Leaderboard

Lo, almost 15 years later...

When I was saying good things are coming I was not being hyperbolic. We approached John about expanding this and he was enthusiastic and excited about it. The cool thing about working with him is his studio does it all. He oversaw the sequence, chose the alts and demos, and mastered it. Having this DE tie in with the book was an added plus.

The former producer liked hiring a guy who brickwalled everything. Cary and I work with folks who level properly. In the case of this, 5 Cat Studios oversaw the whole process. John is a joy and knows what he wants.

Stop gloating, Richard! It could happen to anybody.

Ratings differ per country.

What are you talking about? EDIT: Wrong thread. Karol

Wonderful script, wonderful perfomances and a wonderful score. Wonderful all around, super recomended.

It ties in nicely with his sheet music book.

The more we learn, the more it appears we can be really glad that the former producer is now a former producer.

I liked Holko's theory that all these releases are happening just because Powell's been bored in lockdown

Sorry, I just couln't resist. John Williams sighted in Melee Island!! John Williams with a few members of the starwars saga The John Williams legacy John Williams on the steps of the Melee Cathedral If your interested, you can see more photos of the cathedral or of my other projects (just click "up") in http://www.brickshelf.com/cgi-bin/gallery.cgi?f=115754

A24 Films LINK 1 or 2 Boys State (T. Griffin) First Cow (William Tyler) Minari (Emile Mosseri) On The Rocks (Phoenix) Aegean Entertainment https://awards.aegeanentertainment.com/ Amazon Studios LINK 1 or 2 All In: The Fight for Democracy (Gil Talmi) All In: The Fight for Democracy [Song - “Turntables” (Janelle Monáe), 2:43] Borat: Subsequent Moviefilm (Erran Baron Cohen) Borat: Subsequent Moviefilm [Song - "Wuhan Flu" (Sacha Baron Cohen, Erran Baron Cohen, and Anthony Hines), 3:21] herself (Natalie Holt) I'm Your Woman (Aska Matsumiya) [10 cues, 21:40] One Night in Miami... (Terence Blanchard) One Night in Miami... [Song - "Speak Now" (Leslie Odom, Jr. & Sam Ashworth), 3:37] Radioactive (Evgueni Galperine & Sacha Galperine Sound of Metal (Nicolas Becker & Abraham Marder) Sound of Metal [Song - “Cet Amour Me Tue” (Mathieu Amalric & Olivia Cooke), 2:24] Sound of Metal [Song - "Green" (Abraham Marder), 4:22] Time (Jamieson Shaw & Edwin Montgomery) Annapurna Pictures 1, 2, or 3 Bleecker Street LINK 1, 2 , 3 or 4 Assistant, The (Tamar-Kali) Military Wives (Lorne Balfe) Ordinary Love (David Holmes & Brian Irvine) Supernova (Keaton Henson) Wild Mountain Thyme (Amelia Warner) World to Come, The (Daniel Blumberg) CBS Films 1 or 2 DreamWorks LINK 1 or 2 DreamWorks Animation LINK 1 or 2 Focus Features LINK 1 or 2 Emma (Isobel Waller-Bridge & David Schweitzer) High Note, The (Amie Doherty) Kajillionaire (Emile Mosseri) Land (Ben Sollee & Time For Three) Let Him Go (Michael Giacchino) Never Rarely Sometimes Always (Julia Holter) Promising Young Woman (Anthony Willis) [13 cues, 43:05] Promising Young Woman [Song - “Uh Oh” (Cynthia Nabozny, Matias Mora, & Mia Minichiello), 3:11] Promising Young Woman [Song - “Come and Play With Me” (Romy Flores & Andy Rosen), 3:08] Way I See It, The (Marco Beltrami, Buck Sanders, & Brandon Roberts) GKIDS https://gkidsawards.com/ Earwig and the Witch (Satoshi Takebe) Lupin III: The First (Yuji Ohno) On-Gaku: Our Sound (Tomohiko Banse, Grandfunk, & Wataru Sawabe) Ride Your Wave (Michiru Oshima) Wolfwalkers (Bruno Coulais) Lionsgate http://www.lionsgateawards.com/ Antebellum (Nate Wonder & Roman GianArthur) Arkansas (Devendra Banhart & Noah Georgeson) Barb and Star Go to Vista Del Mar (Christopher Lennertz & Dara Taylor) Fatale (Geoff Zanelli) Quarry, The (Heather McIntosh) Wander Darkly (Alex Weston) Magnolia Pictures http://www.magpictures.com/awards/ Collective (Kyan Bayani) Two of Us (Michele Menini) Neon LINK 1 or 2 Ammonite (Dustin O’Halloran & Volker Bertelmann) Dear Comrades (?) Gunda (Peter