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https://thelegacyofjohnwilliams.com/2020/06/24/ben-palmer-podcast/ Hope you'll like it, guys. It's quite a long and insightful conversation.

An even earlier, completely different version of 1M5 that was eventually discarded. Kind of interesting to hear Vader's theme all over it.

Not by me:

To gkgyver, Huntertech, The Ulyssian etc.: Surely, you Zimmer haters can get all your hate out in any other Zimmer-related threads, and leave this tiny little corner of the forum to those of us who actually like the man's work -- per the topic starter's intention? Just sayin'. Or do you have this uncontrollable urge within you that you MUST dump on him any given time you see the name mentioned, screw the context?

Hans Zimmer himself: "Steve should really be the top name on the Bond film." Thor: "Didn't get the impression [that Mazzaro did most of the work for the Bond score] myself. More like a collaborator" Also Thor: "We don't yet know the extent of Mazzaro's involvement" Me: ....

How To Train Your Dragon 1-3. I tend to listen to the three OST's as one long album these days. As the characters grow up the overall sounds matures too. Quite cool. Karol

For those of us who cannot wait until August: https://www.dg-premium.com/dg_stage_video/john-williams-in-vienna/ Tickets are cheaper than back in January... Take care!

The original Scavenger cue shows a fascinating glimpse into the creative process behind this trilogy, and serves as a parallel to Attack of the Clones. At this point, Williams knew Rey would be the granddaughter of Palpatine but wanted to write material that would not give it away. However, Abrams clearly thought it was too subtle, and had William rewrite Rey's music to include the minor third interval, a clear and irrefutable link to Palpatine. This echoes the foreshadowing of the Republic's transition into the Empire at the end of the end of Attack of the Clones, which also featured a revised cue designed to telegraph where things were going...and who was behind that shift too? Our man Sheev, of course. Genius.

ZOMBIELAND. A fun ride, but, er...why are they watching GHOSTBUSTERS in 1.85? Warning! Contains out-of-date attitudes towards zombies, and a bit where some white people trash a shop selling a bunch of dreamcatchers, and Native American shit.

how awesome is that.....?!

http://secure.campaigner.com/csb/Public/show/4our-234v5m--qfqsp-ag4f6q8

There is escaping. It's called "ignore function". But I get it, "I don't like what you say, therefore it's your obligation to shut up" is a widespread hobby these days.

This poll is so uneven, it's almost offensive. HARRY POTTER isn't good enough to lick STAR WARS's shoes.

In a manner of speaking. James Horner used Sibelius software to write Avatar. Before that, he was using Prokofiev software (with Britten plug-ins) on his Star Trek scores. Speaking of which... Legends of the Fall Karol

I don't put a dime of credibility into Zimmer's words. When he talks about his music, his painstaking thought process, and how he struggles so much with a "clean palette" for each project, it's so much bullshit in contrast to the results, that even bulls are embarrassed.

And the masterful direction, which to me is what makes this movie, not the story, acting or any other aspect. Some authors you love purely for the way they use words. Some directors you love purely for the way they articulate and communicate through film.

For me at least it is a brilliant film and one of Kubrick's best. The long illuminati orgy sequence is one of the most uncannily fixating film sequences I've ever seen, the soundtrack and the atmosphere there is absolutely fucking spectacular. Then there's a repetitive piano plonking. Inspired.

The season 4 FYC DVDs are pretty sweet

Far & Away (LLL) by John Williams The Book Thief (OST+FYC album combo) by John Williams

I don't like jiffy bags. Better use a cardboard box.

At least Harrelson got his Twinkie. I've been asking the very same question, for 21 years. Can you imagine what Alex would make of CARRY ON SCREAMING?

Weird Euro culture that doesn't comprehend horror comedy and possibly gallows humour either, the latter of which is the foundation of all English wit.

Might I suggest you use matt@lalaland-ent.com & state your concerns.

