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Absolutely glorious! When the announcer was listing his accomplishments, Williams was just like "oh get on with it already."

Unless they were releasing Balfe's score

Been busy and unable to listen to much lately - this is a hell of a way to end a dry period.

I think you guys are looking far too into this, thinking it's going to be from a prominent series. I guarantee it's going to be from some dumb cartoon or something that nobody cares about, by a composer no one's heard of.

How many can you poison and get away with it?

To make something truly dramatic, you have to have significant low points where the story is downright grim, so the catharsis of the end is that much more impactful. Specifically, in the case of Braveheart, the tragedy that looms over so much of the narrative is balanced with humor that's just insanely funny, to me. Not to mention that its always delivered in just the right spots for the audience to never too deep into the harrowing nature of the story - so there's that going for it, as well. It really is a marvel of editing, because the script is much different to the final edit.

Yes! Great popcorn movies with a lot of heart.

I have 2 questions: 1) Why hasn't anyone asked yet what is the music that is playing? 2) Why does it sound like John Williams but I don't think it's Williams and can't pinpoint it either?

The dumbest thing you ever posted here!

Ehhh when social justice types demand society's normies learn 64 new genders, goes berserk when someone assumes anyone's gender, wants a "trigger warning" in university course material, and seems to be headed up by Twitter and Tumblr's finest "ALL MEN MUST DIE" representatives, you know the movement has a severe image problem.

Tell me, friend, when did Nick the Wisecracker abandon reason for Mattris?

Wow John Williams looks great! So much energy!

If she were an SJW, she would've made a scene about the gender pronouns of hermaphroditic alien species who can't speak Basic and couldn't care less what they're called. Or how it's offensive to call Ithorians Hammerheads when they're much more concerned with Ithorian on Ithorian violence.

She highlighted the slavery, the animal abuse and the corrupt nature of the war, that's not being an SJW, that's being a fucking human being.

I'm not entirely sure if that theme fits neatly into a peg. It kind of doubles for the rocket AND the Nazis. I think I can find good examples for both. Nice job on the "Exposition Montage". I kind of wish you had left some of the song after the Lucky Lindy scene. As with the gunfire following the main title it's a nice contrast. (Y'know, I've been watching this movie for over 25 years and I JUST realized that after the obvious connection of "You're a Sweet Little Headache" that the next line is "I've a good mind to spank you and thank you for all you've done." SOMEONE wasn't letting Bettie Page go easily.) Johnston really used the whole frame in an era where a lot of directors were framing for eventual consignment to television. (Looking at you, Burton.) There's a few scenes in this movie that fall apart in 4:3. Thank heavens that's all behind us. To the music! Maybe I don't pay as much attention to the films or the music these days, but Horner is working his tail off! He's scoring scenes that are going to have to work with heavy sound effects where the music is totally obscured one second and audible the next. Of course it helps that the film is mixed so you can hear what you're supposed to hear. Ah, those were the days. Cliff's theme is kind of like The Imperial March in The Empire Strikes Back. It never gets played the same way twice. These cues are the kind of "filler" that you would never dream of getting on a record or CD back in The Day.

I also stopped watching new episodes of The Angry Video Game Nerd because I felt the show had lost its edge and the humour felt forced. Sometimes these things just die off. I still rewatch the old episodes routinely though. But bloody hell, there's no point in ranting about what it could have been. This is the problem with SW fandom, a sense of entitlement. Whatever the feminithts have done to the new movies, it's nowhere near as bad as George Lucas holding the original Original Trilogy in moratorium indefinitely. The prequels are still intact though and I at least get some kitsch value from those.

The pregame concert consisted of Olympic Fanfare, Harry Potter and Superman. Williams sat by the dugout during the performance

He doesn't really think there is any magic to this so is perplexed by the question and interest. It is sort of like asking anyone who is at the master level of their craft to explain how do they do that "magic" and the answers are probably all the same. Work their asses off, study, apply themselves. The goal is not to be a great composer but to be better today than you were yesterday. JW still studies music and still finds fascination in it.