Nashel & Brian Deming) Killing of Two Lovers, The (?) Lodge, The (Danny Bensi & Saunder Jurriaans) New Order (Cormac Roth) Night of the Kings (Olivier Alary) Notturno (?) Painter and the Thief, The (Uno Helmersson) Palm Springs (Matthew Compton) Possessor (Jim Williams) Quo Vadis, Aida? (Antoni Lazarkiewicz) She Dies Tomorrow (Mondo Boys) Shirley (Tamar-Kali) [21 cues, 33:07] Spaceship Earth (Owen Pallett) Totally Under Control (Peter Nashel & Brian Deming) Netflix LINK 1, 2, 3, 4, or 5 Athlete A (Jeff Beal) Becoming (Kamasi Washington) [11 cues, 25:08] Boys in the Band, The (?) Canvas [animated short] (Jermaine Stegall) Cops and Robbers [animated short] (Jerry Compere) Crip Camp (Bear McCreary) Da 5 Bloods (Terence Blanchard) [10 cues, 31:35, WAV format] [1 or 2] Da 5 Bloods (Terence Blanchard) [10 cues, 31:35, M4A format] David Attenborough: A Life on Our Planet (Steven Price) Devil All the Time, The (Danny Bensi & Saunder Jurriaans) Dick Johnson is Dead (SYZYGYS) Dig, The (Stefan Gregory) Disclosure (Franceso Le Metre) Endless Trench, The ( Pascal Gaigne) Eurovision Song Contest: The Story of Fire Saga (Atli) Eurovision Song Contest: The Story of Fire Saga [Song - "Husavik" (Savan Kotecha, Rickard Goransson, & fat max Gsus), 03:22] Father of the Bride - Part 3 (ish) [short] (Alan Silvestri) Father Soldier Son (Nathan Halpern) Forty-Year-Old Version, The (?) Giving Voice (Bryan Senti) Half of It, The (Anton Sanko) Hillbilly Elegy (Hans Zimmer & David Fleming) [9 cues, 21:28] His House (Roque Baños) I Care a Lot (Marc Canham) I'm No Longer Here (?) I'm Thinking of Ending Things (Jay Wadley) I'm Thinking of Ending Things (Jay Wadley) [score featurette, 4:16] If anything happens I love you [animated short] (Lindsay Marcus) Jingle Jangle: A Christmas Journey (John Debney) [38 cues, 1:14:51] Jingle Jangle: A Christmas Journey (John Debney) [24 cues, 58:21] Jingle Jangle: A Christmas Journey [Song - "Sqaure Root of Possible" (Philip Lawrence, Michael Diskint, & Davy Nathan), 04:27] John Was Trying to Contact Aliens (?) Life Ahead, The (Gabriel Yared) [14 cues, 20:03] Lost Girls (Anne Nikitin) Love Song for Latasha, A (Minna Choi) Ma Rainey's Black Bottom (Branford Marsalis) Malcolm & Marie (Labrinth) Mank (Trent Reznor & Atticus Ross) [57 cues, 1:21:47] [1 or 2] Midnight Sky, The (Alexandre Desplat) [31 cues, 1:16:14, MP3 & WAV (1 cue) format] Midnight Sky, The (Alexandre Desplat) [12 cues, 35:07, M4A format] Miss Americana (Alex Somers) Miss Americana [Song - "Only the Young" (Taylor Swift & Joel Little), 2:38] Mucho Mucho Amor: The Legend of Walter Mercado (Jeff Morrow) My Octopus Teacher (Kevin Smuts) Old Guard, The (Volker Bertelmann & Dustin O'Halloran) Over the Moon (Steven Price) [41 cues, 1:05:08] [1 or 2] Over the Moon [songs] (Christopher Curtis, Marjorie Duffield, Helen Park, & Michael Wyckoff) [9 songs, 26:49] [NOTE: Total length includes relatively long portions of silence at the beginnings and/or ends of each song.] Over the Moon [Song - "Rocket to the Moon" (Christopher Curtis, Marjorie Duffield, Helen Park, & Michael Wyckoff), 03:47, M4A format] Penguin Bloom (Marcelo Zarvos) Pieces of a Woman (Howard Shore) Prom, The (David Klotz & Matthew Sklar) Prom, The [Song - "Wear Your Crown" (Adam Anders, Peer Astrom, Matthew Sklar & Chad Beguelin), 03:05] Rebecca (Clint Mansell) Rising Phoenix (Daniel Pemberton) Shaun the Sheep Movie, A: Farmageddon (Tom Howe) Social Dilemma, The (Mark Crawford) Speed Cubers, The (Dan Vidmar) Sun, A (Sheng-Xiang Lin) Trial of the Chicago 7, The (Daniel Pemberton) [14 cues, 41:50, MP3 format] [1 or 2] Trial of the Chicago 7, The (Daniel Pemberton) [11 cues, 40:37, M4A format] Trial of the Chicago 7, The [Song - "Hear My Voice" (Celeste), 3:08, MP3 format] Trial of the Chicago 7, The [Song - "Hear My Voice" (Celeste), 3:08, M4A format] What Would Sophia Loren Do? (?) White Tiger, The (Danny Bensi & Saunder Jurriaans) Willoughbys, The (Mark Mothersbaugh) Netflix (series) https://www.playlistnetflix.com Crown, The (Martin