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John Zorn in The New York Times on Ennio Morricone: https://www.nytimes.com/2020/07/08/arts/music/ennio-morricone-john-zorn.html Ennio Morricone Was More Than Just a Great Film Composer He was one of the great composers, period. Ennio Morricone was more than one of the world’s great soundtrack composers — he was one of the world’s great composers, period. For me, his work stands with Bach, Mozart, Debussy, Ellington and Stravinsky in achieving that rare fusion of heart and mind. Dare we compare the five notes of his famous “coyote call” in “The Good, the Bad and the Ugly” with the four opening notes of Beethoven’s Fifth Symphony? Morricone’s music is just as timeless. Morricone, who died on Monday at 91, has been an influence and an inspiration since I first encountered his work as a teenager in 1967. “The Ecstasy of Gold” from “The Good, the Bad and the Ugly” hit me with the same power as modernist masterpieces like “The Rite of Spring,” Ives’s Fourth Symphony and Varèse’s “Arcana”; it shares their complex rhythmic invention, unique sound world and lush romantic sweep. Embracing the soaring lyricism of his Italian heritage, Morricone’s gift for song was extraordinary. He was one of those musicians who could make an unforgettable melody with just a small fistful of notes. His meticulous craftsmanship and ear for orchestration, harmony, melody and rhythm resulted in music that was perfectly balanced; as with all master composers, every note was there for a reason. Change one note, one rhythm, one rest, and there is diminishment. Having roots in both popular music and the avant-garde, Morricone was an innovator, and he overcame each new challenge with a fresh approach, retaining a curiosity and childlike sense of wonder. He was always open to trying new sounds, new instruments, new combinations — rarely drawing from the same well twice. He was a man of integrity who did not suffer fools gladly. Stories of his responses to inane directorial suggestions are legend, including one of my favorites: “In the history of music, nothing like that has ever happened — nor will it ever happen.” He lived a relatively simple life in a beautiful apartment in Rome, waking as early as 4:30 in the morning, taking walks and composing at his desk for hours on end. He traveled little. What needs to be understood is that Morricone was a magician of sound. He had an uncanny ability to combine instruments in original ways. Ocarina, slapstick, whistling, electric guitar noises, grunts, electronics and howls in the night: Anything was welcome if it had dramatic effect. By the 1960s, the electric guitar had become central to his palette and he was able to blend it into a variety of unusual contexts with dramatic flair. In “Svegliati e Uccidi,” he has the guitarist imitate the “rat-a-tat-tat” of a machine gun through the amplifier’s spring reverb, and his instruction to the musician to “sound like a spear” resulted in one of the most intense guitar tones ever recorded, in “Once Upon a Time in the West.” His mastery of a wide range of genres and instruments made him a musician ahead of his time. He could explore extended techniques on a trumpet mouthpiece in a free-improvisational context in the morning; write a seductive big-band arrangement for a pop singer in the afternoon; and score a searing orchestral film soundtrack at night. This kind of openness remains the way of the future — and was a formative model for me. Morricone is best known for his film work, but we must never forget his large catalog of “absolute” music — his classical compositions. There the music comes straight from his heart. And yet what he accomplished in the challenging and restrictive world of film music is nothing short of miraculous. There, his immense imagination, sharp ear for drama, profound lyricism, puckish sense of humor and huge heart find voice through a magnificent and masterly musicianship. Artistic freedom was his credo, and his impeccable taste and innate sense of energy, space and time was palpable. His work elevated every film he scored. One of my dearest memories is visiting him at a recording session in New York, around 1986. He was, as always, a gentleman: elegant, gracious and more than kind to a young fan who stood humbled in front of his hero. We spoke through a translator for much of our conversation, but he took me aside for a few moments and shared some composerly advice on working in movies. I will always remember his words to me that day: “Forget the film. Think of the soundtrack record.” Many composers wonder, and may even worry, if their work will live on after they are gone — if their contribution will be remembered and their music treasured. Morricone need have had no such fears. His work has been embraced; he achieved that rare balance of being profoundly influential to both the inner world of musicians and to society as a whole. His sonic adventures stand on their own merits both in the context of the films he scored and on their own terms as pure music. This was his magic. He was more than a musical figure. He was a cultural icon. He was the maestro — and I loved him dearly.

Here you'll find, regardless of genre, at least two or three of EM's best belcanto melodies, though it's by no means comprehensive.

What, do you mean this one?

From what I understood from reading interviews in the course of the years, Andrea Morricone composed the love theme, at least in terms of melody and harmony. Then, I don't know (and I think nobody knows) whether he also did the orchestral arrangement, or if that was done by Ennio. A few years ago, I saw a manuscript on Andrea Morricone's website (which is not available anymore) with the theme written on two staves; it was claimed to be the original manuscript of that piece, before the orchestration. I recall it was written in the key of F sharp minor, instead of G minor, which is the key in which it was arranged for the movie. The page also had several textual annotations in Ennio Morricone's handwriting, which I know from other sources, with schematic instructions on how to build the structure of the piece. It's a shame I cannot find that site anymore! EDIT: I had saved the picture on my PC! Here it is. It is really a preliminary sketch. There is an annotation at the beginning to transpose up 1/2 tone, and I am almost 100% sure that the text at the bottom of the page is in Ennio's handwriting. It says that the theme should be repeated 4 times, with a simple description of how it should be varied each time.

