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Almost went with JP: The Lost World, but the taxi and bridge is what sold me. Ok... ⬅️👨‍✈️⬅️🕵

I wouldn't call Korngold's background purely musical, as his biggest success pre-Hollywood was as an opera composer (and co-writer of his own libretto). But I would argue that Steiner was a better film scorer than a composer, whereas Korngold was an (opera) composer who also wrote film scores which function like operas.

Holy Smoke

Strangers on a Train.

The only fair resolution is to begin a series of two branching games, one based in the reality where Bespin won, and one based on the reality in which Stu won.

Dead Poet's Society Memorable late 80s melodrama held together by Robin Williams's inspiring performance. I was actually disappointed that the movie does not focus on his character, Keating. It would have been a stronger movie had explored more of the dynamics between him and the rest of the faculty and on how Keating truly upheld the spirit of the traditions that the school claims to stand for. But, instead, we have an adolescent movie, where teenage emotions are taken very seriously and are shoved into clunky or cliched conclusions that don't ring true with reality. The romantic subplot is part of this, but exhibit A is Neil's suicide. Not only does it seem a bit excessive for the immediate situation the character faces, but nothing we have been told or shown about Neil suggest this would happen. Plus, there are plenty of alternatives. And he has not been shown to be super unstable. Instead, it feels like a heavy handed way to punish his parents for their strict ways. While the presentation of this movie is more overtly artistic and dramatic, there is still a bit of John Hughes's influence here in its earnest focus on teens and generational dynamics. But it is missing the humor, wit, and understanding that makes his movies speak to teenagers and to adults. At any rate, the cast is great. The period setting really draws you in. The score is quite nice. And the final scene is very well-done technically. 3/4

That’s a National Geographic documentary or what?

Cues that are used in blu ray featurettes show up in that catalog

The Peacemaker by Hans Zimmer. Still one of his best and certainly my favourite of his 1990's action scores. Yes, it is bit dated now and lacks certain polish... but Zimmer's action scores had some heart back then. There's some really entertaining stuff in this one and the opening bomb hijacking sequence from this film is easily one of the best things he's ever done. Say what you want about Zimmer but the way he handled this sequence is masterful. Karol

@crumbs Continuing the game of deciphering little glimpses of sheet music: Here's a shot of part of the first page of the 8M4 'Psalm of the Sith' cello part, too. Rather blurry, but might provide some insight as to what the first section is. The last three lines appear to be that section from 'Join Me'. The part before that doesn't seem like anything we've heard, though. Recognize that from anywhere, @Falstaft? Also, I believe this is the trumpet part from 'Parents': The redeemed transformation of the Kylo Ren motif is on the 3rd line from the bottom. It's hard to tell for sure, but it appears from this part that the full version of this cue continues on a bit longer than what's heard on the FYC and in the film. The end of the cue appears to be on the 3rd line of the second page, whereas the film version ends around the end of the first page or beginning of the second.

Jsharkws.

Spectre

They're in Bespin's OP. Do keep up darling.

Edit: Posted The Rocketeer just a few seconds after Jay, and attempted to do The Member of the Wedding with 🍆 👰🏽 🤵🏽

Firefox!

Intrada needs to fix its website. The menus are impossible to navigate on a mobile telephone.

This is really Gruesome SOB’s fault, he had to be a smartass and say my answer of Psycho was wrong.... I was going to post this: ☎️🏡 🚴🏻‍♂️🚴🏻🚴‍♀️ 🌈🚀 🌕

The Holko Maneuver.

Don’t cry for me Argentina

Breathtakingly beautiful:

Godzilla (1998)

Well, he pretty much defined the swashbuckler score.

I need some Russian pick-me-up music as an antidote:

The Yellow Submarine

Blazing Saddles

On paper, yes. But HEART OF DARKNESS took a long time to complete, and to get released. From what I've read, Broughton's score was recorded long before Giacchino's THE LOST WORLD. Then you also have things like George Oldziey's WING COMMANDER III (1994), which was very orchestral in execution, but using samples. It was later recorded with a proper orchestra.

If you are on Windows 10, you just hit the Windows key followed by the period key to pull up the emoji inserter There's probably a similar setup on Mac OS I'd assume.

Awesome! Looking forward to hearing it. You guys have been doing some great work!

The Birds. Fortunately, Hollywood did not realize the cost-savings of such an approach.

A View to a Kill Ok, easy one now 🍯👇🧒👧

The Clint Eastwood movie? A classic poster for a movie I'll probably never see!

I always thought of the Anthem of Evil as a Ren/Emperor/Vader theme hybrid. A representation of all evil.

Is it TRAINSPOTTING?

I know it but I’m giving others a chance! This also happens to be a top-three movie from this director for me.

If Anthem of Evil were introduced earlier on in the trilogy, then maybe it would have more weight behind it. As it stands, with such little playtime in the film too, it's still a cool theme. What seems strange to me is we have no clue, other than Rey's Theme, what Williams was planning with this trilogy - I think he was being coy when he said Ren/Ben's Theme shift was Abrams' idea, when it seems perfectly reasonable it was something Williams was going to try regardless. Who knows...

