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When you keep talking about 'scores' when you're actually referring to OSTs you're confusing people.

I suspect, if Anthem of Evil is Psalm of the Sith, then it was initially tracked to resemble something like this: Of course, the final cut plasters Vader's Castle over the Anthem of Evil theme, then fragments of Final Saber Duel over the rest (plus other incidental evil music that we can't place, because it isn't in the spreadsheet either). It's conceivable the entire Star Destroyer reveal originally belonged at the end of the film, and this is what Williams scored to accompany it.

https://www.orchestraltools.com/store/magazine/view/33 Richard Harvey talks playing the “Window to the Past” solo during the Azkaban sessions.

All right, a few thoughts: -The score is much more intimate than I remember. Most of the beginning of the album is melancholic, intimate music by The Chieftains and orchestra. It reminded me a little of parts of Hook, the more subdued music of the first reels (Wendy's Entrance, The Bedroom, Looney Wendy, etc.), for tremolo violins and celeste. Of course, both scores were made in the same period of JW's career, one of his most interesting, I'd say. -But that, of course, only leads to a bigger, impact when the orchestra returns in full force for the ending. The Big Match, The Land Race, all glorious orchestral tracks. -This is probably the most James Horner score of Williams' career. I can only imagine if Howard didn't tried Horner before, they had already worked together on Coccoon by that time. The Joseph/Shannon love theme sounds like a Horner love theme, and had Williams wanted to put someone (Celine Dion?) singing a version of it for the end credits, it would've been a hit. -The finale on Joseph and Shannon is one of my favorite tracks. It begins with pretty sad, melancholic music (again, in a James Horner sort of way), then it ends with a glorious performance of the main theme. -End credits are awesome too. -Williams should've made more romantic epics like this. I would love to have seen what he could've done for Titanic... lol.

This is mickey mousing done right, in an intelligent, thoughtful way! Williams certainly nailed his first animation score. And you're right, Williams is very disciplined with his themes - probably even more so on this latter phase of his career (see the Star Wars sequels). He wrote perfect, adequate themes for Tintin, Snowy, Haddock, Sakharin, Baggar, a duel theme and a mystery theme for the scrolls, and their performances are always in amazing consonance to what is happening onscreen. I watched the movie this week, and unfortunately much of the score is dialed out on the final product, which I thought it diminished its impact. For all its precision and intelligence, it could've (and should've!) been a JWFan favorite by now, but the fact that the movie is controversial (some people like it, a lot don't) and the score is so low on the film, probably prevented that. Therefore, you're doing a great job with these score only videos, which only show how great the score is.

The Mandalorian 1x04 Sanctuary That was awesome! Easily the best episode of the entire series (so far). I pretty much loved it from start to finish. It kind of reminded me of a random episode of some 90s TV shows, like, I dunno, a Hercules or Xena or Stargate or Star Trek or whatever; Introducing you to a new place, our hero comes in, makes friends, saves the day, takes off. It was a nice little self-contained story I really enjoyed. I liked the cold open setting up the plight of the villagers, Mando arriving and getting bone broth for the child (how does he know what it likes to eat anyway?), fighting with Gina Carano and then Eugene Cordero (Pillboi!) asking him for help, the whole training montage, the big battle, the child making friends and playing with the village children, and the fact that they couldn't even stay after everything that happened. Gina Carano's character seemed interesting enough and I assume she's coming back or they wouldn't have cast someone like her in the role. The one villager lady Mando gets close with was pretty good too, and it was interesting to learn more about his helmet (in a prior episode when he said he's never taken it off I thought we were meant to take him literally so it was nice to see him take it off here). The AT-ST was awesome! One thing I like about this show is that it takes ideas and concepts from the SW movies I grew up with as a kid and does them better with modern technology. We had the Jawas done better in episode 2 and now AT-STs done better here. I loved how they tricked it to going in the water. The child gets cuter every episode. The music was again great, I loved the training montage and all of it really. I was shocked to see at the end that this ep was directed by Bryce Dallas Howard, mostly just that a first-time director could pull off this pretty elaborate episode! I guess she learned a lot from her dad.

Just wait until you see what I've discovered with the Speeder Chase!

Just goes to show that even he had been writing good pirate music before he started writing bad pirate music.

The world really is turned upside down these days. An obscure new Goldsmith expansion is announced and Yavar *isn't* claiming that it's secretly an essential score that we should all be falling over ourselves to order?!

One of my favorite tracks from this score is "Crimebuster" ! There's some really fun horn parts in there like at 2'17 (I'm probably the only person in the world who took some time to transcribe this )

Composers have been writing great pirate music for decades before Zimmer came along and started writing bad pirate music.

2nd video - Escape from the Karaboudjan a.k.a. the most gloriously scored punch in cinema history This is another one of Williams' stand out action cues from the score. Themes presented are Tintin's heroic theme, Snowy's theme, Sakharine's theme and the Bagghar theme. This is one of the cues where Tintin's heroic theme really gets to shine as he basically becomes an action hero here throwing punches, shooting at bad guys and doing generally heroic things and Williams graces every one of those instances with a bold statement. Other individual moments synced apart from the awesome punch are Tintin shooting at the boat harness, the flare, the ship destroying the boats, the bottles bobbing up and the airplane reveal among others. Williams is also very disciplined as you can see - when Tintin appears his theme appears, where there's a Snowy scene, there is his theme, when a cable to Bagghar is scene that location theme is heard and finally there is Sakharine's theme heard for his villainy. And of course it is all very propulsive and exciting action music!