Phipps) - Season 4, Episode 3 [11 cues, 13:21] Julie and the Phantoms [Song - "Edge of Great" (David Amber & Andy Love), 03:01] Ozark (Danny Bensi & Saunder Jurriaans) - Episode 10 [1 cue, 02:02] Queen's Gambit, The (Carlos Rafael Rivera) - Season 1, Final Episode [11 cues, 32:24] Queen's Gambit, The [Song - "I Can't Remember Love" (Anna Hauss & Robert Wienroder), 3:17] Open Road Films http://openroadfilms.com/AWARDS/ The Orchard https://awards.theorchard.com/ Paramount Pictures LINK 1 , 2, or 3 Roadside Attractions http://roadsideawards.com/home Searchlight Pictures LINK 1 or 2 Nomadland (Ludovico Einaudi) Personal History of David Copperfield, The (Christopher Willis) [47 cues, 51:33] Solstice Studios https://www.solsticestudiosguilds.com/ Joe Bell (Antonio Pinto) Sony Pictures LINK 1 or 2 Sony Pictures Classics http://www.sonyclassics.com/awards- information/ Climb, The (Martin Mabz & Jon Natchez) Father, The (Ludovico Einaudi) French Exit (Nick deWitt) Human Factor, The (Eugene Levitas) Human Voice, The (Alberto Iglesias) I Carry You With Me (Jay Wadley) Nine Days (Antonio Pinto) Truffle Hunters, The (Ed Côrtes) STX Entertainment LINK 1 or 2 Mauritanian, The (Tom Hodge) United Artists Releasing 1, 2, & HFPA Universal Pictures LINK 1 or 2 Croods, The: A New Age (Mark Mothersbaugh) [24 cues, 39:11] [1 or 2] Croods, The: A New Age [Song - "Feel the Thunder" (Alana Haim, Danielle Haim, Este Haim, & Ariel Rechtshaid), 2:48] Invisible Man, The (Benjamin Wallfisch) [15 cues, 49:41] [1 or 2] King of Staten Island, The (Michael Andrews) News of the World (James Newton Howard) [19 cues, 1:11:49] [1 or 2] Trolls: World Tour (Theodore Shapiro) Trolls: World Tour [Song - “Just Sing (Trolls World Tour)” (Justin Timberlake, Ludwig Göransson, Max Martin, & Sarah Aarons), 3:41] Walt Disney LINK 1 or 2 Hamilton (Lin-Manuel Miranda) Mandalorian, The (Ludwig Göransson) Mulan (Harry Gregson-Williams) [13 cues, 35:04] One and Only Ivan, The (Craig Armstrong) Onward (Mychael Danna & Jeff Danna) [69 cues, 1:13:59] Soul (Trent Reznor, Atticus Ross, & Jon Batiste) [31 cues, 46:35] Soul (Trent Reznor & Atticus Ross) [23 cues, 40:03] [Note: Site has been updated to the 31-cue version above.] Warner Brothers AMPAS, HFPA, & BAFTA Birds of Prey (Daniel Pemberton) Crisis (Raphael Reed) Judas and the Black Messiah (Mark Isham, Craig Harris, Quelle Chris, & Chris Keys) [17 cues, 26:42] Judas and the Black Messiah [Song - "Fight For You" (H.E.R., Dernst Emile II, & Tiara Thomas), 4:32] Little Things, The (Thomas Newman) [25 cues, 58:37] [AMPAS or BAFTA] Locked Down (John Powell) Scoob! (Junkie XL) Tenet (Ludwig Göransson & Daniel Pemberton?) [51 cues, 2:15:27] [Note: Site has been updated to the 18-cue version below, but the streamable AAC links are still active. 3m16, 3m16B, & 4m26S attributed to Pemberton.] Tenet (Ludwig Göransson) [18 cues, 1:08:07] [AMPAS or BAFTA] Tenet [Song - "The Plan" (Travis Scott, Ebony Naomi Oshunrinde, & Ludwig Göransson), 3:05] [1 or 2] Way Back, The (Rob Simonsen) Wonder Woman 1984 (Hans Zimmer) [19 cues, 1:18:57] MISCELLANEOUS Blizzard of Souls (Lolita Ritmanis) [28 cues, 1:04:10] Dissident, The (Adam Peters) [65 cues, 2:36:56] [General FYC site: https://thedissident.com/awards/] Sound of Identity, The (Nicolas Repetto) [4 cue excerpts, 03:27] Stand! (Danny Schur) [24 cues, 34:22] [General FYC site: https://www.standfyc.com/] WiNDUP (Joaquin Garcia) [animated short] [General FYC site: https://unity.com/demos/windup] NOTES: ARCHIVES OF PAST YEARS' THREADS: 2019, 2018, 2017, 2016, 2015, 2014, 2013, 2012, & 2011 Links to film sites above provided only for those featuring score/music excerpts. Direct links to audio files provided in the Spoilers below the film titles. Please post other studios and film sites featuring music below and I will add them to this master list. Sources for the sites listed above (in part): http://www.richiesolomon.com/screenings/#films Historical: http://www.awardscircuit.com/oscar-predictions/103406-2/fyc-awards-season-tracker-2016-2017/