Lol understatement of the week

You are welcome. White and purple titles use different font – look at the shape of character "C". Regarding white titles, I used font called Bolt and slightly customized it. Regarding purple titles, I was not able to find the font used, so I retouched it glyph by glyph. Based on my experience, the best tool to recognize font is https://www.findmyfont.com .

Anthem of Evil works much better as quiet building music with a sense of dread and the seduction of evil than it does as loud brassy clashes.

Fabulin speaks the hard truth most eloquently. It doesn't feel cheap and plastic like "Imperial Suite," but in a franchise that has known the Imperial March and Duel of the Fates, it doesn't live up to its title. When it tries to kick into gear later in the concert suite, I get the image of someone carrying too much laundry and trying in vain not to drop any socks. It almost hangs together, but it feels frantic and insufficient.

That would be awesome! I wish I had time to help out since I've got Kontakt and EWQL. Maybe I could do one or two of the cues for fun if you guys would like, but I couldn't commit to the whole score at the moment. Still got tons going on at my day job (Video Editor)

The European jerk stops the thread in its tracks with an awful puzzle and then fucks off to bed so we have to sit here until tomorrow without playing!

Goat Clock?

.

Last half-century, so that would mean 1970-2020? In terms of game changers, it's not enough to list great or 'classic' scores. It has to have had some sort of impact and influence, whether on the industry as a whole or within a particular genre, for example. As such, I do find several examples listed in this thread so far not quite there, IMO (or they are, in fact, the result of a previous, more game-changing influence). I have a lecture on film music history that I've done many times over the years. It goes back all the way to film's beginning in the 1890s, but if I were to list what the 'game changing' scores in the period asked about here were, these are some (primarily US cinema -- I have a separate section on alternative cinema): A CLOCKWORK ORANGE (1972) Carlos' "Switched on Bach" album had been a huge success in the classical/electronic crossover area, not to mention the popularity of the Moog, but it became iconic with CLOCKWORK and opened up a whole new arena for electronic film scores. STAR WARS (1977) Re-popularized the neoromantic style (note I say re-popularized, it didn't re-introduce the style, as many people claim - as that particular style never went away) HALLOWEEN (1978) Carpenter's stripped-down, beat-based synth music has had an immense influence, especially in recent years. See STRANGER THINGS below. MIDNIGHT EXPRESS (1978) The dawn of the pop producers doing film scores, MIDI technology and synergy effects (such as the "Call Me"/"Chase" reuse) BLADE RUNNER (1982) It took some time before this influence took hold, but the broad synthscapes eventually became a stalwart of sci fi, in particular. And the organic mix of sound effects and music. TOP GUN (1986) The main theme is really the "prototype" of the power anthem that Zimmer would later develop and popularize. Also symptomatic for the early days of a hit song that would sell soundtracks (it was not the FIRST to do this, this goes back all the way to stuff like HIGH NOON and "Do Not Forsake Me", nor was it the first in the 80s, but it's very much part of that trend). EDWARD SCISSORHANDS (1990) Everyone was doing Elfman's "magical" SCISSORHANDS sound for a number of years, even ads (Elfman himself has said he was so tired of hearing the SCISSORHANDS in commercials that he just decided to do them himself at some point). BASIC INSTINCT (1992) The go-to sound for erotic thrillers for a number of years. THE PIANO (1993) While minimalistic music had been around for decades, and Philipp Glass is really THE main influence on a lot of film music to this very day (we wouldn't have Max Richters, Abel Korzeniowskis or Dario Marianellis without him), one could argue that it was Nyman's THE PIANO that truly popularized the idiom. His Greenaway scores were never popular enough to have that kind of impact. THE ROCK (1996) The four cornerstones of Zimmer's influential 'power anthem' style are BLACK RAIN, CRIMSON TIDE, THE ROCK and the PIRATES movies. But it was truly popularized with THE ROCK, the gateway into film music for a whole new generation. AMERICAN BEAUTY (1999) Everyone was doing the 'quirky' marimba Newman sound for years to come, even Elfman in the DESPERATE HOUSEWIVES theme. GLADIATOR (1999) Composers like Mychael Danna had been fooling around with wordless, middle eastern-sounding vocals for years, but it was Zimmer -- along with power anthem stylings -- that popularized it. Any given historical epic in the years that followed used the GLADIATOR template. THE BOURNE IDENTITY (2002) Completely revolutionized the action genre. The power anthem was drawing its last breaths with the PIRATES movies, and in comes Powell -- a former Zimmer pupil -- and boils it down to a steady ostinato with slight chord modulations on top. INCEPTION (2010) I'm convinced even Zimmer adhered to Powell's stripped-down action sound when he did the BATMAN movies. He built on this further with INCEPTION, which became a huge reference point. A more lusher, rhythm-based sound than Powell's. STRANGER THINGS (2016) Neither the first, nor the best synthwave score, but one that has had the greatest exposure and influence in recent years.

I hear more inspiration from Williams in the highly edited TROS than I do from the unedited TLJ. All of TLJ's "great" moments are non-thematic and last less than 60 seconds.

Ah shit, it's the joke police. I hope you're all happy with yourselves.