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please god stop with the williams/daisy jokes im sorry i literally cant take it anymore

Well, in this case the audio description was really good. A good narrator can be really important, but here it was obviously critical. Case in point: I was unable to enjoy/understand Minority Report because the descriptions were terrible. What I found really interesting is that even though I have absolutely no idea of what light and dark is, the entire Jupiter sequence was still spellbinding because the way he described it made it... I don't know, comprehensible? I think I found is as odd, weird and captivating as normal people.

Agreed! It's not even that it's just annoying like those "Could have done more" jokes anymore. It's actually disturbing and wrong. Thanks for speaking up!

Chen, I don't recall any topics made by you before. Clearly, the universe wanted to bequeathe this opportunity upon you.

I think this is one of those scores that single-handedly saves the film and the Prequel trilogy. The execution of all the dramatic sequences in ROTS danced on a very thin-line between actual emotionally charged scenes and typical melodrama . It was heavy material, something that Lucas was never good at portraying, maybe only matched by the death of Uncle Owen and Aunt Beru in ANH (although could've just been lightning in a bottle). The score carries the back half of that film like I've never seen a score carry a film before. That score saved the Prequel Trilogy and people left that theater believing in what the Prequel Trilogy was. It could have ended awfully, but Johnny didn't let that happen.

(UPDATED February 4, 2020) PITTSBURGH‘An Evening with Honeck & Mutter & Williams’June 9, 2020The Pittsburgh Symphony Orchestra conducted by JOHN WILLIAMS and Mandred Honeck. Anne-Sophie Mutter, violinPerformance details – Discussion thread

Everything in it, the new themes are gorgeous, little bit softer style than in(brilliant) TLJ, wonderful orchestrations and performance by the orchestra. Great closing for a great decade!! Love this man.

Zzzzzz....

Especially when you don't know how to do it.

Why in the HELL do you need 3 composers to do one cue? Is this some sort of light bulb joke? How many RC composers does it take to exchange a light bulb? It doesn't matter because they're all using broken light bulbs from 1999.

Perhaps that was also achieved through Williams (and everyone) believing it would be the conclusion to the saga. There's a forcefulness and inevitability to some of the finale that makes think that this was Williams pouring his heart out and saying 'This is it, this is how it all ends'.

Full credit! Source: http://hans-zimmer.com/index.php?rub=disco&id=1808 Wake The Girls (2:37) John Powell Train North (4:02) John Powell Skagway, Alaska (2:31) John Powell Snowy Climb (1:25) John Powell, Paul Mounsey First Sledding Attempt (2:27) John Powell The Ghost Wolf Of Dreams (1:06) John Powell Joining The Team (2:59) John Powell, Batu Sener Ice Rescue (2:26) John Powell, Batu Sener Sometimes Nature's Cruel And Gods Fight (4:57) John Powell Buck Takes The Lead (4:54) John Powell, Batu Sener We Carry Love (3:02) John Powell, Batu Sener Couldn't Find The Words (2:22) John Powell, Paul Mounsey Overpacked Sled (2:31) John Powell, Paul Mounsey Newfangled Telegram (2:23) John Powell In My Bed? (2:54) John Powell Buck & Thornton's Big Adventure (4:36) John Powell, Batu Sener Finding Bears And Love In The Woods (2:57) John Powell They're All Gone (2:51) John Powell Rewilding (3:48) John Powell Animal Nature (2:34) John Powell Come Say Goodbye (2:09) John Powell What An Adventure (3:02) John Powell The Call Of The Wild (2:51) John Powell Quite disappointing that the highlight of the score such as "Buck takes the lead" and "joining the team" are not truly solo Powell. But its understandsable as those two tracks are like a combination of separate little tracks stitched together. So i guess Powell did the heavy part of the track, and the easy one to Sener. Nonetheless, im happy that this is mostly a solo Powell score

THANK YOU!!

I’m genuinely curious bolle, how 2001 functions without a visual medium. And that it moved you regardless, goes to show the power of the work.

2001. Wow. I just don’t know what to say. Two years ago, people on this forum were astonished that Close Encounters didn’t make me wonder and feel curious. Well, now I finally wonder. What an experience. The only thing I still want to know is what Hal was going to do if Dave hadn’t stopped him. Incidentally, Hal was my very first screen reader and it was not intelligent at all, couldn’t locate the braille display connected to the PC it was running on and basically had trouble with everything else. The use of music is fantastic as well. Not sure how I feel about the re-use of certain pieces yet, but I’m quite confident I will not like whatever Alex North came up with instead.