A reactionary late Belmondo thriller gets one of the most long-lined romantic themes: leave it to europeans - Morricone, in this case - to make the best out of a bad situation!

You know, it occurs to me that Williams never actually said "chordal seventh!" Part of our collective confusion may stem from misremembering, and the general truthiness of the idea that old-fashioned Steineresque villain writing involved 4/2-inverted chords. The actual quote from the interview I believe we're all referring to makes mention of seventh scale degree. "We have the Nazis, you know, and the orchestra hits these 1940s dramatic chords, you know, with the seventh degree of the scale on the bottom. Which is kind of like an old signal of some evil militaristic doer." Seventh scale degree (^7) refers to a specific note within the governing scale (in solfege, ti or te; leading tone or subtonic in functional lingo). It's not the same as particular configuration of a chord. I'm not sure where this slight mischaracterization came from, that he's talking strictly about 3rd inversion seventh chords. It may certainly be that this implies inverted chordal sevenths, if we assume Williams is thinking like a modern jazz improvisationalist, where local chord is often conceptually merged with "scale." And, of course, if we're restricting ourselves to tonic chords, than a tonic harmony with the chordal seventh in the bass is the same as a tonic chord with the seventh scale degree in the bass. I almost wonder if what he was referring to is instead the even more emblematic way of depicting villainy for Williams and (Classical) Hollywood in general, of having the minor tonic locally flanked by the flattened minor submediant, but specifically in first inversion. So Cm => Abm/Cb => Cm. In which case we can forgive Williams for playing a little fast and loose with enharmonic names (though most musicians would call that Cb a B, and not be totally wrong since it does behave as much like a leading tone as it does an inflected form of the tonic degree). Theoretical minutiae aside, that is the progression actually heard in the interview clip exactly when he is talking (Abm => Em/G, from the end of Raiders 10m5 "German Sub"). Then the clip moves to that sequence from 4m1 that we know, despite being characteristic, does not feature any 7ths in the bottom. That's the Vader progression -- or Tarnhelm progression if you prefer Wagner. [And LP(m) for all you neo-Riemannians]. It's an extremely well-theorized little harmonic topic that one can find countless examples of in Williams and other film composers.

Nah

Huh. That's a really perceptive take on the franchise!

It says: Tema 4 volte: 1) Libero e lento (espressivo) 2) Poco più mosso 3) Più mosso e cresc. (arpeggi) 4) Forte which means: Theme 4 times: 1) Free and slow (expressive) 2) Moving a little 3) Moving and "crescendo" (with arpeggios) 4) Forte

The little low brass counter melody that ends up blatting that low C...ohhhhhh my god, it's so satisfying. This is what happens when you get a true blue composer to do a big cartoon type score! Also love the little clarinet figure at :35, reminds me of the textures Walker would use for her Two Face theme, it's such a great and succinct depiction of the character. And the trademark Goldenthal brass growl around :58 is delicious, too. On the subject of tiny satisying moments, the bari sax/trombone fall around 2:11 here gives me goosebumps almost every time.

This rumor seems like utter bollocks. It's the same bitter wishful thinking all the butt-hurt Star Wars fans had when they wanted a remake of The Last Jedi, or that there were a bazillion cuts of the Rise of Skywalker and in-fighting between Abrams and Disney. It might be true, however, that Disney have seen the mixed reaction to this trilogy and the experience of making it and moving forward they'll simply just leave it be and invest in the newer trilogies they're planning.

Not to mention, the score to Batman & Robin rocks

The NX-01 has it charms and at least it doesn't look like an Apple ship or dark and disturbing. The ships on Picard looked like Alien and everyone was smoking and dropping F Bombs.

The whole film is like that.

So during that mini break from Mario + Rabbids, I ended up playing.... a bunch of DEMOS! Some demos that had recently come out, and some old demos I downloaded but had never played yet. I played the demos for: Blasphemous Heard a lot about this one on various podcasts; Definitely was intrigued by the retro styling and the fact that it's a tough metroidvania. Well, the demo did not impress me, unfortunately. I thought it was TOO hard, mostly because every time you died it sent you too far backwards and you had to re-do too much of the same identical platforming and combat to try again at the part you failed. This was a bummer coming off Celeste, where you respawn quickly not far from where you died, or Hollow Knight where there is less focus on combat during exploration so it's not a pain to get back to where you were. The controls also weren't that great, a bit to stiff, especially compared to the glorious fluidity of Hollow Knight. I may still give this a second chance one day, but only if my backlog is WAY shrunk, as it already has a half dozen metroidvanias on it. Yooka-Laylee and the Impossible Lair Now THIS was more like it! I never played the first game, but wasn't that interested in it since I never played Banjo Kazooie back in the day, and most 3D platformers seem to always be not that great anyway if they aren't Mario. But I heard great things on podcasts about this sequel, and was intrigued that it was a side-scrolling platformer rather than a 3D platformer. Well, I have to say based on the demo, it is indeed pretty great! Fun, bright colorful art style, good controls, good exploration, decent combat. An overworld map to explore with funny NPCs to talk to. I enjoyed this a lot, and will pick up the full game on sale some day. Ori and the Blind Forest HOLY SHIT THIS WAS INCREDIBLE. I have been wanting to check out this game for a very long time, since I first heard about it when it was an xbox exclusive. I was very happy to hear about the Switch port ,and was probably going to pick it up even without a demo once it went on sale. Well I was happy they gave it a demo anyway, and I am glad I played it because this game is RIGHT UP MY ALLEY. The art style was amazing, the controls were great, the story seems really cool, and exploration was fun, the combat was fun, the music was great. I can't think of anything about this that wasn't pushing all my buttons. I turned the demo off long before I reached the end of it (I assume) because I wanted to save the experience for the full game and not have to replay it all again. It actually recently went on sale so i finally picked it up, and it's near the top of my to-play list. \ Moving Out I didn't like this at all. I heard so many positive comments on podcasts, but I dunno, maybe it's just not for me. I didn't feel like I was playing a game, I felt like I was doing chores. Maybe it's more fun co-op than single player, or maybe the later levels are more fun than the first ones, but this demo completely turned me off from wanting to play any more of this game.

