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That leap of logic about Hammond is absolutely genius. To celebrate it, I created something special: For those who are not real JWFans: 1. Krzysztof Penderecki, a classical composer born in 1933, also a friend of ASM 2. Dumbledore takes memories out of his head and puts them into the pensieve so that he does not have to remember 3. Did you know that John Williams stole from Holst? 4. Sony Classical put the photo of Guitar Williams in their Twitter post celebrating JW's 88th birthsday 5. Don Williams said that John has always been interested only in girls and music 6. Telling stories at Tanglewood! Edit: I noticed that some of my explanations already require a measure of fan knowledge. So advanced is this meme!

Star Wars Expansions: No Hope

LOL. Check out Oma Tres' official STAR WARS Databank entry: https://www.starwars.com/databank/oma-tres "As a bartender in Kijimi City’s infamous Spice Runners’ Den, Oma Tres has heard his share of discord – and on occupied Kijimi, the drums of war are part of the soundtrack of life. Tres can only hope the present strife will reach its crescendo and be followed by an era of harmony."

We should just give Thor his own thread to repeat himself in while those of us who actually like soundtracks can speculate and build up anticipation for future releases.

Social distancing.

I agree. For contrast, watch a movie like The Post. And watched even the side characters in any shot. Everyone has an inner life, everyone is doing something. Nobody is standing there being an audience for the leads. It's remarkable.

Let's face it, if Williams' daily routine is as he states in his interviews, the man has been practicing social distancing since long before the rest of us were born.

It has that typical Chris Columbus look. If you're familiar with the Home Alones, it looks along those lines. Gotta make those pale upper class white people look all warm and cozy in their enormous houses.

@Thor, unless they recently changed the time, they'll actually be announcing the releases in less than 30 minutes (10 AM Pacific/1 PM Eastern).

I have two fundamental problems with how Yates directs his movies. -Staging/Blocking: everyone on the frame is just standing and looking silently at the lead characters, without the slightest movement/reaction/energy. You have these flat wide shots of lots of people doing just nothing (example: in DH2 Harry comes back to Hogwarts, and after a few hugs, everyone is silently staring at Harry as if they were members of a choir on stage). -Editing: I find that there is absolutely no energy to the way he edits dialogue scenes (and many others). Long akward pauses between sentences, with each character waiting respectfully for the next line (the same scene in DH2 is a good example as well: long stares, no movement, and long pauses between each sentence). The combination of his lifeless staging/blocking of scenes, and his lifeless editing choices drains all energy from his films.

No. Flights have been cancelled only for human passengers. Not for cargo, products, and other stuff.

Twister Pretty much anything featuring Bill Paxton is good and a flick where he's a guy actually named Bill engaged to a charming beautiful southern belle played by the chick from The Lost Boys, wearing denim, driving a big red Dodge Ram chasing after tornadoes and constantly cursing sounds like a recipe for success. It was a big hit, of course. I've always liked it, even after they replaced the Ghostbusters show at Universal Studios with a reenactment of the scene where a twister rips apart a drive-in movie. It does capture not only that perfect 90s era when we were all happier with plenty of denim, plaid and alternative music, but also the feel of driving around the midwest/south which I have a fondness for. Helen Hunt is a bit Jodie Foster here. Cary Elwes nails the southern accent and is completely believable as the "villain" despite the fact that they both share the same goal of releasing the sensors into a tornado. The entire cast is great. The state-of-the-art twisters are animated by ILM with sophisticated computer technology and look better than real ones. There is also a huge amount of practical effects and stunts. Cars and large objects being flung around and blown up. It's pretty epic at many points. Soundtrack by Mark Mancina, Lisa Loeb and others. Produced by Steven Spielberg and Kathleen Kennedy.

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Knives Out by Nathan Johnson Listened once and thought it could use a trim from 52 minutes, so I narrowed it down to a half-hour program. It's quite good. The first track acts as a zesty and vibrant overture, as if born out of a Paganini concerto- it's certainly a keeper for shuffle playlists. What follows is a series of cues with plenty of personality, never failing to channel a classic sense of drama and mystery. There's a recognizable Herrmann-esque quality at work here (perhaps Elfman in Gothic mode, which is pretty "Herrmann" as is). There aren't many scores written with this sound anymore, and I suspect that it's a result of the film's attempt to hearken back to earlier whodunits in plot and score alike. On that level, it's certainly a success.