Recently I had the wonderful opportunity of having my two piano arrangement of "Welcome to Jurassic Park" played and recorded by two outstanding pianists, Joshua Tamayo and Victor Cheng (who also recorded my arrangement of The Jedi Steps & Finale). Hope you guys enjoy it!

Goodor has no sound. Goodor needs no sound.

Yes, it's here. I've listened to it. I love it. It's great! And the tablecloth... (cue @Bilbo)?

Female and male characters are juxtaposed throughout TLJ, with the women unfailingly painted in the more positive light. I assume that’s intentional; it’s so pronounced and consistent that I read it as one of the themes of the film. I’m thinking specifically of Rose/Finn, Rey/Luke, and Holdo/Poe. In each case, the female character arrests, undermines, and/or lectures the male character for his actions (or inactivity), multiple times; and the audience is unambiguously intended to appreciate the correctness of the female’s position. Furthermore, if you consider Leia/Luke (the old generation of Skywalkers) and Rey/Ben (the new generation of Skywalkers, at least functionally), the female in both pairings can be described as steadfast and unflinching in the cause of right, whereas the males have both pathetically lost their way. We’re meant to notice and consider these parallels. Please, I’m not “threatened” by any one of these instances; I just think it’s fair to say there is an intentional pattern in place within the piece. I try not to let it jerk me out of the story and make me necessarily think about real-world SJWs or whatever, but as a theme of the film, it is fair game for deconstruction. Is it a very meaningful theme? How does it relate to the eternal cosmic war of good and evil? How does “The Force is female” work into this structure or shed light on it?

The other day I was defending Rogue One. Someone was talking about how they liked Powell using that SW 1977 Imperial theme in Train Heist. And I was like... Now hold on just a second: EDIT: Just to confirm, Solo>Rogue One score wise. But Rogue One's not all bad.

Agree 100% with everything you wrote, Fancyarcher! (Aside from really being able to pick a favorite Rambo score; as you say all three are superb.) Yavar

https://en.wikipedia.org/wiki/Mainstream_Records Well in addition to this latest twofer and Mandel's Harper, Intrada has in the past few years also done new editions from the original tapes for Jerry Goldsmith's The Trouble With Angels (expanded with film stems) and the unique Stagecoach album recording, paired with Malcolm Arnold's The Heroes of Telemark. Maybe a new release of The Collector by Maurice Jarre from original tapes? A new edition of Goldsmith's A Patch of Blue? Intrada put out their last edition of this over 20 years ago. Barry's King Rat? Rota's Juliet of the Spirits? There are also works by other obscure but talented film composers like Ruby Raksin (David Raksin's brother), Elliott Kaplan (no relation to Sol Kaplan as far as I know), and more... Yavar

Twin Peaks: Fire Walk With Me, Mulholland Drive, Eraserhead.

ALIENS. I don't know about "feel good" but it's entertaining and it ticks all the right boxes.

I'll be glad when this is OOP, then I'll no longer be able to debate buying it. UPDATE: I... actually just bought this... At least I'll be able to listen to JP on my CD system now.

You... you didn’t even directly respond to my post. You literally just rehashed the same old talking points you’ve been spewing in this thread thus far. You really are getting desperate.

That we don't have equal outcomes in most work environments doesn't mean that the concept doesn't affect our lives and may very soon start to affect our films.

I think we're an extraordinary way from seeing any real equality-of-outcome occur within our society due to the fact that we're still suffering from an abundance of basic inequality which doesn't seem to be going away. The fear of a concept that hasn't had any meaningful impact on our society is puzzling to me, because it often detracts the conversation from the existing problems that are very much affecting people. But back to the topic, one white woman in charge of a multi billion-dollar company which in turn answers to a large conglomerate of the most rich and powerful white men who have ever lived, and she's what we should be worried about in the world?

Social justice isn't a bad thing; but equality-of-outcome, with which its often being confused, is a very bad one.

