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Now available from Intrada: Premier 2-CD expanded release of spectacular symphonic score by James Newton Howard! Lavish, sincere yet still magical filming of timeless books & stageplay by James M. Barrie gets 2003 release. Columbia Pictures & Universal Pictures with Revolution Studios presents, Jason Isaacs, Jeremy Sumpter, Richard Briers, Olivia Williams, Lynn Redgrave head cast, Ludivine Sagnier plays Tink, P.J. Hogan directs & scripts with Michael Goldenberg, Industrial Light & Magic creates the visual wonders. James Newton Howard scores for large orchestra plus chorus, fashions music that melds soaring flight music, mystical Tinkerbell moments with powerhouse action sequences - many of them omitted from previous highlights album issued at time of film’s release. Beloved characters include Peter Pan, Wendy, the fairy Tinkerbell and, of course, the villainous Captain Hook, who lost his hand to a crocodile. Howard offers truly wall-to-wall scoring that presents richly thematic material that evolves, changes throughout with stunning array of ideas both large and small. Contrast of material is stunning! Opening celeste, xylophone, strings are joined by female chorus to establish perfect tone to launch with quotes of darker Hook material soon making appearance, followed by twittering flute for Tink, triplet figure suggesting gentle love story to unfold ahead and heard more fully during “Is That A Kiss?”. Back-to-back “Learning To Fly” and “Flying” are early, rousing set-pieces, with “Flying” rising to especially grand peroration for full orchestra with chorus. “Fetch Long Tom” ushers in excitement, “Castle Swordfight” furthers action with lively rhythms, rousing statement of main theme in fanfare-treatment, climaxing in deadly serious, aggressive moment for crocodile encounter, a previously unreleased highlight. Lilting waltz-like idea alternating between major and minor builds in deliberate fashion, becomes emotionally rich “Fairy Dance”. Highlights abound in Howard’s massive, lengthy opus: “Please Don’t Die” offers powerful chords in orchestra and chorus, building to dramatic finish, dynamic low brass rhythmic procession as “Wendy Walks The Plank”. Latter portion of score is packed with energy: “Into The Rigging” opens with powerful 4/4 action motif then later erupts in chopping motif for brass, “He’s Mine” launches with riveting horn motif then becomes an action highlight for entire orchestra replete with brass fanfares, glissandi trombones, everything but the kitchen sink. When all is said and done, Howard bids farewell to Think in moving quote, then brings Peter’s soaring theme to the fore for climax of “Peter Returns” and finally melts with quiet, beautiful major-key finish. Unusually long “End Title/End Credits” sequence in film incredibly is all Howard, with over ten minutes of material both drawn from score and recorded specifically for closing suite, a magnificent wrap-up. Entire 112-minute score presented direct from digital two-track stereo session mixes made by Shawn Murphy in October & November 2003, colorful flipper-style package from Kay Marshall, detailed notes from Frank DeWald include new comments for this release by the composer. Intrada Special Collection 2-CD release available while quantities and interest remain! CD 1 01. Main Title (2:09) 02. Michael Takes A Bath (0:32) 03. Is That A Kiss? (1:40) 04. Peter’s Shadow (1:23) 05. A Note From The Teacher (2:49) 06. Tinkerbell (4:45) 07. Wendy Meets Peter (5:14) 08. Learning To Fly (3:10) 09. Flying (3:30) 10. The Parrot (0:46) 11. Captain Hook (1:39) 12. Spying On The Jolly Roger (1:30) 13. “Fetch Long Tom” (1:29) 14. Lost Boys Shoot Wendy (1:30) 15. Wendy Lives (2:04) 16. Build A House Around Her (1:24) 17. Come Meet Father (2:31) 18. Capturing Michael & John (1:58) 19. Mermaids (1:40) 20. Children On The Rock (1:44) 21. Set Them Free (3:06) 22. Castle Swordfight (3:50) 23. Fairy Dance (5:31) 24. Peter Visits Darlings (1:38) 25. Wendy Meets Hook (4:15) 26. “If You Wish It” (2:47) 27. Boys Want To Go Home (1:12) 28. Parrot Frees Tink (1:05) 29. Hook Captures Boys (1:57) 30. Poison (1:41) 31. Please Don’t Die (1:52) 32. I Do Believe In Fairies (2:45) CD 1 Total Time: 76:03 CD 2 01. Wendy Walks The Plank (4:12) 02. “Into The Rigging” (2:09) 03. “He’s Mine” (4:40) 04. Peter Falls To The Deck (1:48) 05. The Hidden Kiss (1:20) 06. Old, Alone, Done For (1:20) 07. Hook Is Dead/Flying Jolly Roger (4:51) 08. Adopting Lost Boys/Peter Returns (4:05) 09. End Title/End Credits (Extended Suite) (10:57) CD 2 Total Time: 36:19 https://store.intrada.com/s.nl/it.A/id.12664/.f?sc=13&category=-113

