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Updated to include Minority Report and Monsignor. Hopefully we can tick a few more off before the end of the year

Well, tease or not, I like the video!

Chewie looks like Butt-head in the new photo.

The 8-horn section on this score was phenomenal !! Here's my transcription and cover of 6m3 "Take to your ships"

That is JW's percussion concerto!

We need a poll. "Would you rather listen to a one-hour loop of Banning Back Home or to a compilation of indistinguishable Hans Zimmer action cues?"

That's what happens when Mike Matessino isn't in charge I guess.

I didn't care for Frozen. I prefer Batman & Robin for my fix of cartoon snowmen and empowered women.

This one truly is stunning

I like Banning Back Home, it's a nice change of sound from the rest of the score.

It's way too inspired and lively for elevator music.

Once again a nice interview of Powell! He really his a composer I like and easily take the second place after John Williams imho. BTW: he talks a bit about Williams

I think @DominicCobb was referring to reshoots. TFA definitely recorded the score until mid-November but I didn't think TFA had reshoots as late as TROS.

I'll say it. I miss Chewie's nice Return of the Jedi hairdo.

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I've got one of those.

Since they are still recording and the Vienna concert will happen, I hope more Bruckner style, like the Spark. 😎😍

Always loved this cue: Williams suspense/conspiratorial scoring was simply amazing circa 2002: the Kamino music, Presenting the Pre Cogs, The Arrival at Tatooeine (specifically when the Lars family tells Anakin what happened to his mother), the wonderful Anakin Changes, The Writing on the Wall... But Petrified Justin is by far my favorite. The low key performances of Philosopher's Stone 1M1 Prologue, the Spiders theme and the Chamber theme create a creepy, unsettling atmosphere. Then, starting on 1:36, we hear dramatic, sad strings and harp as Harry says to McGonagall he is innocent, but she says only Dumbledore can help him now (or something like that). The combination of Williams' music with Maggie Smith's performance really sells the idea of the horrible gravity of the situation, all culminating in a great fanfare for Dumbledore's office. It's very easy to fright moviegoers with jump scares and dissonant violins. But much less common is to create an atmosphere of danger and menace, specially on a kids movie - in other words, when not even the head of your house compreehends entirely what is happening and how to stop the attacks, well, you're fucked.

Do it!

The film version is better.

Banning Back Home film version was one of the best tracks on the La-La Land CD because it wasn't even on the bootleg. It's a wonder it was included.

Nice. Does it attract a lot of girls?

They’re almost certainly from Episode 9: both posts were tagged by JKMS with #studiomusician.

Yeah. Soon, Concord and Bozereau will make it all right.

Mission Impossible - Fallout by Lorne Balfe Just listened to a complete edit that was circuling around. Balfe has been the most loyal and devoted Zimmer apprentice - and by that, I mean the one that followed his gospels more faithfully, instead of comitting the heresy of creating his own musical voice (like Powell, HGW and, hell, even JXL). This score sounds like a mix between The Dark Knight Rises, Inception and Mad Max: Fury Road, and him turning the classic Schifrin themes into RCP-style epic anthems is woefully misguided. It's rather funny to see Balfe posting enthusiatic pics of the big orchestra he used on his social media, when if fact the whole score sounds very overproduced, much to the way people seem to like these days. Look, this guy clearly have (some) talent. I really like the Ethan's regret theme, it is sad, emotional and gives the movie almost an apocalyptic, fateful, vibe. However, the action music, with a few exceptions is uninspired, unoriginal, boring and tiresome to hear. Anyway, it's not the worst score ever made, it's probably not even the worse of the last year. It has some good ideas and great moments. But I would really like to see Balfe developing his own identity, instead of just copying and paste his mentor on everything he does.

The La La Land Records expansion was just a warm up. We haven't seen nothing yet !

How do you know it's boring if you haven't read it? How else do you plan to obtain enlightenment? With the Sequel Trilogy, many are already claiming "amateur storytelling". Perhaps they just don't understand the trajectory of the Saga and that this continued story is consistent with the previous episodes, with and abundance of clues that foreshadow events to come. The truth is, Lucasfilm conceived a plan for the Sequel Trilogy and stuck to it. The risk they took was in the manner of its presentation: Playing peoples' expectations and preconceptions against them... then executing the finale, blowing everyone away. The events that will conclude the Saga will be unexpected to most, not because the story didn't make sense, but because people didn't think these film makers had it in them to truly surprise and impress. Some of JJ's recent statements: “Some people feel like we shouldn’t revisit the idea of Palpatine, and I completely understand that. But if you’re looking at these nine films as one story, I don’t know many books where the last few chapters have nothing to do with those that have come before. If you look at the first eight films, all the set-ups of what we’re doing in IX are there in plain view.” “This is about bringing this thing to a close… if years from now, someone’s watching these movies, all nine of them, they’re watching a story that is as cohesive as possible.” “...we are not screwing around.” I'm curious, what about the writing do you think is JV-league? Do you have an idea of where the story is headed? If not, perhaps it's your discernment and understanding of Star Wars that is JV-league.

Parasite - Jung Jaeil Surprised that I haven't seen this show up much on this forum yet. The film is fantastic, and the score a big part of why the tonal shifts are able to work so well. Jaeil is in full command of his music, love both the classical first half and the thriller/drama second.

Completely disagree, TLJ sounds nothing like ROTS in my opinion, it's very much a continuation of the leaner sound he established in TFA. I'm not saying he's not capable of recapturing his previous styles, I'm saying that he's chosen not to for Star Wars. The march in that video is clearly modelled after the Droid material from TPM. It's too much of an emulation to be his new music. Could be a Gordy Haab for all we know, but I'll bet the farm it's not JW.