You're both grown, married men, you realize that.

I remember seeing that on the trivia page at IMDB back when movie trivia was a novelty. Someone just heard the closing Raptor motif with the string bit after, and decided that it resembles the structure of the CE3K theme. It does a bit, but it's quite clearly not an actual quote.

I got gifts today!

That is superb!

Disney Future Marketing Research Group: "As you can see, this graph indicates we're fucked until 2045..."

I don't listen to that score often, but every time I do, I love what I hear and think to myself that I need to listen to it more often!

It seems to me, in TOS, they tried to show us as awesome a future as they could imagine. They tackled modern-day issues as it were by contrast, showing how those problems could be overcome. This is still more-or-less the case in TNG, but gradually, the franchise has flipped this formula, and just depicts a future with all of today’s problems still present — violence, inequality, bigotry, substance abuse, Fox News!! A lazy way of staying relevant.

Also important is context. Our ears can make sense of dissonance depending on how we get there and what the pedal (C in low strings) is doing because that implies a harmony.

I don't really get why Discovery and Picard have felt the need to go down the strong language, gore etc route just because they're on streaming services as opposed to networks. Feels against the overall Trek 'spirit', somehow.

Says who?!

I have no doubt that her retirement will happen someday in the not so distant future, but I put absolutely zero(h) stock in the “Star Wars rumors” industry in general.

Not to mention Williams, he should've retired years ago! What audacity to keep doing something he enjoys! The man has some nerve.

Fonzie?

First you say it has a few good moments, then you say it's a good score...I don't understand. I've probably made my position on Batman Returns very clear, it's one of my absolute favorite films and scores. The complete score might be a little much to listen to, but there are nice stretches of unscored scenes, namely multiple conversation scenes throughout...the music feels very much like Herrmann in the way it's used only when a heightened sense of reality or subtext is needed--thinking of scenes in Psycho, for example, when Leigh's character is silently grappling with the temptation to steal the money. As for the film itself, it has such a rich bevy of motifs and themes that run throughout, and are, ironically given much criticism for being over-the-top and fantastical, explored in a much more "filmic" way than practically all of Nolan's Batman movies. It's a lot of fun, too.

Wishful thinking masquerading as “rumors,” as usual.

It's a Nazi dog whistle!

You're really griping without a pause. Could you stop attaching these gigantic photos to every second post. You make it difficult to navigate this page on the computer.

Batman & Robin is probably the more entertaining of the two.

@publicist I'd really be delighted if you'd throw in another dozen of recommendations of sad Ennio Morricone scores, like you did in the other thread.

He trains with a sword for 30 minutes and Batman doesn't even use a sword.

It's more apparent how boring Batman Begins is when you watch it right after Batman & Robin.