Didn't take me long to guess who this was in spite of the name change.

I've received it, good fellow. Now, I'm clearly biased with this one, because it is my favorite work of Mr. Kamen. But truly, this release is quite amazing. There isn't a HUGE difference in overall sound quality from the previous release, but it is definitely a rounder, fuller sound. There are quite a few pieces in which little details are more apparent. ie, all of the Music for the Merry Men, in which the dulcimer and Renaissance roots are very crisp. The treat here is having completed sequences that have been missing over the years. The new music really elevates the program, and illuminates the compositional through-line of the story. The End Credits piece is so tender and lovely, and it actually answers an editorial question I've had for years: the end/edit of 'Maid Marian' on the OST; That piece seques into a few- second, fading section of the End Title music. So, we actually HAVE heard a miniscule bit of it before. If you enjoy this score, then you'll really appreciate this edition. As has been mentioned before, there are still a few source cues that didn't turn up-- 'Wild Times,' as played and sung in the style of the other Medieval Dance cues; 'Kyrie Eleison,' for the Mass. For me, the true loss is 'Marriage Plans/Robin's Alive.' (I've expressed that ad nauseum 🤣🤣)But, that is certainly not a deal-breaker, by a long shot. This is the definitive presentation of 'Robin Hood,' and well worth the buy!

