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All I'm saying is James Mangold is a professional who is probably gonna be working his ass off to get this thing into a 7/10 workable action romp that will get more hate and overall attention than it deserves. And Harrison Ford will probably be pretty good in it and the music will predictably be world class and generally taken for granted except by the nerdiest 10 year olds who will grow up enchanted by it because there's something special they hear that they can't define yet.

Last year a new critical edition of the original Appalachian Spring ballet score was published. Naturally I bought this new edition for study and for my collection of Copland scores. It came with great essays and commentary about the ballet and was especially useful to me for parsing through all the different versions and permutations of the ballet and its suite form that have appeared across the decades. https://sites.google.com/a/umich.edu/musa/publications/musa-forthcoming-aaron-copland-appalachian-spring-original-ballet-version Anyway, here is a great podcast interview with the two editors of the new edition https://newbooksnetwork.com/appalachian-spring

I mean, ET is the greatest music written for the medium of film so there's that.

I enjoyed reading over the blog too, @Datameister. And it just so happens I use Blender as well

So thisnnew girl that has been cast...is she willie's daughter?.....mutt's widow... Shortround's wife?....

Thanks so much for listening @Falco! Those are two specific things that we really love so stay tuned For today, we've had people express interest in an OST presentation, and we're so excited to be delivering an OST for Order of the Phoenix! Hope you enjoy this arrangement of the score. https://sites.google.com/view/ravendor/extras/5-soundtrack-cd-presentation

E.T, Conan and Poltergeist would be my picks. They are among the very top favourites for each composer. Blade Runner is an absolute classic too. Star Trek II is great fun, but I think Horner did a lot more with that idiom in Krull. Night Crossing is my top pick for underrated score. What an incredible output Goldsmith had this year

Really? Most people thought it was a combination of cute and awesome.

One more time. People who vote for these awards are not score fans or music scholars. They are filmgoers. The scores that tend to win are the ones that STAND OUT. In other words music that moved people while watching the film. Scores that may sound " unmusical or " simple" often are the ones that get the viewers attention. Scores like GRAVITY and JOKER command the listeners attention while more sophisticated/and or subtle scores might not be noticed.

I'm preaching this since last august It was even more special to witness it live!

Mad Max: Fury Road is one of the most acclaimed action films of the last decade. You know what the plot of that movie is? A woman stole a truck with a couple of other women and they are being chase by crazy people. That is literally the plot. I could have come up with that. But I bet I wouldn’t be able to execute that vision the way George Miller did. Art is not about complexity. It is about execution. If you think R&R didn’t execute correctly, that is fine. But this isn’t a complexity contest. If they claimed to be symphonic concert experts, then you have a point. As of now, they are film composers.

Well, after hearing the score in the movie, it's not good, and I don't blame anyone for skipping through it. It's just Man of Steel and BvS again. Loud, pounding drums, simplistic action writing, dull motifs classified as themes, and occasional emotional cues that are written well enough, but sound like they could come from any movie. I will say that I hated the Superman theme in Man of Steel, but in the Snyder Cut of JL, I did find it to be surprisingly touching at times, and somewhat epic when he saves Cyclops. Part of that was the fact that it was actually used in different ways and different key signatures, whereas I can't remember a single time in Man of Steel where the theme had any power and I wasn't just rolling my eyes at how derivative and dull it was. Of course this is all rendered moot by the awful Wonder Woman wailing which undercuts many scenes that could have been epic or emotional.

Well, decided to listen to this score after looking through this topic and seeing many here give praise to it. Jon Batiste should have done the whole score, without a doubt. I'm sure he could have made some heartwarming orchestral / jazz pieces that would have worked brilliantly. I'm in agreement with @TheUlyssesian that Thomas Newman has danced circles around the Trent Reznor and Atticus Ross score before it was even written (if you can call loading in a bunch of Logic instruments and playing basic harmonies and looping melodies written). "Pursuit/Terry's World" is the only Reznor/Ross cue worth a damn. Where it mixes the Jazz style, and beautifully/seamlessly mixes it into a similar sounding synth piece. The rest is the same simplistic, pleasant, ambient piano and synth that people like Hans Zimmer or RCP composers in general, Thomas Newman, and various video game composers have done again, and again, and again, often doing it better. It's not impressive, it's not revolutionary, it's not interesting to listen to, it's not special, it's typical. It's the new generic. The fact that these type of scores that work fine in the film get awards as often as they do, is a testament to how low people's standards for music have gotten. This is a score I and many other amateur composers could have written within a month at most, if I spent a day on each cue. "Well it worked really well in the film." Sometimes silence works really well in films. Doesn't mean we should praise the music for not existing. A more melodic score for this movie probably would have worked as well, would have had more effort and skill put into it, and would've been a more rich listening experience in film and outside of the film. These 2 composers were chosen because they're associated with a lot of really good movies, and many audiences, critics, and directors follow a very simplistic logic for film music. If the movie sucks, the music sucks because it emphasized crap writing. If the movie is great, then the music was great and fit the film perfectly.