I will close the day with this elephantine listing of Morricone's work - and that's only his film and tv stuff, not counting stage, advertising and classical works. His musical genius is one thing, but genius doesn't come often with such eye-popping productivity. So one thing to remember is that the endless tributes to his Leone work or selected american scores, i. e. The Mission or The Thing point you to but a tiny fraction of what he did and as someone who relentlessly downloaded everything Morricone off Napster in the early 2000's i can attest tho the fact that many on this list that no one here has ever heard are way better or at least on par with his famous works. 1960s Year Title Director Notes 1960 Run with the Devil Mario Camerini Orchestrations only Score composed by Piero Piccioni, Lipstick Damiano Damiani Orchestrations only Score composed by Giovanni Fusco L'Avventura Michelangelo Antonioni Le Pillole Di Ercole Luciano Salce Rejected score Replaced by Armando Trovajoli 1961 The Fascist First full score The Last Judgment Vittorio De Sica Arrangements and Conducting only Score composed by Alessandro Cicognini, 1962 L'italiano ha 50 anni Francomaria Trapani Orchestrations only Composed by Gino Peguri, Gli Italiani e le vacanze Filippo Walter Ratti N/A I motorizzati Camillo Mastrocinque N/A Crazy Desire Luciano Salce N/A Il Sorpasso Dino Risi Orchestrations only Score composed by Riz Ortolani I due della legione Lucio Fulci Orchestrations only Score composed by Luis Bacalov Eighteen in the Sun Camillo Mastrocinque N/A A Girl...and a Million Luciano Salce N/A 1963 Violenza segreta Giorgio Moser Orchestrations only Score composed by Giovanni Fusco Il Successo Dino Risi N/A Le monachine Luciano Salce N/A El Greco N/A Gunfight at Red Sands Ricardo Blasco Mario Caiano First Western film score I basilischi Lina Wertmüller N/A 1964 Una Nuova fonte di energia Daniele G. Luisi Documentary film Malamondo Paolo Cavara N/A I maniaci Lucio Fulci Composed with Carlo Rustichelli I marziani hanno 12 mani Franco Castellano Giuseppe Moccia N/A In ginocchio da te Ettore Fizzarotti N/A Bullets Don't Argue Mario Caiano N/A A Fistful of Dollars Sergio Leone Silver Ribbon Award for Best Score I due evasi da Sing Sing Lucio Fulci N/A Before the Revolution Bernardo Bertolucci N/A ...e la donna creò l'uomo [it] Camillo Mastrocinque N/A 1965 A Pistol for Ringo Duccio Tessari N/A Nightmare Castle Mario Caiano First horror film score Agent 077: Mission Bloody Mary Sergio Grieco Title song only Score composed by Angelo Francesco Lavagnino Highest Pressure Enzo Trapani Composed with Luis Enriquez Bacalov Slalom Luciano Salce N/A Menage all'italiana Franco Indovina N/A Fists in the Pocket Marco Bellocchio N/A Thrilling Carlo Lizzani Gianni Luigi Polidori Ettore Scola Composed with Bruno Nicolai Non son degno di te Ettore Fizzarotti N/A Se non avessi più te N/A Idoli controluce Enzo Battaglia N/A For a Few Dollars More Sergio Leone N/A The Return of Ringo Duccio Tessari N/A 1966 The Bible: In the Beginning John Huston First American film Uncredited; Composed with Toshiro Mayuzumi Seven Guns for the MacGregors Franco Giraldi N/A Wake Up and Die Carlo Lizzani N/A Agent 505: Death Trap in Beirut Manfred R. Köhler Composed with Bruno Nicolai The Hawks and the Sparrows Pier Paolo Pasolini Nominated - Silver Ribbon Award for Best Score The Battle of Algiers Gillo Pontecorvo Composed with Pontecorvo The Hills Run Red Carlo Lizzani N/A Un uomo a metà Vittorio De Seta N/A How I Learned to Love Women Luciano Salce N/A For a Few Extra Dollars Giorgio Ferroni Composed with Gianni Ferrio Florence: Days of Destruction Franco Zeffirelli Documentary film Navajo Joe Sergio Corbucci N/A The Big Gundown Sergio Sollima N/A The Good, the Bad and the Ugly Sergio Leone N/A 1967 Il giardino delle delizie Silvano Agosti N/A Dalle Ardenne all'inferno / Dirty Heroes Alberto de Martino Composed with Bruno Nicolai The Rover Terence Young N/A The Witches Luchino Visconti Mauro Bolognini Pier Paolo Pasolini Franco Rossi Vittorio De Sica Composed with Piero Piccioni The Hellbenders Sergio Corbucci N/A China is Near Marco Bellocchio N/A O.K. Connery Alberto De Martino Composed with Bruno Nicolai Matchless Alberto Lattuada N/A Composed with Gino Marinuzzi Jr. & Piero Piccioni Grand Slam Giuliano Montaldo N/A The Girl and the General Pasquale Festa Campanile N/A Arabella Mauro Bolognini N/A Face to Face Sergio Sollima N/A Her Harem Marco Ferreri N/A 1968 Danger: Diabolik Mario Bava N/A Tepepa Giulio Petroni N/A The Mercenary Sergio Corbucci Composed with Bruno Nicolai Eat-it Francesco Casaretti N/A Come Play with Me Salvatore Samperi N/A A Sky Full of Stars for a Roof Giulio Petroni N/A Ecce Homo Bruno Gaburro N/A Run, Man, Run Sergio Sollima Composed with Bruno Nicolai Escalation Roberto Faenza N/A Death Rides a Horse Giulio Petroni N/A Guns for San Sebastian Henri Verneuil Composed with Laurie Johnson Comandamenti per un gangster Alfio Catabiano N/A Theorem Pier Paolo Pasolini N/A Partner Bernardo Bertolucci N/A Roma come Chicago Alberto De Martino Composed with Bruno Nicolai Machine Gun McCain Giuliano Montaldo N/A Once Upon a Time in the West Sergio Leone Nominated - Silver Ribbon Award for Best Score The Great Silence Sergio Corbucci N/A Alibi Vittorio Gassman Adolfo Celi Luciano Lucignani N/A Galileo Liliana Cavani N/A The Lady of Monza Eriprando Visconti N/A A Fine Pair Francesco Maselli