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I'd much rather watch a film that doesn't take itself too seriously as opposed to a film that takes itself far too seriously (I'm looking at you Batman V Superman)

AVATAR is one of Horner's greatest works, period.

I'm gonna say a CD exists...for...reasons... CLARIFICATION: I DO NOT HAVE THIS Edit: Why are some of the cues from a different publisher?

Michael Giacchino: "So John, how did you feel about my score for Rogue One?" John Williams:

Revel in ignorance. This supposed film journalist who is also a film critic and the editor at large of an online film publication outlet thinks Han has 3 seperate "songs" to his name in V VI and VII and that Williams is writing a fourth "song" for Han for this film. https://theplaylist.net/john-williams-solo-star-wars-story-20180102/ Exhibit A as to why the opinions on film score of these hippie new age blogger/film critics are basically BS. They are literally talking out of their ass when talking about film scores and don't know what the hell they are on about.

Here is my spoiler-free analysis of the new themes from The Last Jedi: http://www.filmmusicnotes.com/new-musical-themes-and-their-meaning-in-the-last-jedi/ Enjoy!

Indeed. Powell would be great too. If I genuinely had the choice, I'd choose David Arnold because it's not like JNH and Powell are on a career dip, but Arnold deserves to share in these big projects. He's an entirely underused talent.

I'm just here to say that Season 3 of Twin Peaks was the most beautiful thing ever on TV.

The adventure films is one thing, but the reason I'd pick him is his fantastic gift of creating broad textures that combine electronics and orchestra, often with an ethnic tinge. This is the main "Avatar sound", IMO. I can easily hear shades of tracks like "The Pure Spirits of the Forest" and "The Biolumiscence of the Night" in tracks like, say, "Swimming" from WATERWORLD (my favourite JNH and his magnum opus):

HAS to be JNH no question. Maleficent King Kong Lady in the Water Fantastic Beasts Peter Pan His 3 Disney Scores Avatar: Last Airbender He is the best composer for fantasy films that there is and has ever been.

No, it represents a $200 loss. That's not lossless to me.

Trashy, crass, utterly classless, dragging three great composers through the muck. Its creator, you who posted it, and all those who liked it should be ashamed.

I agree, Avatar is one of his finest, and considering the amound of work put in this. I think no one would be able to tackle what he did, not even williams even if I dont see him working with cameron and past 2020. James Newton Howard would be the perfect choice.

Pics from a friend who had the pleasure of recording VII and VIII

Fingered crossed for James Newton Howard.

Seems like a pretty good bet. https://www.halleonard.com/product/viewproduct.action?itemid=4492273&lid=2&keywords=rebellion is reborn&subsiteid=1&

Point is, James Newton Howard is the man for the job. No further discussion is needed there.

Well, we have a bit of a different relationship to WATERWORLD. It's not only my favourite JNH, but in my top 10 favourite soundtracks of all time. I have an extremely personal connection to that score. But the point was to showcase a particular aspect of his music (not the grand orchestral stuff) that could fit in perfectly with the more magical parts of AVATAR, in particular.

By that logic, why didn't he take the opportunity in ROTJ? Or in ESB? Or in ANH? The point is that this movie is literally named after the character, so it would make the most sense for there to finally be a theme for the character. And Williams wants to be the one to write that theme.

Was just going to come here to say, "The Rebellion Is Reborn" is one of my fav tracks from the album, not to mention from 2017, and also not to mention the saga as a whole. I know some people take issue with the fact that Rose and Luke/the island are rather unrelated, but musically it works unbelievably well. Great concert arrangement to sum up TLJ.

I don't block anybody. I would hate to miss a good post!

I wasn't alive in 1978.

Haven't listened to a ton this year - usually play catch-up as I see new movies and get interested. Otherwise I usually just keep up with Williams, Elfman, and Giacchino (and franchises I like). My 1 and 2 are interchangeable based on how I feel on any given day, btw. 1 The Last Jedi (Williams) 2 The Circle (Elf Man) 3 War for the Planet of the Apes (Giacchino) 4 Wonder Woman (Gregson Williams) 5 Rebel in the Rye (McCreary) 6 Tulip Fever (Elf Man) 7 Thor Ragnarok (Mothersbaugh) 8 Justice League (Elf Man) 9 Pirates of the Caribbean: Dead Men Tell No Tales (Zanelli) 10 Fifty Shades Darker (Elf Man) 11 Spider-man Homecoming (Giacchino) Own but haven’t listened yet: Coco (Giacchino) Will definitely listen when the CD comes out: The Post (Williams)

#arnoldforbond25

I find it quite memorable, and very emotionally resonant, for me.