Just a week ago I was thinking about Alex North and his score for Prizzi's Honor, which uses various Italian composers like Rossini.

A fun variation on/deconstruction of "Für Elise" in "Pig Für Elise".

The BrickLink webstore, mostly! It's mostly reassembled from LEGO's Harry Potter collection: the body is from Cedric Diggory; the head is from a recent Dumbledore; and the bald hairpiece is from Ernie Prang. Even the "baton" is Voldemort's wand! The metallic gold statuette appears in a number of sets. I considered adding the cloth tuxedo tails from the CMF Professor Flitwick minifig (which I do have), but they weren't all that visible, and the texture difference between the cloth and plastic didn't look great. Still, it's an option! Seconded! Marian's BrickHeadz are fantastic! I'm not a huge fan of the theme, but if I were I'd definitely have parted one or both out by now.

I posted my quick observations on the previous page. Karol

There are comments in the FSM and Intrada forum threads from people who have received it. It's possible no JWFanners have it yet

And there is of course the opposite way. In The Witches of Eastwick I personally would have prefered Williams' composition for the ballroom scene. I almost hate what James Newton Howard did to Tschaikowski's wonderful ballet music. But it more or less in line with what the movie did to the story.

Has anybody gotten this new edition?

If there's one thing Hollywood will never stop doing is to congratulate themselves.

No offense meant. Just shocked that studios are even thinking about awards based on how this year has gone for the industry.

That scene was one unbroken shot and it’s phenomenal. I wish Spielberg would make more movies. Covid-19 notwithstanding, he hasn’t exactly been moving projects forward with any sense of urgency for awhile now.

How much music was actually unreleased for this score? I don't have a clue what the FYC added to the OST (and there seem to be some pretty expansive fan edits floating around).

Bruce Lee's long lost brother.

I didn't remember this thread. I guess I better post a link to my own LEGO JW here as well: http://bricks.schedenig.name/2020/02/08/john-williams-brickheadz/

Sound is good and punchier than with my previous amp, but the input selector (the large knob at the left) is wobbly and feels way too lose. I'm sending it back so they can have a look at it.

I dislike the movie, but you can never EVER go wrong with Gotterdamerung (and a bit of Parsifal thrown in there for good measure). Nothing even comes close.

There's a famous story of how, at a pitch meeting for the film of AMADEUS, the writer recited the storyline, to which one "suit" replied: "That's fantastic! Now, who's going to do the music? My favourites would be: 2001 2010 FEARLESS EXCALIBUR ROLLERBALL THE ELEPHANT MAN

As a standalone piece it's wonderful. Easily his best in the final six films!

I loved how "Fearless" incorporated Gorecki's Symphony No. 3 in the final moments. They hint at the crash through flashes and cuts that transforms all the characters in multiple ways but Jeff Bridges experiences a god complex after but not till that last minutes does the audience experience it. Also the score throughout is very minimal in this dialog heavy film but the ending has very little dialog, just this music and visuals and it packs a very powerful punch in context. It makes the movie feel like a symphony in how the final scene makes you reinterpret all that happened before. It's a very good film.

Thank you. I’ll give a longer notice next time!

Of course a child might/would say something LIKE that! It's ONE effing line! What's the big deal? And, you correctly portrayed the knee-jerk reactions of medi But, the film itself has ZERO to do with 911( how can you compare two planes crashing into buildings, with an alien invasion aimed at eradicating the human race!?). It's about superpower imperialism. What happens.when the conquerors are conquered? What happens when invaders come across diseases they have no imm unity against.? You really expect me to click on a link with the tag " post-9-11american-cinema"? That's for the egg heads over at CINEASTE or FILM COMMENT. ( maybe Thor or Publcicist are interested) 😆 Re:.Tom Cruise walking around covered in ash; Obviously, you never heard of Hiroshima. Or, Nagasaki. Or, the firebombing of Tokyo and Dresden. lotsa ash.lotsa dead people.( hundreds.of thousands). Sheesh! Americans think only they have suffered! My complaint about the ending is the obligatory cameo by Actors who were in the original! I HATE..HATE..HATE that trope!😠😠😠 And, you are spot on about Cruise's character m Actually, that's one of its strength. It avoids the obligatory buildup endemic to disaster flicks; you know , the introduction of all the char and their backstory. The other innovative aspect is limiting the the action to the pov of the characters . 🕸 only see what they see. No omniscience( GODZILLA 2014 also did this effectively) Pure film making brilliance.