I didn't even need the video to enjoy the live concert. I think something changes psychologially when you have the applause and JW's interludes. I happily accept flaws in a concert, not on something that sounds like a studio recording. Nothing stopped the producers from recording additional pick-ups for the first CD edition. The concert can be flawed.

I guess it depends how they plan to address it then. I don't really have an issue if his role focuses mainly on the Professor/Teacher stuff (it was always fun seeing that side of Indy in the earlier films). He can always ride a horse or drive a car/plane/whatever in the action sequences. I'm more concerned about whether they'll return to the series' roots and ditch the bad CGI, the over-reliance on soundstages, lack of overseas/exotic locations, poorly structured plotting, non-existent cast chemistry, cringe-worthy attempts at humour, non-Biblical non-religious artifacts, etc. I'll be gutted if they repeat the mistakes of KOCS and film the whole thing at Pinewood or around the UK, but I'm afraid COVID might have forced their hand. Tunisia, Sri Lanka, Jordan, Italy, the series was always at its best when it relied on practical locations.

Okay, I have to apologize in this thread. Went over to a friend’s house who has a wonderful surround set and we watched/listened to the blu-ray with Dolby Atmos. As Flight To Neverland started I was prepared for the late horns entry and when the moment came... It actually sounded just fine? Like pretty much else on the album all of the problems in ensemble playing suddenly vanished? What is this sorcery? In a space like the Musikverein it makes sense that subtle timing differences actually blend well together because of the acoustics but I just can’t believe how it did translate to this mix so well but not to the regular release which I’ve been complaining about.

I just tried (and failed) to register on a government website for a vaccine if they have spare ones. The captcha audio suddenly used a viola version of the Imperial March.

Hmm. The rerecording is fantastic and includes great cues that, sadly, still seem to be lost in their original recording... but Disc 2 almost makes me feel tempted to get this. Also, the pure fact that there's a drive to do reissues of sold out material and to try and make them better is admirable already!

I don’t have much of an input on the new movie since we know zip about it, but I think it’d be super cool if it opened like Temple of Doom did(my favorite one), with the Indy typeface and music that introduces the title, versus the other 3 movies where the titles just pops up and the music is still slow and introducing itself. I want something loud and and glorious.

Despite being the Star Wars film that had the most music recorded—an astonishing 226 minutes!—The Rise of Skywalker must set a new record for tracking in the Star Wars films, borrowing over 7 minutes of music from 4 other episodes. There's more than 3 minutes from TFA, over 2 minutes from TLJ, about 1:30 from ROTS, and 0:45 from ROTJ. And even though there was already 6 minutes of tracked music in the November 11th cut, still more was added afterwards. I recently realized that part of the scene of Rey healing the snake appears to be tracked with 0M8 Saying Goodbye to the Fathier from The Last Jedi. Oddly, the excerpt in TROS is actually at the correct pitch; it was raised a half-step in TLJ (from the written C major to C-sharp). Here's a comparison:

@Thor will get a motif of course, but for inexplicable reasons Williams doesn’t include it in the OST program, and that makes everyone, except @Thor himself, upset.

I wonder why Williams doesn't consider "TreeSong" a violin concerto? I mean, if it walks like a duck and quacks like a duck, it must be a violin concerto!

It is sad to miss out on further development of most of the pre-existing themes, but boy, do I like what we got instead! It's like TLW. I would have loved to have heard a sequel score that really built off of the first one's ideas, but I can hardly be mad about the new direction he did take. Incidentally, for anyone here who enjoys the films' production design, I've been working on a 3D model that explores the changing designs of Hogwarts. Feel free to check out my blog if you're interested: https://hogwarts4d.home.blog

Just the other day, saw a car screaming through a parking garage with The Asteroid Field blaring out the window, echoing through the garage. Wish I could have stopped him and chatted!

Who says she "demanded" it? She was there, she played along (because she's a fan), and unlike in the amplified open air premiere of the album, she blended seamlessly with the violin section. It's natural to credit her on the album because she was indeed playing in the track. PS: I much prefer my own title for track 4 (on my Blu rip): "Guten Tag" and Introducing Anne-Sophie Mutter

Physical edition announced

Yes, but Newman didn't do it. R&R did. Instead of focussing on what you think the score should have sounded like in your head, or who should have been the composer, I think it's more fruitful to look at what it actually is and what they're trying to accomplish. You're free to dislike it, of course, but I disagree with your assessment. It is the very lean electronic sound that makes it so effective. Anything more "complex" would completely have defeated the purpose. I'm glad I didn't get Newman's take on ambient electronic music in this film; I'm glad I got exactly what I got - R&R's take on it.