It's lossless!

If working with Cameron is one of the sticking points here, maybe what we really need to do is find a different director. I vote for Béla Tarr.

Although I think JNH would be perfect for this, I really like your idea Pieter_Boelen of Desplat because it would be an opportunity for him to use the 'prettiness' that he often does but actually translate it to something grander.

Hopefully not Gia. Although that would give me a good reason to totally ignore every aspect of this film James Newton Howard would be nice. Powell would be cool but I couldn’t see him using too many of Horner’s themes. Someone adapting Horner’s themes and then just giving them to Cameron to hack to bits.

I know it's unlikely and I doubt it would be very fruitful, but as little as I care about Avatar, I'd be wholly onboard for John Williams. I could see somebody like Powell, JNH. Silvestri if The Abyss is a distant enough memory. Cameron doesn't seem like the type to dip his toes too deep into the Remote Control waters.

I am able.

That's being complimentary, all things considered. It's bizarre that people believe Williams is incapable of passing criticism about other composer's works. He might indulge in platitudes for the cameras but behind closed doors his finger is on the pulse of modern sensibilities and, to close friends and collaborators, he'd say exactly how he feels (especially on other composers interpreting his work -- especially if he didn't like the results). We also know he's very involved with Star Wars music beyond his scores and we know from Giacchino that he's heard Rogue One. If he wasn't a fan of the score then he did the sensible thing: told Kennedy his honest thoughts (which were probably solicited), why he felt that way, and recommended another composer he believed would better reflect the musical sensibilities of the series. What is disrespectful about that? Should he only lavish effusive praise, regardless of his actual opinion, just so people don't get their feelings hurt? Ridiculous and unrealistic, especially in Hollywood (doubly so with a ruthless operator like Kennedy in charge, who clearly wouldn't appreciate such nonsense). It's also perfectly likely he wrote to Gia and told him the things he liked about his score, glossing over the things he didn't.

I think you completely miss the point: this is no official interview or something, there have been insider rumors that, maybe at Kennedy's behest, Williams saw this movie and may have said something to the effect that he wasn't entirely convinced by Giacchino's score and he wouldn't recommend him for further movies. What the hell does this have to do with character assassination you insinuate? If he didn't like the score - and i don't think it's a fabricated lie, because more than one LA insider reported it - of course he would have to say at least *something* to get his point across, don't you think?

I got the Blu-ray set for Christmas, and I have watched a small handful of the featurettes over the past few nights. Phenomenon Part 1: Creation (4:40) Part 2: Life After Death (4:50) Part 3: Renaissance (4:50) These were promo videos created to lead into the series. It's mainly talking head interviews discussing the original series, its impact, and the fandom. Nothing really of interest from the new series. David Lynch Produced Promos These were the commercials leading up to the series. Nothing new here either. It did have the promo of Badalamenti playing Laura's theme. Revisiting these, it's also pretty neat to think how much of the pre-show promos actually came from parts 17-18. A Very Lovely Dream: One Week in Twin Peaks (27:09) This was a log of some of the on-location filming. It was narrated with cast and crew interviews, but weirdly you never see the people talking. Sometimes it's a little hard to keep track of who's who (they only get an onscreen text credit once, the first time they speak). Visually, it's all on-set footage. We see the arrival of the actors playing Andy, Lucy, and Hawk in the Washington area. We see Harry Goaz (Andy) realize he's going to have to chop his ponytail. We see some of the filming of Richard Horne on the attack (both the attack on his grandmother/Johnny, and his attack on the woman in the trailer park), the boys finding the woman in the trailer park (Lynch seemed to relish squeezing fake blood onto the actress's head). They show the recreation of the Sherriff station, Kimmy Robertson (Lucy's) first steps back in, McLachlan's first day on set (filming both Cooper's and Mr. C's arrival at the station in part 17). They also show Michael Cera shooting his monologue and discuss that. Behind the Red Curtain (29:17) I Had Bad Milk in Dehradun (28:11) These were fly-on-the-wall (unnarrated) documentaries shot/directed by Richard Beymer (Ben Horne). It could have been one hour-long thing - the second one picks up immediately where the first left off. He spent a day on the set. He captured rehearsals and filming of all of Laura's stuff in the red room, including her getting yanked out the curtains falling and the CGI horse, etc). He got a lot of Cooper's adventure in the room from Part 2 (so lots of One-Armed Man, a good amount of ) We saw Cooper filming his scene as actual Dougie ("this is weird") appearing in the lodge in part 3 or 4. We saw Lynch again painting blood on somebody (in this case, Ray, who died towards the end of the season with the ring on). We saw Ray Wise filming his scene. We also saw a little bit of filming on the Dutchman's set - Mr. C's arrival in part 14-15ish, Cooper and the One-Armed Man talking to Teapot Bowie. Apparently the sheriff's office set was right behind the curtain, because we also see Robert Forster filming the scene where he takes a call from Gordon Cole. Most interesting stuff from this: seeing how they handle all the backwards talk (there's an app now) and how excellent the cast is with it. Also, apparently there was at least one Red Room scene of the Giant/Fireman filmed, but not shown in the series (I believe all of his scenes were in the black and white place in S3). Couldn't tell what he was saying - they didn't show much and he was saying it backwards. These were mainly the Blu-ray exclusive extras. The bulk of extras are on the last disc, and I'm starting tonight.