Other labels were brought up to make the point that *even if every Varese Club release is an expansion* (and that has never been the case), you still have plenty other sources to get the premieres you crave. There is literally no need for Varese to cater to your premiere-only tastes; your needs are met. On the other hand our needs (yes, they're wants really I know) for Varese to get a move on and expand their many 30 minute (and sub 30 minute) 90s albums before compact discs die as a format... these can only be met by Varese continuing to release expansions you don't care about. I notice you don't want to answer my question. I think it's because the reality is as I laid it out: whether a label releases a premiere, reissue, or expansion, you're unlikely to buy it unless it's a premiere of a previously-unreleased score by one of your three favorite composers (with maybe a few others like Top Gun thrown in, in addition). So you only care philosophically -- when Varese released the 100% premiere a batch or two ago of Laurence Rosenthal's Rooster Cogburn (don't be confused by them using the Deluxe Edition banner -- it had *never* been released before at all), did you buy it? Were you even tempted? I submit that when Varese recently released a premiere in their Club series, it was just useless to you as when they release an expansion. How many times has Varese put out a batch that were all expansions, Thor? Last time they did a small batch and it was one significant expansion (Dolores Claiborne) and one reissue (The Stand -- yes, this was marked as "The Deluxe Edition" but it was a straight reissue of the program from the Stephen King box set from a few years ago... and even then it's your kind of expansion, with the original album preserved on its own disc and an optional second disc with more music). The time before that, they released one expansion (Air Force One), one reissue (Giacchino's Star Trek), and one premiere (Rooster Cogburn). The time before that but have been difficult for you: they released two expansions (Robocop 2 and Dracula) and one reissue (Raggedy Man). And before that, pretty much every Club batch included an Encore title... A Show of Force, Heathers, etc. All straight reissues of the original albums. Hell, their Delerue London Sessions reissue wasn't even an expansion or reissue, but a *contraction* -- it omitted a few tracks that were on the original volumes. So tell me again how we're swimming in far too many expansions. I for one wish Varese would concentrate on them *exclusively* for the Club (because, once again: only the Club can do them!), but they haven't been so far. Maybe with the elimination of the Encore line that will change, but as I pointed out they've still managed a reissue in every batch so far since then. We only get maybe SIX Varese expansions TOPS in an entire *year*! (When we are lucky, that is. In 2019 do you know how many new expansions Varese released? TWO -- Air Force One and Robocop 2. TWO.) So... you really gonna begrudge us? One expansion every other month (or even every six months) is apparently something you cannot abide, and will complain about Varese concentrating on every time a new batch is announced? Exactly. Surely Thor you can understand the clear logic of this. Yavar

If you want bad sounding CDs, just buy any Zimmer score from the last 20 years! 😅

You're thinking too logically. When the hipsters discover they can have a disc that's less than half the diameter of the LP, with better sound, and most important; that it's much less popular than the LP, they will be all over it.

I'd been wanting to see for a while now how well the "taking off" section of We Go Together would work with the similar sequence from ROTJ. Even with some editing, it's still clunky, but it might still be fun to see.

There's always someone saying that sort of thing these days, as if ok-looking printed booklets makes bad photoshop skills and crappy jpgs any more acceptable.

Watching THE BIG BUS, I knew that I'd found my true love: Stockard Channing. Oh, yeah!

That score has themes now? Color me intrigued!

Trick question. I don't think there has ever been a Varese Club release yet that had no reissues or premieres. Last time it was a reissue with an expansion. Time before that it was a reissue and a premiere with an expansion. And this time it's a premiere with an expansion. Sure, but it does NOT make much sense to say, "Please, no expanded/C&C/"Deluxe" (sic.) releases!" I just learned on the FSM board that (similar to First Knight and the Lancelot theme), the original U.S. Marshals album left off entire themes Goldsmith had written, so it seems this had a stronger argument for expansion than even I was aware of... Yavar

Dreadful cover. Is that a temp placeholder? It's riddled with artefacts.

Quite like the title score. Classic 70s sound but slightly 'dramatic' in line with Airport or whatever. Harbinger Curve and Springfield Sequence are two of my favourites. The film, well I've not seen it in years but it was good fun.

They refused to get along.

Sad and concerned about all this. Im sure our Maestro himself is taking extra extra care at his age. Im sure he is spending quality time working at the piano keeping himself busy. 😊 And wishing everyone here safe health. As a banker managing a Contact Center I have to ensure all necessary precautions despite coming to work in my office with a major lock down in my city. Its a lot of risk but the support is essential. Be safe, everyone else.

what you call "magic" I call "twee". Yates has his ups and downs, as do the scripts he directs. But I would describe none of them as dull.

I'll repeat what I said earlier: Ever since Yates stepped in, with the exception of Fantastic Beasts 1, I've felt as though the filmmakers didn't want me to return to that magical world anymore. I'm all for dark drama and whatnot, but there's a difference between dark storytelling and outright dull storytelling.