Exactly. Or listen to pop.

GRRM hopes to have The Winds of Winter finished next year.

HP is ahead once again. Let's see for how long this will continue!

Today I'm off because it's Québec's National Day! Oh yeah! So it will be a Headphone journey, with expanded scores only. Happy Anniversary to all these superb scores! - John Barry - Dances with Wolves (30 years) - John Williams - Home Alone (30 years) (Yes, Home Alone in summer!!!!) - James Horner - Apollo 13 (25 years) - John Williams - War of the Worlds (15 years) - James Horner - Braveheart (25 years) - John Williams - The Empire Strikes Back (SE, 40 years)

Hopefully they do.

Not sure on that. Always a chance Limited Run might release a physical version.

Live compression isn't a very good option, though. Most album releases are made primarily for the general consumer, whether you like it or not. Ah, so you're the inconsiderate neighbor. Always one, there is.

It would be unethical to vote? You also stay away from elections?

Il Divo is awful. And I find the whole endeavour deeply condescending of its target audience

https://variety.com/2020/music/news/alexandre-desplat-score-wes-anderson-french-dispatch-cannes-interview-1234646811/ Great conversation between Desplat and Powell. What a treat. These are intelligent articulate artists - not charlatan hacks. They talk so sensibly about the process. These are zoom chats. Surely Williams can do an hour long Zoom chat. When was the last time he did this long of an interview?

https://variety.com/2020/music/news/alexandre-desplat-score-wes-anderson-french-dispatch-cannes-interview-1234646811/ Great conversation between Desplat and Powell. What a treat. These are intelligent articulate artists - not charlatan hacks. They talk so sensibly about the process. These are zoom chats. Surely Williams can do an hour long Zoom chat. When was the last time he did this long of an interview?

I betcha the mix is the same on this new version and Doug did nothing more than compress the existing master.

I'm going to say this again because people seem to think the botched Intrada CD is just a case of altered dynamic range. It goes beyond that. Instruments are dialed way down in this mix and the OST sounds better. Please compare approximately 7:35 in Rendezvous at Observatory film score with OST. This was one of the most obvious blunders. The brass is mixed way too low on the film score version. It's also not accurate to how the score sounds in the movie itself, so I'm not sure what happened.

Hello, I'm researching for a video essay - can anyone point me in the direction of any academic writing on Williams' use of choirs in his film scores? With thanks, Richard Miller

Jerry Goldsmith it is then!

Someone should tell him to turn off the bass boost. Anybody else a bit alarmed that the head of a specialty soundtrack label uses the sound system of his frickin car as a reference?

I'd say some of these are a bit of stretch. I think the only straight clear note for note lift is in Harry Potter 1. And perhaps Stars Wars 8. And I daresay it actually works far better in HP1. So for me personally, it will always be the Quidittich motif.

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

Thank you Maurizio. I'm driving a car alone in North-Karelia while listening this. Interesting stories and the music samples by both brilliant composer are wonderful. Even cried.

I wish JW would write something as raucous as this score again. I need more jungle drums and brass bursts in my life.

Indeed. I hope I get to a point in my life where I can host and arrange more concerts. I'm working on the first Nordic film music festival, after all. I have an idea for this, which is a jazz ensemble performing a string of rare, jazzy Williams pieces from the 50s and 60s (and perhaps some newer jazz things, like CATCH ME IF YOU CAN -- just to have a couple of familiar titles). But most of these would require new arrangements (like we did with BACHELOR FLAT and CHECKMATE), and that's both expensive and time-consuming.

Her music communicates that too!

But she didn't really commit to off-the-beaten path choices either. To be honest, a list like that mostly communicates to me that she doesn't really think seriously or care about film music at all.

He...is my #1...guy.

Okay I absolutely have to know. Why the fuck do you waste your time reading, thinking, and posting about things you so fervently hate? For gods sake get a hobby other than polluting this forum with your whining.