I'm 2/3 through the album and it's a fun score; albeit not quite on the level of HTTYD. The main theme is rather nice, and it's stuck in my head by this point. Not the most original thing Powell's ever come up with, but I think it does the job. I think there's more than one motif going on, particularly in the first track - either that or the theme is longer form than first meets the ear. Woah, Buck Takes The Lead is awesome

Greetings, all of you! I wanted to share with you my first major feature score, written for André Øvredal's MORTAL. The film will be out in theaters worldwide this year, and the soundtrack is already up on Spotify (and elsewhere eventually; CD will be available as of next week). It's been a great privilege working on this, as André Øvredal is such an incredibly gifted director (Scary Stories to Tell in the Dark, Troll Hunter, The Autopsy of Jane Doe), and also deeply passionate about film music. The score is performed by the Stavanger Symphony Orchestra and the Budapest Film Orchestra, and features solo work from Nils Økland (Hardanger Fiddle), Ditte Bræin (Soprano) and Kåre Nordstoga (Organ). Hope you'll enjoy! https://open.spotify.com/album/4ULpjMKTlWxQAZZyxvEJpV?si=TwRrf8y0SKOu3TSsRjyQCg

I tend to tune out every time I listen to a Desplat score. He tends to meander.

Another few items:

I wish I could find that really funny without realising it might well be the truth.

No more Daisy/JW jokes? Fuck! *Deletes camera roll full of photoshopped images*

I don’t think they’re saying it’s a prequel to Episode IX. The “underworld of Exegol” comment seems like just a clever way to say it’s being kept secret and nobody knows.

"Hans will do the work when it's a personal project for him" is just an apologetic translation for "he'll do the work on projects with the most marquee value".

Call of the Wild by John Powell Karol

Whatever way you slice it, GONE WITH THE WIND is among the greatest films ever made. Sure, it's a product of its time, as all films are, but it needs to be viewed in context. What's next? Will THE GODFATHER be banned, because it stigmatises Italian-Americans? Will OLIVER! be banned, because one character is offensive to Jews? Fuck's sake.

John Williams upon gazing upon Daisy ridlely, "i could have done more!!!"

Agreed, give it a rest. If nothing else, the "joke" is old at this point.

Seems it's also up on YouTube. Here's a little teaser of sorts:

The Tree of Life, especially after seeing the extended cut

What do you mean? It's still Powell! How do we know the cue wasn't 95% Powell and 5% Sener? I've always seen this as the lead composer writing most of it, with his collaborators helping out and getting credit.

JWFAN. Here to ensure every composer is dutifully credited.

HanZ, of all people, has the power to influence this shitty practice, which suspiciously enough has become worse under him.

These last two "jokes...."

This is one of my main problems with HanZ: taking full credit when others have done quite significant contributions to the composing of the score. That, and his tendency of extreme self-plagiarism.

Yeah... The Sherlock scores were solely credited to him, despite Balfe helping - and that probably costed Lorne an Oscar nomination (he'd be the first RC alumn to do it if he got credited as co composer for Sherlock, doing so one year before John Powell). Pirates 4, Lone Ranger, Rango, all of them are mostly Zanelli, I think. On the other hand, BvS is credited to him and Junkie, but apparently he worked way more on that score than Holkenborg, which was busy with Deadpool. Conclusion: being credited on something usually means next to nothing when it comes to these RC people. lol

Wow. It has been some time since JWFan got to witness such unbridled optimism from TheGreatEye himself!

I like his Ice Age scores as well, and I love Ellie's theme from the second one. Pure Powell fun! Rio's main theme is pretty great as well:

No, it's not a temp thing. Powell just doesn't really tread new harmonic or melodic territory, so a lot of his stuff naturally bleeds into each other. But because its done so damn well, and he's one of the few composers still actively exercising the full colours and range of the orchestral ensemble, you could forgive him. I'm looking forward to checking this out. You can always count on Powell for a good ride!

Every cue of The Rise of Skywalker is better than Portals.

The crucifixion as a horror score, complete with jump scares: Also, Duel of the Fates at 1:09.

Well we've already got an optimist for the thread! Let me play the cynic! With that said, let me brighten up the thread with some Faure:

Its a 5 star score. One of the 21st centuries best.

Probably between The Ghost Writer and The Painted Veil. Two great, consistent albums. Desplat's OSTs are generally just too long. Too often it's a great opening cue, followed by an hour of filler material that drowns out the good stuff. The man needs to curate/trim his presentations.

Black Panther by Ludwig Goransson. I bloody love this score, definitely one of the more fun, colourful, imaginative and just plain fun blockbuster scores in the past decade. It fulfils all the modern fad requirements of big studio film music and at the same time is cleverly written and carefully crafted. There are ideas and textures in it that vividly describe the world portrayed on screen and these ideas evolve and develop. Bit like Avatar but better. It's just a joy to listen to. Karol

The irony of that being a digital exclusive for the film score fan base that still purchases and relies on physical cds. Ughh.

I made some minor tweaks to my OT revisionist cover set.

I'll watch another Bond movie when it has a title song like this again. The franchise has become such a joke, why not go back full throttle (raiding Barrys old sketches).

Weird? I have no idea what you're talking about... Karol

https://youtu.be/ydgnM2fYAkA Doc looks amazing.