Good to see it's pretty much business as usual for Royal Mail then!

Personally, I find Half-Blood Prince to be among the best of the Potter films, not the best, but among the best. The cinematography is phenomenal. The color palette isn't that bad. At the very least it brought something different to the films. It's certainly the most interesting of the Yates films and shows he does have the capacity to change things up a bit. I also agree (unlike most here) that Yates is a good director. But when you're handed a script that sort of sucks (Like HP5, HP8, and FB2) he can't do much about it. I mean the main issue with CoG was the god awful script.

Everyome is having huge discount sales lately. They're all trying to liquidate their inventory before Martial Law comes!

That is hilarious; a perfect wink and nod to the Maestro.

Yeah, could just be a different scene that got cut out. Nothing else at that point in the film matches the 0:20 of Kylo's theme. There was a lot more intercutting between Ajan Kloss and the other storylines in the Nov 11 cut, whereas the final cut glued all those Ajan Kloss scenes together.

Here's another new piece of the lore by Rowling herself, now involving a mythical creature from my country's folklore:

We should rename this thread by the way.

I always found it interesting that for concerts, Goldsmith chose to use the Suite from Mulan, where his orchestral versions of the songs take centre stage.

I see it 180 degrees to the opposite. People aren't evil by nature. People do evil things out of misguided convictions, and if you really go into psychology, people do evil things out of unwavering conviction to serve a good cause that justifies evil means. It's all over history. Rey conveys a deeply troubled character, and especially in ROS, I find her goody two shoe character unspeakably unconvincing and cringe, and she's very good in moments that she's angry. Whereas Driver is very good at acting the redeeming villain. It could have been a chance to do a real character study a la Anakin, only good, but instead they opted for the most superficial, inane story. Rey should have killed Palpatine, assumed his role, then Ben Solo should have killed Rey. That would have been satisfying.

Nothing much in terms of trivia or inside info. Just that I love the score; one of my favourite Goldsmiths, and that I've sung "Make a Man Out of You" (as I call it) about a million times in karaoke settings.

US Marshals, just to have it out of the way.

Probably something like this (it was a popular temp in the 90's):

Was "Haircut" temp track love? Wow! I'm quite curious to hear the actual temp track then. Goldsmith's version is seriously powerful and works wonders in that film. Even if style-wise, it really stands out from the rest of the score. I like both Goldsmith's alternates too. That scene clearly inspires great music. Would've been curious to know what the film would've been like with the original version though.

Adobe Premiere Pro for the edit, with the 5.1 audio mix removed in places and replaced with just the centre (vocal) channel from the mix (though the music track bleeds into this channel and can't be removed, it's still cleaner than leaving in the entire 5.1 mix).

Hold on, the Star Wars OST has already been reissued on vinyl not once but TWICE in the last four years. First by Sony in 2016, based on fresh scans of the album masters. Then another reissue in 2017 by Disney Records for the 40th Anniversary, but with Special™ Holograms™: That set was released 6 months before the infamous Disney Demasters, so I'm not sure whether this reused the Sony masters or was the first instance of the Disney Demasters (which recreated the OST albums using new scans of the film masters, rather than the album masters as with Sony's release). Either way, what a colossal waste of everyone's time. The Demasters are available in high definition for anyone who clamours for the best sounding version of the first score. I know everyone celebrated when Sony finally lost the licence (after reissuing the same '97 editions ad nauseum for two decades) but I'm yet to see anything from Disney that gives me hope they'll be much better. In fact, these pointless vinyl reissues and "special editions" of the exact same albums we've already had for decades seems worse (especially when they now have 9 scores brimming with unreleased music at their disposal!)

Which was nominated for best cinematography.

I think it works very well with the themes of the film. The cold and geometric Chicago landscape is invaded by the figure of chaos that is the Joker. It's a rather clever visual solution, I thought. I think people get too caught up in the mechanics/logic of the plot. Yes, Joker's plan doesn't really make a whole lot of sense. But this is sort of the point. He's an almost supernatural entity in this mostly very mundane and almost realistic place. I always assumed this was purely intentional. He's a not a character in the strictest sense. As Nolan himself pointed out once, he's the shark in Jaws -- a force of nature. Who he is and what he wants doesn't really matter. This film is not about him at all. Yes, Nolan has a tendency to spell out a lot of things. But I bet this is a requirement if you want to make a film this dense for 200 million dollars. You don't get to be too sophisticated. Hence, the compromise. It's not ideal but... Karol

I really like Batman Begins. The action isn't as polished as in Nolan's later films, and its got his usual overly-talkiness, but its got a big heart. Nolan isn't afraid to show Bruce's parents dying and then dwell on it for two or three minutes unabridged. Now that's drama!