Mouse cartoon came out this month that my daughter is in love with. It's called "Swimmin' Hole" and there's a nice little musical callback/reference at 2:40. There's later a bluegrass arrangement at 3:00! Hats off to Christopher Willis (the credited composer).

Zimmer is a salesguy, he's not unsympathetic but he talks to an unsophisticated audience, an audience that you can wow with perfumed smokescreens. And since he's german and talked repeatedly about the nuisance of fickle german educational standards and the uncompromising rulebook by which the arts are taught i can absolutely see where he's coming from: finally, in La La Land he was freed of just being a catchy pop guy who noodled on his keyboard but a proper artist who mustn't explain the lack of interest in classical form and musical theory. I am not judging that per se, the medium takes crossover talent like Zimmer better than some mad scale genius incapable of being a team player (essential) but it's clear to me that he knows how to walk the very thin line of being Humble Hans and ennobling himself with lofty fluff that insinuates that a simple ostinato is more than it actually is. And the lack of education in our day and age makes it easy to get away with it: a lot of people actually think Zimmer has Beethoven's abilities. There was a big PR event outside of the O2 arena back in Berlin when he did his concert tour and lo and behold, Zimmer is considered a studied professor who actually writes very heady, complicated stuff. And there were music journalists present, unable to make a distinction between symphonic pop/rock piece (or experimental, what have you) and a Boulez piece. It was truly sickening (not Zimmer's fault, of course, but he knew how to play them).

Here is what has been said by an orchestra member from the sessions: "After 37 film scores he still blows me away!!... always throws something we haven't heard! " Let that be absorbed in good light. December is yet so far away!

I want to draw you like one of my French girls. Karol

A couple of these have popped into my head over the years, much more so with Williams than with anyone else. The first phrase of Rey's theme sounds like "Rey is on a journey" to me, and the Rebel fanfare can be easily interpreted as, "The Rebels/The Rebels/The Rebels are coming!" There's even a phrase in the island fanfare that sounds like "to the island we must go." All silly lyrics, of course, but it's spooky how well they fit.

EEEE.TTTT. E.T.-E.T.-EEEE.TTT. Darth Va-Der is a rea-lly bad guy Tiiiin-tintin tiiin-tintin tiiiin-tin-tin-tin-tin-tin-tin-tin Bllis-tering Bar-na-cles, it's Captain Had-dock! Some-where in my meee- wait a minute... Most of this is just our brains filling in lyrics which it knows will fit, but the Superman one must have been intentional. Another (non-Williams) example where it couldn't have been an accident is the '58 Hammer Dracula, where the main theme literally shouts DRAAA-CULAA over and over, in the beginning even fitting the americanized title hor-ror-of-DRAAAA-CULAAAA.

Poooooooooooee Poe Poe Pooooooeee Poooooooooooeee Poe Poe Poe-Poe-Poe Poooooooooooooooooooe

Finn, Finn, Finn, Finn, Finn-Finn-Finn

"A.IIIIIII A.IIIIIIII A.I Artficial Intell-i-gence"

She can play under my balcony ...

This is so like Horner though. First Jerry Goldsmith died, now this!