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Brainstorm! Braintorm again! Or E.T.

He, he...indeed. I hate my advanced age in terms of physical decay, but I'm so thankful that I got to experience a time of more "happy-go-lucky joie-de-vivre", where heroes were proper heroes and empowered female characters just grew naturally out of the story (like Ripley or Sarah Connor) rather than being hammered over the head about how empowered they are (like Enola Holmes or 2020 Mulan).

...and the Bastard Dad Of All Time award, goes to...

The play is called THE MADNESS OF GEORGE III, but it was changed, because the studio thought that people might ask "What happened to GEORGE I, and GEORGE II?"

Fenton was always great at combining his own music with existing classical music (or approximating classical music styles in general). This - alongside THE MADNESS OF KING GEORGE - are the best examples. Great score!

E.T. The Extraterrestrial (LLL) A few nice days of weather made it feel like spring. And with spring, I always get in the mood for this score.

The Book Thief so much deserved to win

HERRMANN

Sorry to quote myself, but I have really a crush for this score. It's poetic, it evoke the sea, it's a great great great discovery. I will try to listen to the original version too.

Saganne certainly belongs to the former category, it's pure romance, but not in the Captain Obvious/John Barry way.

Skittles > diabetes > Wilford Brimley Disney+ is adding the Ewok movies next month Ewoks (The Deluxe Edition)

Skittles: The Movie Gutter: The Movie There, I solved it. You're welcome.

Thanks, crumbs. I apologize for the words I used. I know very well that the great majority of the people on this board are very passionate about JW music and they understand how much of a challenge is to produce recordings such as this, so any feeling of disappointment that might occur is mostly because they'd love to see more of the Maestro's music appreciated and celebrated. I am sure many of us will enjoy a lot this new release and let's hope is a good sign of more things to come in the future. Cheers everyone

Stefan was saying to me about it the other day actually, that it's probably a matter of time before Indiana Jones is cancelled, at least as far as his second instalment goes. Or will wokies settle for a straightforward warning alert at the beginning of the film, which explains to snowflakes that the film features deeply offensive stereotypes and other problematic themes from yet more bygone times, who knows.

Don't you rate the Indy/Mutt relationship in KOCS, @Chen G.?

I also would have liked to see Goldsmith's "Legend" in 85 under the nominees. In my opinion better than for example Witness from Maurice Jarre.

In any other year, Poltergeist would be a worthy winner, but ET is a classic.

We should hire an orchestra to record my original track list!

And I apologise for the negative tone of my earlier posts. It's worth celebrating any orchestra who performs JW's music, even moreso when their resources are devoted to a commercial release of his music. I hope my comments weren't construed as disrespectful to the work put into this release; I genuinely appreciate the complexities involved. I hope this album is a commercial success for the orchestra, especially in these challenging times for orchestras worldwide. Hopefully we can look forward to even more recordings of the Maestro's music in the future, highlighting JW's rich (and very deep!) catalog of works.

I've just listened to PoA's „Remembering Mother“ (3m10) and checked the score, realizing John Williams wrote two versions for this cue. In fact, the track on the LLL-release and used in the film is labeled „alternate“ in the score. I wonder if the „first“ version has been recorded. @Jay? I'm not an expert with mockups but I created one using Sibelius 7 First. Enjoy! 2004_PoA_3M10alt.mp3

Someone on Facebook pointed out that Eiger Sanction has a track title called Up The Drainpipe...

I use Spitfire Symphonic Orchestra exlusively and like the brass in it a lot and it also mixes very well with the other AIR libraries but if you're not going the Spitfire route, maybe SSB isn't the way to go. I have heard very good things about Berlin Brass and Junkie XL brass (same developer) so check those out as well!

The song royalties probably still pay off handsomely. Afair, big shot composer also get gross points on *their* movies, and since the Marvel era of movies, that's probably a substantial amount even for dreck like ASM 2.

Yeah that'd be pretty neat to learn. The sound design was done at Skywalker Sound. So definitely some brilliant minds behind it.

Nah, he did it for all his scoring jobs at the time. JW: You need a better composer. Producer: I know, but they're all dead. You're the best that's left. JW: That's right, schmuck, so you better pay well!

Penny Dreadful is my favorite TV score from the last decade. And he has done some pretty good jobs, specially for drama movies.

An almost perfect score, of highest musical caliber (the main theme is practically an impressionist daydream) for this 1984 French colonial desert epos by Alain Corneau. Sarde may not be everyone's cup of tea, and he has a Horner-like fascination with his own back catalogue, but given what passes as great fil music these days, you will listen with mouth agape what was just one of the also-ran scores in 1984.

The film is Skittles Pipe

I look forward to the prequels. Currently listening to Fimucité 6 - Diego Navarro and the Tenerife Symphony Orchestra. A nice mix of scores, from relatively obvious JW choices (ET, Jurassic Park, Jaws) but some scores many here would pick but lots of programmers wouldn't like Conan, the Land Race from Far & Away, Airport, the end credits from An American Tail (nice change from Somewhere Out There, lovely though it is. Mostly decent performances - although more enthusiasm over polish - and acceptable, if not great, recording and only occasional audience noise.