N/A A Quiet Place in the Country Elio Petri N/A 1969 Cuore di mamma Salvatore Samperi N/A Listen, Let's Make Love Vittorio Caprioli N/A H2S Roberto Faenza N/A The Fifth Day of Peace Giuliano Montaldo N/A Fräulein Doktor Alberto Lattuada N/A The Invisible Woman Paolo Spinola N/A L'assoluto naturale Mauro Bolognini N/A La stagione dei sensi Massimo Franciosa N/A The Sicilian Clan Henri Verneuil N/A Burn! Gillo Pontecorvo N/A Sai cosa faceva Stalin alle donne? Maurizio Liverani N/A Senza sapere niente di lei Luigi Comencini N/A Metti una sera a cena Giuseppe Patroni Griffi Silver Ribbon Award for Best Score Brief Season Renato Castellani N/A Vergogna, schifosi Mauro Severino N/A That Splendid November Mauro Bolognini N/A The Five Man Army Italo Zingarelli N/A 1970s[edit] Year Title Director Notes 1970 Violent City Sergio Sollima N/A The Voyeur Franco Indovina N/A Hornets' Nest Phil Karlson N/A I cannibali Liliana Cavani N/A The Red Tent Mikhail Kalatozov Composed with Aleksandr Zatsepin Investigation of a Citizen Above Suspicion Elio Petri N/A La califfa Alberto Bevilacqua N/A The Most Beautiful Wife Damiano Damiani N/A The Bird with the Crystal Plumage Dario Argento First collaboration with Argento Metello Mauro Bolognini Nominated - Silver Ribbon Award for Best Score When Women Had Tails Pasquale Festa Campanile N/A Kill the Fatted Calf and Roast It Salvatore Samperi N/A Compañeros Sergio Corbucci N/A Two Mules for Sister Sara Don Siegel N/A 1971 'Tis Pity She's a Whore Giuseppe Patroni Griffi N/A 1870 Alfredo Giannetti N/A Winged Devils Duccio Tessari N/A Duck, You Sucker! Sergio Leone N/A Cold Eyes of Fear Enzo G. Castellari N/A The Decameron Pier Paolo Pasolini N/A Tre nel mille Franco Indovina N/A The Cat o' Nine Tails Dario Argento N/A Incontro Piero Schivazappa N/A The Working Class Goes to Heaven Elio Petri N/A The Burglars Henri Verneuil N/A Short Night of Glass Dolls Aldo Lado N/A Forbidden Photos of a Lady Above Suspicion Luciano Ercoli N/A The Case is Closed, Forget It Damiano Damiani N/A Maddalena Jerzy Kawalerowicz Features "Chi Mai" Oceano Folco Quilici Documentary film A Lizard in a Woman's Skin Lucio Fulci N/A Four Flies on Grey Velvet Dario Argento N/A Without Apparent Motive Philippe Labro N/A Sacco & Vanzetti Giuliano Montaldo Composed with Joan Baez Silver Ribbon Award for Best Score Veruschka: Poetry of a Woman Franco Rubartelli N/A 1972 Anche se volessi lavorare, che faccio? Flavio Mogherini N/A What Am I Doing in the Middle of a Revolution? Sergio Corbucci N/A Who Saw Her Die? Aldo Lado N/A What Have You Done to Solange? Massimo Dallamano N/A D'amore si muore Carlo Carunchio N/A Fiorina la vacca Vittorio De Sisti N/A The Fifth Cord Luigi Bazzoni N/A I figli chiedono perché Nino Zanchin N/A Devil in the Brain Sergio Sollima N/A The Master and Margaret Aleksandar Petrović N/A Chronicles of a Homicide Mauro Bolognini N/A The Canterbury Tales Pier Paolo Pasolini N/A Sonny and Jed Sergio Corbucci N/A Bluebeard Edward Dmytryk N/A Black Belly of the Tarantula Paolo Cavara N/A Plot Yves Boisset N/A Life is Tough, Eh Providence? Giulio Petroni N/A L'ultimo uomo di Sara Maria Virginia Onorato N/A La cosa buffa Aldo Lado N/A My Dear Killer Tonino Valerii N/A When Women Lost Their Tales Pasquale Festa Campanile Composed with Bruno Nicolai This Kind of Love Alberto Bevilacqua N/A The Sicilian Checkmate Florestano Vancini N/A 1973 Property is No Longer a Theft Elio Petri N/A Here We Go Again, Eh Providence? Alberto De Martino Composed with Bruno Nicolai Crescete e moltiplicatevi Giulio Petroni N/A Giordano Bruno Giuliano Montaldo N/A My Name Is Nobody Tonino Valerii N/A Night Flight from Moscow Henri Verneuil N/A Libera, My Love Mauro Bolognini N/A Massacre in Rome George P. Cosmatos N/A Revolver Sergio Sollima N/A Woman Buried Alive Aldo Lado N/A The Master Touch Michele Lupo N/A 1974 Allonsanfàn Paolo Taviani Vittorio Taviani N/A The Murri Affair Mauro Bolognini N/A Arabian Nights Pier Paolo Pasolini N/A Around the World with Peynet's Lovers Cesare Perfetto Composed with Alessandro Alessandroni The Devil Is a Woman Damiano Damiani N/A La cugina Aldo Lado N/A Weak Spot Peter Fleischmann N/A The Secret Robert Enrico N/A Le trio infernal Francis Girod N/A Autopsy Armando Crispino N/A Almost Human Umberto Lenzi N/A Last Days of Mussolini Carlo Lizzani N/A Spasmo Umberto Lenzi N/A 1975 Eye of the Cat Alberto Bevilacqua Composed with Clément Janequin The Divine Nymph Giuseppe Patroni Griffi Composed with Cesare Andrea Bixio The Flower in His Mouth Luigi Zampa N/A Lips of Lurid Blue Giulio Petroni N/A The Sunday Woman Luigi Comencini N/A The Antichrist Alberto De Martino Composed with Bruno Nicolai Léonor Juan Luis Buñuel N/A Last Stop on the Night Train Aldo Lado N/A Fear Over the City Henri Verneuil N/A Salò, or the 120 Days of Sodom Pier Paolo Pasolini N/A Todo modo Elio Petri N/A A Genius, Two Partners and a Dupe Damiano Damiani N/A The "Human" Factor Edward Dmytryk N/A 1976 End of the Game Maximilian Schell N/A The Desert of the Tartars Valerio Zurlini N/A And Agnes Chose to Die Giuliano Montaldo N/A The Inheritance Mauro Bolognini N/A 1900 Bernardo Bertolucci N/A Down the Ancient Staircase Mauro Bolognini N/A Rene the Cane Francis Girod N/A San Babila-8 P.M. Carlo Lizzani N/A A Sold Life Aldo Florio N/A 1977 Hitch-Hike Pasquale Festa Campanile N/A The Cat Luigi Comencini N/A Il mostro Luigi Zampa N/A Il prefetto di ferro Pasquale