To be honest, My Heart Will Go On is not even the worst song based on a Horner score. Josh Groban's song for the end titles of Troy is an abomination.

Enya does. How could I not?

Sorry to hear it. It stands as a towering beacon of the 90s in my book. The 'Enya'-style parts, the love theme, the action music -- and the variations thereof. It added to the stupendous, visceral feel of 'being there' and a string of 'mini movies', typical of Cameron. I don't care diddly-squat if the Celine Dion-performed song version of theme is a cheeseball of gigantic proportions; there is so much else to this score. I must have seen the film some 15 times over the years. Whenever it's on the telly, I can't escape it. I'm instantly drawn in.

Definitely not. I think AMISTAD is a wonderful score (especially on album), and I think the film is vastly underrated. Probably seen it some 7-8 times. But TITANIC is a bonafide masterpiece - both film and score - and deserved every award it got. Hosting the concert here in Oslo that played the theme (with choir) was a privilege, even if it took place while everyone else was in Vienna to see the man himself live.

I know what you mean. I like several parts of Nixon and Seven years in Tibet, and bits and pieces of other soundtracks, but on the whole I thought he was burnt out. Same 2005 -2010 after Geisha. Luckily he recovered again splendidly with Tintin and War Horse.

Oooh another 6 months of arguing about how much of this score HZ wrote. I can’t wait!

I feel like this score doesn't get enough love. Hopefully it will be re-evaluated once Mike has the chance to expand it; the OST leaves a lot to be desired (and is vastly incomplete). With only a handful of non-Disney, pre-2005 Spielberg/Williams scores left, I'm hopeful they can tackle it soon. This cue is one of many unreleased highlights, especially if you enjoy Williams' Americana style. That brilliant warm brass and flute writing is sublime. jurassicjello · The Ancestors

This release is a great coup @BryonDavis, congrats to your team for making it a reality! Are you able to talk about how this project came together? Powell seems remarkably gung-ho about getting his scores expanded this year! I wonder if the spare time during the pandemic has allowed more composers to work on projects they're ordinarily too busy to produce.

Interesting. I guess The Matrix had enough other stuff going on that the fact it isn't anchored by memorable themes isn't something that ever affected me, while it was an aspect of WOTW that turned me off at the time, since I was really only into melodic film scores especially by JW at the time. Now I appreciate this score on a whole other level.

Indeed. Never understood what people's issues were with this. I guess I can understand it if you're a hardcore Godzilla fan, and the film was too radical a departure from the design or tradition of the old movies, but personally I never gave a toss about that. As a monster flick, it's very good!

publicist, don't be rude. If you don't like a post, you don't have to reply to it. You can close the thread and read another one instead

I also made a thread specific to this track when the OST came out. I liked it instantly, it didn't have to grow on me. Overall one of Williams most beautiful tracks of all time. Williams should have played it in Vienna so we'd have an additional recording of it. But recently I noticed the Victory Theme is played better in the End Credits. So I wish the performance of the End Credit was was reversed with the concert version . The strings in THIS section are much more beautiful in the End Credits (maybe someone can describe the intonation difference better than me), and also the more pronounced woodwind accents of the climax that makes it sound more like a classic JW theme Compare with concert version

because its really not one of Spielbergs best films, In the 2000's Catch Me If You Can and War of the Worlds are better. In the 1990's Saving Private Ryan, Schindler's List and Jurassic Park are better, even the Lost World is no worse. In the 80's, the Last Crusade, Empire of the Sun, Temple of Doom, E.T. The Extra-Terrestiral, and Raiders of the Lost Ark are better. The 70's Close Encounters and Jaws. Steven has made a few more than one or two better films

This is probably the third thread on this I'm closing.