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Nice! This actually had two CD releases scheduled for release back in 2018 before its distribution fell apart, one for the score and one for the songs (with two Bear tracks), so hopefully that score release will be forthcoming. https://www.filmmusicsite.com/en/soundtracks.cgi?id=66510 https://www.filmmusicsite.com/en/soundtracks.cgi?id=66475 This is one of the best cover images for a score CD in history!

Listen carefully in the brass, the melody constantly goes from one instrument to the other. There is the melodic line, but also you can see all of the different parts, are fragments of the original melody. The pizzicato strings, that seems to me more of an transition/ intermezzo type of thing into the big finish, so naturally it would be free-er but the piece actually has an over all form too it. The sections actually have a relatable concept, rather than just a Mozart kind of one separate variation after the other. This piece is really a testament to what a (insert word of praise here) composer he is. For such a short, little thing for HBD, he wrote a very intricate and fascinating work. I can put up the full one if people are interested, I have done many hoping to turn it into a website, but I need to put up pieces of the scores (which many i don't have anyway) and was afraid that Hal Leonard would complain.

Poltergeist, Jerry Goldsmith. I never used to like this score but I have no idea why... terrific stuff. First post, go me. Hi everyone.

I once read or heard that film music is there to remind us that what we are seeing is just make-believe and it's precisely because of this awareness that we find it more pleasurable, even comfortable. So no matter how dramatic or gruesome it gets, we always realize it's still entertainment.

Film music is essential, but do we really need the accompanying pictures and dialogue?

I was born in 1979 and discovered the beauty of film scores in 1993. I picked Hook in the other thread but both are masterpieces of the art in my opinion

THE LAST JEDI Man, I really, really, really like this movie. A sharp, witty script, good performances, poignant scenes, sly humour, and shots that approach visual poetry. I just don't get all the negativity, surrounding this film.

Ha! That IS the best cover in film score history!

I've often thought film scores are paradoxical; they're unnoticed when they're there, missed when they're absent. It's strange to think about some dramatic scene, something realistic or ordinary and then you hear an orchestra playing in the background, but we just accept it as a part of what makes film... work? Perhaps that's why film scores have become more minimalistic to match the realism films are trying to go for until in the future there's no musical accompaniment whatsoever which sounds depressing, but to the tastes of future generations will sound normal.

I made an LP version that I think is a great listen Total time : 44 minutes

Once I clicked "Show this post" on this, I lost all respect for... myself

I tried a few cues already, but would prefer to sit down and watch the movie all the way through with this score to get an overall picture.

But compare this. to this

I get what you are saying about Hook's lack of menace. It feels mostly harmless. But there is a track in it which I find wonderfully evocative and conveys both menace and anticipation for a coming adventure: It's one of my favorite moments in the entire score. Works wonders in the film, with the view of the painted panel

My favorite Star Wars thing since Disney purchased it is George Lucas' thinly veiled disgust for it.

What canon excerpts/facts support your theories?

You stay away from ME, you cad! ....okay I'll admit I never listen to those first two...

I would have liked to use the top row, second from the left, for my music library. Too bad he didn't include a larger image of that one.

The Nintendo Switch eShop is having a HUGE sale with almost every title you've ever heard of on some kind of discount. I picked up a bunch of stuff I have wanted to get but hadn't yet The backlog, it grows and grows....

@PuhgreÞiviÞm Jerry, please tell me what's "modern and sophisticated", about films, these days.

Please no more remakes of anything

Pretty decent... I didn't remember much about it either to be honest. One working from home benefit is a LONG soundtrack heavy "up next" list and someone mentioned this so thought I'd give it a spin. It's a bit more poppy/rocky/80's but still some solid Silvestri orchesral writing... Lynch Mob has some decent action writing.

It's a bit of a stretch to call any HP movie a classic, though.

An American Tail Superman: The Movie Indiana Jones and the Last Crusade The River Dances With Wolves Karol

Would really love to see the analyis if possible, @WilliamsStarShip2282! I've never had a chance to analyze it myself, but his movement between keys in that piece was always fascinating...

Yes, I have done a full one. What is your question?

The OST is great! Except for Banning Back Home and the songs...

Thanks guys, the full score is first on the list after the end credits! We're excited about that too because it was planned on the macro scale so hopefully that'll come across. @The River (Fal) - impressive. It'll be great to hear your opinion of the score by itself, then! We'll be including all of the cues' notes digital booklet-style if you're not opposed to basic plot summaries to follow along. MS

@PuhgreÞiviÞm @gkgyver, do you actually believe in your mockery? Like really believe it? Because it's pretty fucking cringey and lame.

Lol ok. I will concede that the last few scenes were great. In fact, season 8 was littered with great scenes. That doesn't change the fact that the rest of the season's writing was shitty.

I do hope Serac returns in S4. I liked the character, or at least the way Cassel played him.

The original album gives you an impression that all it is playing the same 2-3 themes for an hour. And as a collection of most important moments in the score it did a decent enough job but because there are some non-theme-driven minor cues on this expanded set you get a bit of a break. Oddly, the score is now 2.5 times longer and yet it doesn't feel as repetitive. The material breathes more and is still completely listenable. Karol

They'll just call Lorne Balfe to write the new theme.