Squitieri N/A Stato interessante Sergio Nasca N/A Orca Michael Anderson N/A Exorcist II: The Heretic John Boorman N/A 1978 Corleone Pasquale Squitieri N/A Stay As You Are Alberto Lattuada N/A Where Are You Going on Holiday? Mauro Bolognini Segment: "Sarò tutta per te" Holocaust 2000 Alberto De Martino N/A L'immoralità Massimo Pirri N/A One, Two, Two : 122, rue de Provence Christian Gion N/A Days of Heaven Terrence Malick Composed with Leo Kottke BAFTA Award for Best Film Music Nominated - Academy Award for Best Original Score La Cage aux Folles Édouard Molinaro N/A 1979 Lovers and Liars Mario Monicelli N/A Dedicato al Mare Egeo Masuo Ikeda N/A Bloodline Terence Young N/A I as in Icarus Henri Verneuil Nominated - César Award for Best Original Music A Dangerous Toy Giuliano Montaldo N/A La Luna Bernardo Bertolucci N/A Buone notizie Elio Petri N/A The Humanoid Aldo Lado N/A The Meadow Paolo Taviani Vittorio Taviani N/A Ogro Gillo Pontecorvo N/A 1980s[edit] Year Title Director Notes 1980 The Blue-Eyed Bandit Alfredo Giannetti N/A Il ladrone Pasquale Festa Campanile N/A La Cage aux Folles II Edouard Molinaro N/A Si salvi chi vuole Roberto Faenza N/A The Island Michael Ritchie N/A Fun is Beautiful Carlo Verdone N/A Men or Not Men Valentino Orsini N/A Windows Gordon Willis N/A 1981 Bianco, rosso e Verdone Carlo Verdone Nominated - David di Donatello for Best Score Butterfly Matt Cimber Nominated - Golden Globe Award for Best Original Song Nominated - Golden Raspberry Award for Worst Original Song Nominated - Golden Raspberry Award for Worst Musical Score Espion, lève-toi Yves Boisset N/A The Lady Banker Francis Girod N/A La disubbidienza Aldo Lado N/A Tragedy of a Ridiculous Man Bernardo Bertolucci N/A The Lady of the Camellias Mauro Bolognini Nominated - David di Donatello for Best Score The Professional Georges Lautner Featured "Chi Mai" from "Maddalena" Nominated - César Award for Best Original Music Buddy Goes West Michele Lupo N/A So Fine Andrew Bergman N/A White Dog Samuel Fuller N/A 1982 Copkiller Roberto Faenza N/A A Time to Die Matt Cimber Composed with Robert O. Ragland Blood Link Alberto De Martino N/A The Ruffian José Giovanni N/A Nana Dan Wolman N/A The Thing John Carpenter Nominated - Golden Raspberry Award for Worst Musical Score 1983 The Key Tinto Brass N/A Hundra Matt Cimber N/A Treasure of the Four Crowns Ferdinando Baldi N/A Le Marginal Jacques Deray N/A Thieves After Dark Samuel Fuller N/A Sahara Andrew V. McLaglen N/A 1984 Once Upon a Time in America Sergio Leone BAFTA Award for Best Film Music Silver Ribbon Award for Best Score Nominated - Golden Globe Award for Best Original Score La Cage aux Folles III: The Wedding Georges Lautner 1985 The Trap Giuseppe Patroni Griffi N/A The Repenter Pasquale Squitieri N/A Red Sonja Richard Fleischer N/A 1986 The Venetian Woman Mauro Bolognini N/A The Mission Roland Joffé BAFTA Award for Best Film Music Golden Globe Award for Best Original Score Nominated - Academy Award for Best Original Score 1987 Control Giuliano Montaldo N/A Farewell Moscow Mauro Bolognini N/A The Gold Rimmed Glasses Giuliano Montaldo David di Donatello for Best Score Rampage William Friedkin N/A Quartiere Silvano Agosti N/A The Untouchables Brian De Palma BAFTA Award for Best Film Music Grammy Award for Best Score Soundtrack for Visual Media Silver Ribbon Award for Best Score Nominated - Academy Award for Best Original Score Nominated - Golden Globe Award for Best Original Score 1988 A Time of Destiny Gregory Nava N/A Frantic Roman Polanski N/A Cinema Paradiso Giuseppe Tornatore Composed with Andrea Morricone BAFTA Award for Best Film Music David di Donatello for Best Score Nominated - Silver Ribbon Award for Best Score 1989 Time to Kill Giuliano Montaldo N/A Casualties of War Brian De Palma Nominated - Golden Globe Award for Best Original Score Fat Man and Little Boy Roland Joffé N/A 1990s[edit] Year Title Director Notes 1990 Tie Me Up! Tie Me Down! Pedro Almodóvar Nominated - Goya Award for Best Original Score The Palermo Connection Francesco Rosi N/A Hamlet Franco Zeffirelli N/A The Bachelor Roberto Faenza Nominated - David di Donatello for Best Score The Big Man David Leland N/A Everbody's Fine Giuseppe Tornatore David di Donatello for Best Score State of Grace Phil Joanou N/A Tre colonne in cronaca Carlo Vanzina N/A 1991 Bugsy Barry Levinson Nominated - Academy Award for Best Original Score Nominated - Golden Globe Award for Best Original Score Especially on Sunday Marco Tullio Giordana Giuseppe Tornatore Composed with Andrea Morricone Husband and Lovers Mauro Bolognini N/A Money Steven Hilliard Stern N/A 1992 City of Joy Roland Joffé N/A The Long Silence Margarethe von Trotta N/A Lorenzo's Oil George Miller N/A 1993 In the Line of Fire Wolfgang Petersen N/A Jonah Who Lived in the Whale Roberto Faenza David di Donatello for Best Score Nominated - Silver Ribbon Award for Best Score The Escort Ricky Tognazzi Nominated - David di Donatello for Best Score 1994 A Pure Formality Giuseppe Tornatore N/A Love Affair Glenn Gordon Caron N/A Disclosure Barry Levinson N/A Wolf Mike Nichols Nominated - Grammy Award for Best Score Soundtrack for Visual Media 1995 The Star Maker Giuseppe Tornatore Nominated - David di Donatello for Best Score Nominated - Grammy Award for Best Score Soundtrack for Visual Media Who Killed Pasolini Marco Tullio Giordana N/A The Night and the Moment Anna Maria Tatò N/A Sostiene Pereira Roberto