When the concerts were scheduled for last year, several people emailed the ticket office to ask if there was a chance that they would be recorded, and got the reply that the plan was to record and release them. At least one person asked if that plan was still current and got a a reply confirming that it was. Not an actual official announcement, as I said, but presumably from a sufficiently official source.

yep, it sure did. https://www.yahoo.com/entertainment/charlie-angels-fell-grace-box-144129679.html

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The dark knight. I feel really conflicted about it, so I’ll start with the two things that can’t be disputed: Heath Ledger is simply fantastic and Gary Oldman is brilliant. Other than that… I don’t know. Maybe I’ve watched too many Marvel movies, maybe I’ve just become too critical over the past eight years or maybe this movie just isn’t as spectacular as I once thought it was. I especially found the beginning rather disjointed and one or two sentences explaining motivations would have been really welcome. Then, there’s this growling Batman driving me up the walls and the conversations about what a hero is, might be, shouldn’t be, but could be. It’s all food for thought, but it somehow just didn’t work for me. Rachel’s death still made me sad, but only very briefly. If the movie failed to capture my attention, the score certainly didn’t help either. D minor, D minor, A minor, tracked Batman Begins material and some interesting James Newton Howard moments. The Joker’s identity would have been so much more interesting if this hadn’t been Zimmer’s 56th score in D minor. And then two scenes that could have been really emotional get truly horrible music: Dent mourning Rachel in hospital and the prisoner disposing of the detonator. In conclusion, my mother’s exasperated sighs said it all.

At this point I don't care who composed this because it sounds great and I want to hear it in its full glory. Now, my bet is that it's Williams.

Lady and the Tramp (2019) by Joseph Trapanese Really enjoyed this one. More than warm and pleasant, I think it has some substance to it that hits the right spot. The orchestrations are lovely, crafted with some care. The enveloping "A Home" is a notable example. And there are some moments of surprising harmonic vitality, like in the opening of "Busting Peg and Bull" A nice listen indeed.

Y'all sure know how to keep it positive... It’s like King Mark vibes. ”This cue will probably be unreleased for decades”

What saddens me is not that they are still recording and asking Williams to write new music or do rewrites due to scenes changing until the very last minute. What bothers me is that it won’t prevent the music to be butchered in the editing process.

The Stones are all holy grails of mine.

Tell me they’re preparing a LTP score or something, not that they’re still recording.....

Just in time for the 2020 election: The John Williams / Oliver Stone Boxed Set. The complete scores to Born on the Fourth of July, JFK, and Nixon. All of the Americana music to express the hope and promise of the process, the sinister music for the dirty tricks and unspoken realities of the process, and the edgy modern music to underscore the monster clusterfuck that we all know this election will devolve into. Whaddya think? Too bleak? I don't think we'll get any more JW music than we know about currently. But I will be glad to be wrong.

Disney is beginning to go down a very dangerous path with its newfound power. Imagine in the future when Disney's dominance is all-encompassing and their streaming service is the only one which future generations will be acquainted with, and episodes, seasons, films etc. are all purged from history without any democratic process or deliberation. No one has DVDs anymore, or any way to play them and the state propaganda is all they will know. Yeah, it's their platform and service so they can cut what they want, but why not let the viewer decide for themselves? Why must we be told 'no, this is bad!' like we're children?

In Jeff's latest episode of "The Baton", I joined him as a co-host to discuss one of JW's most underrated scores, The Fury https://thebatonpodcast.podbean.com/e/episode-48-the-fury/ It was lovely to be a guest of Jeff's show, he's very dedicated to this thorough job. I look forward to join him in other episodes in the future!

That tremolo in uplifting chords reinforced with brass.. amazing. The repeat in the bass line as Legolas prepares to leap onto the Oliphaunt is a great example of Mickeymousing. And then the triumphant melody that follows is a perfect resolution to the fearful and dwarfed by behemots beginning of Dernhelm in Battle. I like the double arc in play here: 1) Eowyn starts in a disguise and ends as an identified heroic warrior - it's even in the titles of the two tracks 2) The menace of the first track are the Oliphaunts. The second finishes with their defeat. Doug Adams said about it: The music dives steeply into crackling fanfares reminiscent of the great tradition of cinematic spectacle. Shore recalls, “If I was ever going to write in a Max Steiner vein, this was it!” Before turning Berliozesque it sure resembles the big Warner Bros fanfare! Edit: Warner Bros is the holding company of the film's distributor, New Line Cinema. An awesome coincidence. Edit2: As if all that wasn't enough, when Legolas dangles beneath the Oliphaunt and cuts the ropes, Shore mimicks the fanfare from when Luke dangled under the AT-AT and used his lightsaber.

BOTFOJ 30th Anniversary would be a welcome surprise! But considering JFK has been tied up for so long... Would an Oliver Stone box set be possible this year instead?

Slut!

I recently watched The Reivers on blu-ray (actually really liked the film a lot - the score fits it well). I was not keeping track of the score and comparing it to the CD release, but I am almost 100% sure that the music that plays at the end of the horse race is not represented on any release. There is likely more missing, but that definitely stood out to me particularly because the first part of the horse race is not scored at all (or at least if it was scored, the music was not used in the film mix). So, I am hoping there is more to get from that film should sessions be found. Next year is the 50th anniversary. I think it's a very, very important part of JW's output being around the point when he went from his TV work and comedy films to full time big film projects and because the score was a big influence on Spielberg hiring him. (And also Mark Rydell and JW did 4 films together which is 3nd most (tied with George counting only his 4 directed SW movies) for a director collaboration behind Chris Columbus and Steven Spielberg.) Anyway, I want more Reivers!