Hello 👋! The BBC commissioned a film music radio show from a friend & I which is now available on BBC Sounds and airs locally on BBC Radio Ulster here in NI. Lots of JW’s music is featured in addition to John Barry, Max Steiner and Nino Rota. The show is only 30 minutes and doesn’t have wall to wall music, but I hope you find the content interesting and enjoyable. Clicks on the show will be very helpful in securing a second series which I hope to have much more music within, so if you are willing to click and listen I’d be very grateful. Sorry if this all sounds overly needy. I can say that the 6th episode features a very special John Williams treat which nobody has heard before. I am pretty sure you’ll love it! :-) Thanks for your support! https://www.bbc.co.uk/sounds/brand/m001k0kk?partner=uk.co.bbc&origin=share-mobile

... type 2 diabetes.

Maybe they're doing it to undercut LLL's Hook coming in Apri!

So I did a thing. I always thought it was interesting how the first appearance of Gondor/Minas Tirith in FOTR is scored not with any material related to Gondor but with Mordor/non-thematic material ("Shadow of the Past" 1:45-2:02 or "Keep It Secret, Keep It Safe" 6:33-6:49) Which always made me wonder how it might have sounded if one of the Gondor themes had been used. (Even if not using it, was the right choice, allowing it to build over the three films.) Well, now with a small amount of composing knowledge, and samples, I decided to answer that question for my self. Here is, as a fun experiment, a very short mockup of a variation that recently popped into my head, inspiring this little project: https://drive.google.com/file/d/1Q-esIYcifunLVo75pbrNbPJL5etfEUhT/view @Jay@Incanus @Monoverantus @Kühni

My feeling is they used the wooden crate for effect. Whatever it is, it's something that's now stored at their archives. What else would they store at their archives? And "mysterious machine"... She wouldn't describe a new piece of mundane equipment like that. It's the Dial of Destiny score. I'll stake my life and my reputation - correction - I'll skate my reputation on that.

Here's something to ponder. The show has cut nearly all the game's infected action sequences, for reasons easy enough to understand. However, they've also cut, nor invented their own, infected ENCOUNTERS. By that I mean not necessarily action sequences involving them, but other ways they can be shown as well. Like, Joel climbing something high and looking through binoculars and seeing some loitering around a gas station or something, and being like OK, we gotta go another way. Or seeing them on the other side of the river, perhaps. Or even actually encountering them up close somewhere along the way, and quietly sneaking past them without engaging in combat. With all this kind of stuff not happening, and going several entire episodes without seeing them at all, I think it changes the perception of the world and the heroes' drive. They're trying to find the Fireflies to see if they can use Ellie's blood to make a vaccine to save humanity. But the show has already driven home repeatedly that man is the real villain, something that is made clear more gradually in the game. And communities like David's people, the old couple in the cabin, Tommy's thriving town, etc etc are surviving fine without us seeing them have to deal with infected at all. In the game, you have to defend Tommy's and David's communities from infected. So it seems like in the show, there's less of a need for a vaccine anyway because of all this. They're basically fighting to make a vaccine to make a vaccine to help shitty people that barely have to deal with infected anyway from what we've seen in the show. Agree, disagree?

They still keep the physical parts for the sake of the markings or corrections players may have written in.

This is one of those scores that definitely needs to be experienced within the movie it accompanies, because outside of it it's mostly just that, a bucn of pulsating rhythms that slowly increase the tension, but in the movie it's quite effective in how it greatly enhances Villeneuve's mood and atmosphere, and it's quite essential to it. I don't know if it's one of the best five scores of that year (I don't remember what other great scores were released that year), but it works really well within the movie, and that's why they probably nominated, but it's true that it's not the most rewarding listening experience.