Sorry I should have clarified, it was via a ouija board.

Thank you. I think the campfire talk and her becoming slightly more active in the fight by the end (rooting for Indy, punching a guy in the minecart) shows that she has more internal strength and a grounded worldview than you'd or maybe even she'd think, she's just comfortable with being the dumb blonde dancer when that's expected of her, and breaks down when out of her element. I love the flirting scene, that also shows she likes playing roles for the heck of it.

Which is exactly why some of us prefer the father-son dynamic in The Last Crusade to the Indy-and-pseudo-"Bond"-girl from either Raiders of the Lost Ark and Temple of Doom. The relationship there just feels more genuine.

One thing I found after rewatching Raiders after several years is how unbearably whiny I found Marion to be. For some reason I didn't pick up on it before, or my sensibilities were different, but when I watch now I find her to be insufferably annoying. All she does is scream and complain, like an unhappy fishwife, culminating in excruciating stuff like "Innnnnnndddddddy, the torch is going out!". I don't think 4K is going to improve her character one bit, and I actually find Willie Scott to be more bearable than Marion now.

BLADE RUNNER would get my vote if it had been among the nominees, but yeah - hard to beat E.T. Incidentally, those two scores constituted two of the three analysis chapters in my thesis. 1982 was a great year!

I'll get to see tomorrow on Foxtel for free!

In the case of CHINATOWN, I feel like it's such a seminal score (especially in terms of its spotting), so although I prefer TTI more, it's a more ambitious and historically important effort. In the case of MIDNIGHT EXPRESS, that -- too -- is such a seminal score. Proper chops finally given by the Academy to electronic music. Love its gruelling, corporal feel in the film. While - all things considered - I might consider SUPERMAN more of a personal favourite, I put that aside for a moment. But the competition between the two, in terms of personal favourites, was always very close to begin with. Both are masterpieces.

As a kid, I saw Caravan of Courage before I saw Return of the Jedi. I was surprised to see Ewoks in a Star Wars movie.

1999 was a very tough year. So many great movies and scores came out that year, that people have been making articles and podcasts about it. TPM is great, but ANGELA'S ASHES is my favourite of the noms - by far. But I voted for AMERICAN BEAUTY because it's such an apparent oversight. THE RED VIOLIN is fine too, and CIDER HOUSE RULES at least has that great theme (that is repeated a little too often, in typical Portman fashion). RIPLEY doesn't quite reach up in that competition, at least not for me - even if the score is good. But so many other great scores from 1999 that weren't even nominated: SNOW FALLING ON CEDARS, THE NINTH GATE, POSTMEN IN THE MOUNTAINS, DEEP BLUE SEA, CLEOPATRA, THE GREEN MILE, THE STRAIGHT STORY, EAST-WEST, A MAP OF THE WORLD, DURANGO, TARZAN, THE INSIDER, THE 13TH WARRIOR, THE MUMMY, BICENTENNIAL MAN, ANNA AND THE KING, SHANGHAI VICE, NANA, IL QUATRO RE, WILD WILD WEST, IN DREAMS, FIGHT CLUB, THE MATRIX, THE WORLD IS NOT ENOUGH, SLEEPY HOLLOW, PLUNKETT & MACLEANE, UNA HISTORIA RECIENTE, THE VIRGIN SUICIDES, TAAL, TOY STORY 2.....just to mention some.

Speaking of TD, as we have been...does anybody have the two recently-released box sets?

Names is for tombstones, baby. Take this honky out, and waste 'im!

BTTF was the best of them

I guess there's no accounting for poor taste. Pretty good racket he's got going there considering he can't read music.

Somehow McCreary and Beltrami yield much better results. Maybe they hire composers with more talent.

Howard Shore's work on the Hobbit trilogy wasn't recognized by the academy at all either Of course they aren't as good as his LOTR scores, but in those 3 years that they were coming out, they were among the best scores anyone was writing at the time

The clue will be this: And the release will not be Brainstorm, nor even a Horner score.

Spent quite a time looking and waiting for some of these to show up on specialty sites, ended up just buying this batch of downloads on Presto:

That's happened to me a few times. Godzilla movies kinda went off my radar for a few years between 1998 and 2003 until Godzilla vs Destoroyah aired on SBS and that jump-started a franchise renaissance for me that hasn't ended since. Same with Star Trek, I grew up loving it, but I think sometime from 1998 onwards (even missing Nemesis at the cinema), I lost interest and couldn't be arsed about it, but at some point in the mid-2000s, I ran into people here like Hitch who helped rekindle my interest through the old Quote Wars and decided to seek out all the Special Edition DVDs of the movies and became more devoted than ever.