A short guide for the uninitiated: Random guy: "I love the Indiana Jones soundtrack" = "I love The Raiders March" Thor: "I love the Raiders of the Lost Ark score" = I love the 40-minute Raiders of the Lost Ark original soundtrack album

No, the opposite, in fact. Your opinion is wrong. Please change it immediately.

Sabrina >> Stepmom

Wrong about Stepmom not being boring? Yes.

I've been working my way through the Film Score Monthly Ron Jones box. I'm on disc 7 right now which has "Up the Long Ladder," "The Emissary," and "Shades of Gray."

That whole minute will make all the difference!!!

If you’re a Jerry completist you’ll want it. I spoke to Doug privately about this last year, and he told me basically that it would be a major improvement over the FSM. A lot of tech advances have occurred in audio restoration technology since those earliest FSM Fox titles, with the Rio Conchos restoration being the most dramatic improvement from the same sources (for Goldsmith at least...Kritzerland has done wonders with some Golden Age Fox titles too of course... Prince of Foxes probably most dramatically this past year). It used to be that in cases of bad wow, pieces either had to be micro-edited to remove the bad moments, or tacked on as “bonus tracks” at the end (see Waxman’s Prince Valiant — now THAT classic Fox score really needs a modern restoration next!) Morituri was a case of the former, where (as Doug mentioned in his column) about a minute had to be snipped out due to (at the time) unfixable sound issues. Now they can be fixed and we can have the whole thing in great sound! I’d be lying if I said this was a favorite Goldsmith score of mine (not that I ever hated it; it just never clicked with me), but I do look forward to reassessing it now. Yavar

I really really dig this Gail Kubik sonata from 1947.

Still, an early demo that got used instead of the actual score. As said on the booklet of the LLL:

Indy deserved so much more. Far and Away is by far the better score. Doesn't strike me as particularly auto-pilot-ey at all. Quite some inspiration in that Irish element, I'd say.

That's correct.

I'm not sure about Avatar, but this clearly happened in Titanic. One example is for the scene on which Jack draws Rose wearing the Heart of the Ocean. On that scene, Cameron listened to the demo of the love theme on piano, and decided to use it on the final cut.

If anyone is interested, the Quartet website has the CD listed as available and with a 30% discount: https://www.quartetrecords.com/product/the-long-goodbye/

I agree, it's not a big deal.

You find it arrogant that he asked a good friend of his to write one short piece of source music? Seems a bit extreme. Also every director on earth brings in their friends to be in their films, typically is background roles that need to be filled by random people anyway. JJ isn't some ego-driven maniac, he's just a typical director doing his job and having fun. What's so bad about that?

It is a pity this score is not better loved. I think all the pieces are in place - it has a good album, it received an against the odds academy award nomination, good reviews, and yet not many champions. I was obsessed with this score when it first came out. I still love it. The movie I actually thing is fantastic as well. Very well done adventure story with Spielberg showing enormous spirit and dexterity in the staging of several sequences. I actually love the fact that both the film and score are extremely busy and jam packed and barely pause for a break before bolting in with propulsion.

Hi everyone! Here's a cue in prep for the first task. We hope you enjoy the buildup and some character moments of Cue No. 17: Dragon Selection.

Fixed

The music editor certainly put a lot of effort into it!

I think the 'Love Theme' from the film is one of Williams' best themes from his lesser known 80's scores. It's such a classy, long lined melody. Heard best at 2:04

Rosario Dawson Cast as Ahsoka Tano

And Covid van Tutte!

Right after Mozart's The Magic Flu.

Tchaicoughsky.

James recently updated that its coming out very soon.

Was listening to Angela’s Ashes and I was half expecting The Speeder Chase fanfare to start at the beginning of this cue:

Here's my latest composition: The first few seconds have been floating around inside my head for the best part of a year, so I finally decided to make something out of it!

Mission: Impossible by Danny Elfman. I like the two Giacchino scores and the Joe Kraemer one very much. But this is the best outing in the series and definitely one of top 5 Elfman scores. It's just so playful and fun with plenty of thematic material to keep me engaged. Extremely intricate which is a surprise given how much of a rush job this was. It's respectful of the TV series in approach but also so Elfman. Both the OST and LLL are good. It's fun to hear the whole thing but I just love some album edits too (The Heist track). Karol

I don't think Jerry is taking on new projects in 2020.

Yavar will trot out this stuff until the labels release 1.000$ one-man cd's just for him.

Please sum this up in ten words or less.

Loved the episode and greatly enhanced my appreciation for Menken's underscore, which until now, had only truly grabbed in Hunchback of Notre Dame

The new Empire Magazine podcast is an interview with Giacchino and David Arnold ahead of their RAH concert https://www.empireonline.com/movies/news/empire-podcast-michael-giacchino-david-arnold-star-trek-sherlock/

Maybe we can crowdsource an answer to the question posited in the latest episode. Apparently, several members of the MSO strings section whispered Sibelius to one another after rehearsing the Arrival at Cloud City cue from ESB. Dan is a fan of Sibelius but couldn't draw a parallel. Anyone else drawing a link here? Side note: This podcast really reminded me how bloody good this score is. Williams firing on all cylinders, one incredibly potent idea after another. Recommended listening to anyone unfamiliar with the AOTS crew, they seriously know their shit.