If I had to make a compilation of the best Star Wars themes from the 8 movies and had to fit it on 1 c.d. only ,I think I would include Rebellion is Reborn

Okay, I'll recycle my old posts from FSM: JNH or Joel McNeely. The latter is unlikely as he really hasn't done anything this high profile (but I'd be ecstatic if he was chosen). John Debney also seems a possibility. Silvestri (I read somewhere) did not get on with Cameron so doubt it would happen. Just please not HZ or any RC composers. They've cornered the big tentpole movie market long enough How about if Cameron gets four different composers, one to score each sequel. Then we can have JNH, McNeely, Debney and Arnold! They can even work concurrently, shortening the timelines and hopefully mitigating the risk of nervous breakdowns Seriously, one composer committing to all four sequels would be quite taxing, based on Cameron's modus operandi and the timelines for this project. Didn't Horner work on the first one almost exclusively for a whole year? To summarise: Worst case: Zimmer or one of his minions Best case: James Newton-Howard or John Debney Left field: David Arnold, Don Davis, Joel McNeely, Bruce Broughton Possibly: Horner's former collabrators including Simon Franglen, using Avatar as backbone (similar to what Kamen's people did for Back To Gaya).

Kennedy could easily have done that with any composer out there. Composers are work for hire, be it for a whole film or theme. I do believe Williams wanted to do this himself. If you think, he has a theme (or at least a motif) for Luke, Leia, Yoda, Rey, Poe, Vader, Kylo etc etc, but no theme for Han. Now he gets to have the main characters covered for his oeuvre.

It's wonderfully eclectic, and i guess that's why it got by Scott's merciless scissors. Still, Pemberton is a deft composer with some talent.

See above. No one except some touchy people here ever suggested Williams expressed himself in an unpolite or uncollegial way. But if the score didn't sit too well with him, what people expect him to do?

Ferdinand by John Powell. Karol - who decided to try out the Spotify Premium account today

Says who?

I find TPM to be the most watchable of the PT.

Actually I'd forgotten about Prisoner of Azkaban, a legitimately well made film. The best one.

What? The Potter movies are the definition of franchise adaptation pedestrianism, they're wholly unremarkable from beginning to end.

yes we can If they'd release Williams scores properly the first time around we wouldn't have to go through this every time All that does is re-enforce my pro-bootleg,recording sessions leak, illegal downloading of anything you can get your hands on stance and makes me despise the studios in charge of releasing this music that make us wait 25 years to hear it

"I like Giacchino and I'm unable to deal the possibility that someone I admire might have a different opinion."

Calling it now: Williams will fall in love with Emilia Clarke's character and insist on scoring every moment of her. John Powell gets fired. Ramin Djawadi is removed from Game of Thrones at Williams' demands, Daenerys Targaryen's theme instantly enters the public consciousness. Suddenly he is more prolific than he was in the 70's and 80's. JW ages but never dies. He outlives us all.

Listening to this score has made me appreciate all over again how often JW absolutely nails finale music for films. Basically all of Close Encounters builds up to the final 10 minutes or so and JW pays it off spectacularly. He did it again with ANH with a rousing, heroic finale. Then with ET and that awesome brass. Fast forward to TFA, and JW is still writing brilliant music for the finale of his film scores leading right into the end credits.