Faenza N/A 1996 The Stendahl Syndrome Dario Argento N/A La Lupa Gabriele Lavia N/A We Free Kings Sergio Citti N/A The Nymph Lina Wertmüller N/A Strangled Lives Ricky Tognazzi N/A 1997 Cartoni animati Franco Citti Sergio Citti N/A Lolita Adrian Lyne N/A U Turn Oliver Stone N/A 1998 The Legend of 1900 Giuseppe Tornatore Golden Globe Award for Best Original Score Nominated - David di Donatello for Best Score The Phantom of the Opera Dario Argento N/A Bulworth Warren Beatty Nominated - Grammy Award for Best Score Soundtrack for Visual Media 2000s[edit] Year Title Director Notes 2000 Canone Inverso - Making Love Ricky Tognazzi David di Donatello for Best Score Silver Ribbon Award for Best Score Malèna Giuseppe Tornatore Nominated - Academy Award for Best Original Score Nominated - David di Donatello for Best Score Nominated - Golden Globe Award for Best Original Score Mission to Mars Brian De Palma N/A 2001 Vatel Roland Joffé N/A Aida of the Trees Guido Manuli N/A Un altro mondo è possibile Various Documentary film La ragion pura Silvano Agosti N/A 2002 Senso '45 Tinto Brass N/A Ripley's Game Liliana Cavani N/A Carlo Giuliani, Boy Francesca Comencini Documentary film 2003 The End of a Mystery Miguel Hermoso N/A Instructing the Heart Giovanni Morricone Composed with Andrea Morricone Nominated - Silver Ribbon Award for Best Score 2004 72 Meters Vladimir Khotinenko N/A Guardians of the Clouds Luciano Odorisio N/A 2005 Fateless Lajos Koltai N/A E ridendo l'uccise Florestano Vancini N/A 2006 The Unknown Woman Giuseppe Tornatore David di Donatello for Best Score Libertas Veljko Bulajic N/A A Crime Manuel Pradal N/A 2008 The Demons of St. Petersberg Giuliano Montaldo Nominated - Silver Ribbon Award for Best Score 2009 Baaria Giuseppe Tornatore David di Donatello for Best Score 2010s[edit] Year Title Director Notes 2011 Love Story Florian Habicht N/A 2013 The Best Offer Giuseppe Tornatore David di Donatello for Best Score Silver Ribbon Award for Best Score 2015 Come What May Christian Carion Nominated - César Award for Best Original Music Il Sole è buio Giuseppe Papasso Documentary film Composed with Paolo Vivaldi The Hateful Eight Quentin Tarantino Academy Award for Best Original Score ASCAP Award for Best Film Score BAFTA Award for Best Film Music Golden Globe Award for Best Original Score Nominated - Grammy Award for Best Score Soundtrack for Visual Media Nominated - Saturn Award for Best Music 2016 The Correspondence Giuseppe Tornatore Nominated - David di Donatello for Best Score Television films and series[edit] 1960s[edit] Year Title Notes 1960 Il Lieto Fine Television film Gente che va e gente che viene 1961 Enrico '61 Documentary special Alla scoperta dell'America 1963-64 Smash Theme music & 10 episodes 1970s[edit] Year Title Notes 1970-71 The Virginian Theme music; Season 9 1973 Nessuno deve sapere Theme music & 6 episodes 1974 Moses the Lawgiver Miniseries 1975-77 Space: 1999 Italian-language version Theme music & 48 episodes 1976 Drammi gotici Television film 1977 Forza Italia! Documentary special 1978 Noi lazzaroni Television film Il prigioniero 1978 FIFA World Cup Theme music Le mani sporche Miniseries 1979 Orient-Express Dietro il processo Television film 1980s[edit] Year Title Notes 1981 The Life and Times of David Lloyd George Theme music & 9 episodes 1982 Marco Polo Miniseries 1983 The Scarlet and the Black Television film 1985 Via Mala Miniseries 1985-95 La Piovra Theme music & 36 episodes 7 d'Or for Best Music 1986 C.A.T. Squad Television film 1987 The Secret of the Sahara Miniseries The Betrothed Theme music & 7 episodes 1988 Gli indifferenti Miniseries 1989 The Endless Game Gli angeli del potere Television film 1990s[edit] Year Title Notes 1990 Cacciatore di nave Television film Voyage of Terror: The Achille Lauro Affair 1991 Il principe del deserto Miniseries Piazza di Spagna Theme music & 5 episodes 1992 Una storia italiana Miniseries 1994 Missus Genesis: The Creation and the Flood Television film Jacob 1995 Il barone Miniseries 1996 Samson and Delilah Television film 1997 Solomon In fondo al cuore Miniseries Nostromo Il quarto re Television film 1998 La casa bruciata Ultimo In fondo al cuore 1999 Ultimo 2 - La sfida Tower of the Firstborn I guardiani del cielo Miniseries Nana 2000s[edit] Year Title Notes 2000 Padre Pio: Between Heaven and Earth Miniseries 2001 La Piovra 10 Television film 2002 Perlasca, un Eroe Italiano Miniseries Un difetto di famiglia Il diario di Matilde Manzoni 2002-03 Musashi Theme music & 49 episodes 2003 The Good Pope: Pope John XXIII Miniseries Maria Goretti Television film ICS L'amore ti da' un nome Charlie Chaplin – Les années suisses Documentary special 2004 Ultimo 3 - L'infiltrato Television film 2005 Il Cuore nel Pozzo Miniseries Karol: A Man Who Became Pope Cefalonia Television film Lucia Bartali: The Iron Man Miniseries 2006 Karol: The Pope, The Man La provinciale Giovanni Falcone - L'uomo che sfidò Cosa Nostra 2007 L'Ultimo dei corleonesi Television film 2008 Résolution 819[19] 2009 Pane e libertà Miniseries Quatraro Mysteriet Theme music & 8 episodes 2010 Mi Ricordo Anna Frank Television film Filumena Marturano 2011 Napoli milionaria Napoli milionaria Questi fantasmi 2011-13 Come un delfino - La serie Theme music & 6 episodes 2012-13 L'isola Theme music & 12 episodes 2012 Sabato, domenica e lunedì Television film Paolo Borsellino: The 57 Days 2013 Ultimo 4 - L'occhio del falco Miniseries