The Golden Compass by Alexandre Desplat: While I still think Desplat's style is a bit prissy for fantasy outings this one is among his best. The Lost World: Jurassic Park by John Williams: Excellent, simply excellent. Snow Falling On Cedars by James Newton Howard: Mesmerizing atmosphere with a lot of quiet beauty to it.

Sucks that there is no film version of T-rex Rescue and Finale on the LL release. It works much, much better than the original scoring. It gives Rexy the heroic fanfare she deserves.

The Grand Synth beware. Return it shall.

Blade Runner, without question. Although I was introduced to Vangelis' sound via the Chariots of Fire album (and grew to love it), Blade Runner's music just exists in perfect symbiosis with the images. It's almost like Vangelis left a part of his nervous system with that score. Too bad only Chariots of Fire received an isolated score I also love Missing! That main theme works like gangbusters

Going by your criteria, I have so far come up with a subjective six: Memoirs of a Geisha, by John Williams The Lord of the Rings by Howard Shore Finding Nemo by Thomas Newman Crouching Tiger, Hidden Dragon by Tan Dun Jane Eyre by Dario Marianelli How To Train Your Dragon by John Powell Ah, but he says one film per composer. Makes things a challenge.

I'm excited for the new LLL/Universal series: "The Jurassic Park III Collection." Every month for the next two years, a new release of Jurassic Park III.

Why don't we star our own record label? JWFan Records - Bigger, Better & Uncut.

They are performing the original Star Wars (A New Hope) in Concert here in Helsinki on the 8th of September 2018. Naturally I'll be there. There also seem to be plenty of tickets left. Not that I think many would make the trip outside of Finland. But hopefully other Finnish JWFans have their tickets already.

But Obi Wan is keeping an eye on her, even though he's got the lower ground.

The most interesting character is

Padme Got a Blaster.

Quite true. What frustrates me is that Rey has the potential to be unquestionably the most interesting character in the franchise. As it is, I think Ridley does a quite good job with what she is given.

Just went through the bootleg and all the music (with one exception) can be obtained legally by getting the original soundtrack (currently on Lalaland), Pops Britannia (Boston Pops/Williams), one of the Silva Screen compilations featuring their own transcription of three pieces from Jane Eyre and "The Prince and the Pauper" (National Philharmonic/Gerhardt) on Varese Sarabande (from earlier releases on Reader's Digest). That's just for the first half of the album, that runs for about 65 minutes. The tracks from the several releases are mixed through the 22 track presentation. For example, "Prelude" (track 1) is "Carriage Ride to Thornfied" from the Gerhard recording. "Jane Eyre Suite" (track 2) are the two outer moments of the suite combined from the City of Prague Philharmonic recording on Silva Screen records. Tracks 3 and 4 are played gapless and are the "Overture" from the OST (track 2 on Lalaland's release). This trend goes through all the 22 tracks including some reprised ones. The exception is "Jane Plays the piano a little bit" that I wasn't able to locate its origin. I might even have it on some compilation, but can't pinpoint it. As for the second half of the program, runs for about 25 minutes and I'm betting all comes from commercial releases. Surely "Londonderry Air" and "Greensleeves" (tracks 24 and 25) come from Williams and the Boston Pops' "Pops Britannia".

This bootleg is the music from the album, plus the suite from Pops Britannia, one track from a Charles Gerhardt Reader's Digest recordings (released on a Varese Sarabande compilation) and music from whatever sources they decided to use for the period music tracks. I was sent a CD-R of this years ago, and listened to it once. Can't recall if there was anything ripped from the film, but I believe the creator of this program edited the album tracks probably to match the film order/edits. Also, I believe that some of the "period music" tracks actually come from Pops Britannia, but might be wrong... I might check this one tomorrow just out of curiosity -- since Lalaland's release, that has been the only way I listen to this score.

TFA and TLJ are sort of equals. TFA is a mediocre concept executed extremely well. TLJ is a very good concept executed... not that well. Karol