Hehehe

Animals Crackers (the film) is finally releasing in the US on July 24th via Netflix. No word yet on a score album, but iI have to imagine it will happen, at least digitally (Netflix is pretty good about that)

Only psychopaths can.

I don't understand all these wordy reviews and apologetics from people, "I don't know, I'd say HP has just a bit more 'menace'" or more 'intrigue.' No, just stop, please. I'm gagging. How about: Harry Potter is much more profound, has some of the most-moving themes Williams has ever written. It's simply better, and will be remembered as the Classic it is. and I would piss my pants if I heard the notes soon following after 3:39 in a horror movie.

I know, but I couldn't resist it. -----------------------#------------------------ "Negotiations"? We've lost all form of communications.

That's one way to lump people together who share contrasting opinions as one homogeneous group. The problem isn't with Daenerys's character (although one could argue it was) but with the way it was handled in the final few episodes. As for Westworld, I think season three was a bit gratuitous in the way it dealt with certain plotlines which deserved a more expansive view. It felt disappointing to get through an entire season and nothing feeling substantial or worthwhile, which is doubly disappointing considering the last two seasons had teased the escape to the human world.

Or it indicates he cannot specifically counter my assessment with evidence of his own. My 'theory' is comprised of canon evidence - not speculation or assumption - and gives the entire trilogy a reason to exist. The main issue is that not only is it incredibly naïve to assume there wasn't a plan for this trilogy (that cost Disney about $2B to produce and market) but that the swath of tie-in books, comics, games, etc. were produced as separate ventures, disconnected from each other and the films. (I can assure you, they are connected.) Anyone thinking that Lucasfilm did not have a plan, allowed Rian Johnson to change the plan, or intended to end the Saga with a dark-side-strong blood Palpatine as the only significant survivor - having killed the Emperor in a moment of rage - is beyond gullible. "incredibly conspiratory"? Isn't that what you wanted, @Chen G.? Please explain the "Kill him, a voice inside her head said." excerpt from The Force Awakens novelization. (It's just one of the dozens I could pull that support my 'theory' from that book alone.) No, "to understand the genius" of the Sequel Trilogy, one not "need to be something of a Star Wars scholar" - only possess a basic understanding of the purpose of the parable-based Saga, including its archetype characters and the narrative of the continuing story. A surface-level (child-like) understanding of the films will probably not be enough to grasp the intricacies of the story... or come to the realization that it has not yet concluded. At the very end of one of the first canon novels, Palpatine's closest servant informed the Imperial Navy's Grand Admiral that she was among their "best and brightest" had "passed the test". With the Sequel Trilogy, Lucasfilm tested the Star Wars fans. Even though the films alone contained enough clues and information, the fans utterly failed the challenge. (The canon material only confirms Lucasfilm's plan and strategy within hundreds of excerpts scattered throughout.) It's clear to me that Disney/Lucasfilm did not produce this trilogy for maximum profit. But it was successful in tricking the masses into thinking the film-makers had nothing and eventually delivered a stinker of a trilogy to finish the Saga. It will be proven that Lucasfilm used Palpatine's playbook to bring him back. As Obi-Wan said to Padme in Revenge of the Sith, "He was deceived by a lie. We all were." My research has led to the conclusion that what's coming next will truly determine the worthiness of this trilogy and the Saga as a whole. I expect another trilogy that will shock, amaze, and humble the masses. Those (the vast majority) who misinterpreted the Saga and its related stories will be forced to admit - publicly or privately - that they completely underestimated George Lucas, Lucasfilm, and its contractors. Hopefully, it will have been worth the confusion and strife... and that the Saga will conclude on the highest of notes. Calling my astute assessments "moronic" is quite ironic when you cannot - or choose not to - specifically dispute them with evidence of your own. I'm not "anointed", just eager to learn. And I do not give up so easily. What canon volumes do you consider "mindless drivel"?

Looking forward to being able to listen to the whole score in full!

Hi everyone! We've reached the last two cues in the movie. We hope you enjoy Cue No. 37: Cedric's Funeral, and Cue No. 38: Everything's Going to Change. Special thanks to our colleague with the Voxos choir library who allowed us to record this special cue. We have really appreciated hearing from you guys both on the thread and through messages as we've posted this project, and we're so thankful for all your enthusiasm. As always, we'd love to hear your thoughts on these cues. We also have some fun things planned for the next few weeks. On June 21st, check back for the Goblet of Fire end credits. As this is such a "by the fans, for the fans" project, it's really been amazing to have your support and we think you'll like these upcoming posts too. Thank you!!!

There's a million places worse to be stuck at I can think of right on the spot.

Sound effects have gotten absurdly overcooked. Listen to when Rey puts her staff in the net in that scene. Unfortunately the problem will never be solved unless you get knowledgeable directors who really understand how everything should work together.

Neither is really all that good. Just a load of unrealistic and unrelatable orchestral music to accentuate action and emotion really. But I chose Hook because I love Julia Roberts as she's a great rolemodel for young girls in films like Erin Brockovich and Pretty Woman.

Hi everyone! As the movie is wrapping up, we have three cues for you before the very end. After the huge third task and graveyard scene cues, it was nice to keep that momentum but work on a smaller scale. Here is Cue No. 34: Cedric is Dead, followed by the reveals in Cues No. 35 and 36: Mad-Eye Interrogates Harry / Barty Crouch Jr. Revealed. Thanks for listening!