Catch Me If You Can (John Williams)

and , at the same time. THE THING Man, but this is fucking brilliant! It's always been my favourite Morricone, and it always will.

Cinema Serenade, for instance.

R.I.P. I was just listening to his music. Easily the greatest living film composer (when he was alive). Hans Zimmer chimes in and there will be more words from notable people coming:

I'm not aware STID succeeded. It was an overblown, bloated, absolutely nonsensical movie, whose only asset was the only thing JJ Abrams is capable of: being a lazily disguised copy of an old movie that gets some ruckus out of people because of nostalgia, and because it's "updated" with the latest thematic requirements in Hollywood, appealing to the lowest common denominatior. In other words, it's just like Rise Of Skywalker, only with less aggressive politics and worse music.

She should read HOSTAGE/TERRORIST, TERRORIST/HOSTAGE (A Study In Duality)

The statement by Morricone has class and grace as well, and is a little more personal: https://www.fpa.es/en/princess-of-asturias-awards/laureates/2020-ennio-morricone-and-john-williams.html?texto=declaracion&especifica=0 "solitude", work "ethic", "constant dedication" are indeed also words that we have seen applied to Williams.

Gratitude from Williams. As always with class and grace.

It was just depressing and dark. I stuck it out to see if it was going to get better, but eventually the novelty of Patrick Stewart being in it wore thin and we were left with a bunch of crappy characters, a stupid storyline dragged out for the entire season and a really bad ending.

3:20 - 3:56