Can't really say any of these are my favorites as whole scores, blasphemous as it may be. (I haven't heard a lot of these though)

No I get what both of you is saying. Once again, you can easily do this with orchestra and jazz, or a Thomas Newman-like approach. Composers have found many ways of conveying different worlds and moods through many different instruments. I like electronic music. I don't just like one musical idiom. I even said I thought "Pursuit/Terry's World" was very well done. The issue is the electronics never get to that level of sophistication in the writing ever again. I think the issue is, electronic music is relatively recent, so we think the most basic progressions and sound design are more impressive than they really are. I firmly believe any amateur composer could have cranked the R&R part of this score out in a month at most. I know what my ears hear, and what they hear is barren, simplistic music. You want to say the barren, forgettable music is the point and made for artistic reasons? Fine, I get that, that makes sense. To praise this score however as anything but serviceable to the movie? I can never agree. Newman isn't a specialist? There are plenty of Newman ambient tracks that sound almost identical to this style.

I think the point is - even take the movie's premise is a given - what's delivered by R & R is extremely basic - video game and youtube video level accompaniment and not worthy of a thousand awards. It's the kind of score Thomas Newman could have written in his sleep with his brain 90% lobotomized. And you can bet he still wouldn't have won an Oscar for it. The bar for these "new" composers is really low.

Half of Hollywood is in Australia shooting movies right now, so the secret's definitely out. Would love to see a teaser in NZ or Australia, plenty of amazing locations they could visit (and perfectly COVID-safe to film large crowds with lots of extras). As if a teaser with Indy in the Australian Outback doesn't write itself: snakes, kangaroos, crocodiles, it's perfect! Or some temples throughout SE Asia, that would work great. Cambodia springs to mind (although not sure how the timeframe with the Vietnam War might create story issues, unless that actually figures into the plot).

That's the one notable cue on the Tadlow for a cut sequence. It's a fine, classic Rózsa march, so it's good they rescued it.

This month's song, "True". I'm kinda tiring of the angst-ridden grunge stuff now.....hoping for something a little more open and melodic soon:

Also, there is such a thing as letting the music sit with you before you can really evaluate it. Lord knows how many scores I like that would've made little impression on the first listen. So if I find it just isn't grabbing me after a few tries, that's enough to tell me of the score's quality imo.

I did an experiment. Of 48 score cues, all of them except maybe 10 or 12 start with long, brooding, drawn out pads or other sounds. How do you listen to this without contracting narcolepsy? I've never skipped through an album this fast. If you don't grab my attention within 20 seconds, done. Next track.

It’s the one that’s already out

Silly films. I prefer the realist style of The Cattle of Algiers, or the surrealism of the aforementioned Apocalypse Cow.

It's a biopic so I'm not sure it's the best movie to compare with. Remember that he wrote Logan which was incredible.

I've choose Indy V just for the amount of new music but I can't wait for the three other to come. So glad that the Maestro continues to write that much, he will always mesmerized me for his incredible and long carreer.

Flawed analogy. The SW example came within the same score where all the material was being introduced, whereas we had full years for us to sit with the BvS material before it got used in WW84. There is a lot of intrigue in trying to figure out what Williams was exactly going for with that particular scene in ANH. Zimmer fully deciding to just keep it from the temp track wholesale because it's the "same universe" leaves little to the imagination, and just makes you wonder how the man goes about making these sorts of decisions often. At least with the Pompeii track at the end, the arrangement is changed enough to where it fits in solidly with the rest of the score. Beautiful Lie essentially is just needle dropped, and I feel it's particularly frustrating because the following track (The Beauty In What Is) manages to capture the exact same emotions of that cue in its own way (particularly the alt version on the complete).

They should just can the movie and not tell Williams so he writes the score anyway.

Yeah but that's sort of my point though. Not everything is believable, or should be taken at face value, just because it's in a movie. There's a line. It's very situational where the line is, and hard to define it, but audiences instinctively know when its been crossed.

some possible cue titles Jay's Theme Betrayal in Bespin's Thread The Bot Invasion and the Appearance of Bruce Marshall Bruce Marshall's Dark Deeds Jay vs Bruce Marshall Quintus's Tale Enter Lord Ricard Scherzo for Gruesome Son of a Bitch and Orchestra Ah, Politics!!!

I would say that there's a great tradition of directors making some of their best movies based on their childhood. Films like Bergman's Fanny och Alexander, Fellini's Amarcord, Malle's Au revoir les enfants, Cuarón's Roma, Tarkovsky's Zerkalo, Terence Davies' Distant Voices, Still Lives, etc.I am really looking forward to this one!

I just hope it doesn't throw in endless winks and nods to actual Spielberg flicks, like a guy in town that acts like Quint, a lady his father has an affair with that looks like Melinda Dillon, a bully calling him penis breath, etc

Neill's *native* accent (as far as an accent can be considered native) is literally Northern Irish. I'm no expert on Irish accents and I don't know anyone from Northern Ireland personally. According to "the internet", Neill's accent seems to be pretty good and better than most, but whatever the case, it can hardly be farther off than the difference between an Australian and a NZ accent…