Never really listen to this score but it sounds really nice, I will just say that they're expanding the wrong Peter Pan's movie we wanted the Hook!

Wyatt Earp (JNH) One of JNH's most enjoyable scores of the 90s, and actually from his whole career. I think it was his trilogy of Kevin Costner scores (this, Waterworld and The Postman) that helped his career advance toward more big-budget spectacles. It's rather funny that these three flops helped him so much while at the same time sinking Costner's bankability . I really like it, but the 3-disc LLL begs for a more curated approach. The score has an amazing first half, but then things become a little boring and repetitive on the second disc. Still, the collection of themes is great.

Even though I know what you mean, I didn't feel depressed or suicidal after watching Tár. Indeed, with Aronofsky, I often feel the director's pressure to think or feel in a certain way but that wasn't the case with Todd Field. Maybe I missed something but I didn't feel like I was being emotionally manipulated, which I thought was a good thing.

Tonight at the Arkansas symphony orchestra

Babylon I was really curious to see this movie, both to see how explicit it would be and also to see how Hurwitz's score works in context. It's not an awful movie by any means. The reviews were maybe a little too harsh. And I liked it more than First Man. But it's not amazing either, it tries to be this Scorsese/Paul Thomas Anderson epic but the result is not always satisfactory. And the ending montage, with Manny crying while clips of classic movies appear, is utter cringe - though I almost always cringe when Hollywood celebrates itself through tHe MaGiC oF mOvIeS (it's one of the reasons I wasn't a fan of Once Upon a Time in Hollywood). The acting is fine, though Margot Robbie is just playing 1920s Harley Quinn (I find amusing the idea that Damian Chazelle had to sit through Suicide Squad to find a lead for his movie) and Brad Pitt is... himself. Still, a somewhat entertaining movie with some genuinely great scenes and moments (like the opening party, the snake sequence, Robbie's character trying to act in a sound movie and everything involving Tobey Maguire, aka Gangsta Peter Parker).

I’m gonna guess it’s the flying theme that caught your attention, it’s a great cue. Another great cue is when Tinker Bell is resurrected

I thought this was cute.

They mentioned JW in the ABC pre-show saying he was the oldest person nominated. At least some people noticed Hugh Grant looks pretty old

Apparently not - apologies for the geographical limitations. I was told BBC Sounds didn’t have the same iPlayer issue.

JOHN CARTER is, probably, Giacchino's best score. My top-5 would consist of JOHN CARTER UP INSIDE OUT TOMORROWLAND THE INCREDIBLES

A few odds and ends I made a while back. I think I may have highjacked Steffromuk's text on HRtC...

Where I live I can watch the Oscars with an over the air antennae for free. But I haven't had it connected since we rearranged the living room, so I gotta figure that out in the next 4 hours or so

I could not stream the episode from Belgium... I suppose I must install the BBC Sounds app.

What a weird thing to say

It possibly helps that Thanksgiving isn't a thing here in the UK, and also that we had some snowfall on Thursday and Friday.

Personally, I think it's "just OK", but you might be interested in Nils' review of the score on Celluloid Tunes, here as run through Google Translate. By the way, the best score of 2015 was THE DUKE OF BURGUNDY by Cat's Eyes. He, he. No, but that's a damn fine set. Even includes bits from the Oslo gig, which was one of my first major concert experiences, and the only time I've seen Pink Floyd as Pink Floyd (I also saw Waters solo in 2007).

I love the quantum of solace opening. But i suppose i like arnold and aston martins

That's right. Nick Mason of Pink Floyd did a film score, just as his colleagues Roger Waters and David Gilmour (and the band as a whole, of course). Never seen it, but glad it finally got a release a few years back -- some neat, twangy guitars goin' round.

That's tantalizing. Don't you dare step on my obscure JW television efforts now!

Thank you for sharing. I'll listen to it later today

Very well done! Although I'm 100% fine with what Shore did, I'm impressed that such a little touch feels cohesive with the rest of the score without being too on the nose. I had never sat down and analysed that rejected part from At the Sign of the Prancing Pony, but it was well worth it: The transition from the Five-Beat Pattern to the unusued material uses the same vi-IV progression that we hear at the Gates of Moria and the end of History of the Ring at Rauros, plus other classic Shore material like rising fifths and Mt Doom chords.

I agree, and I felt that Cate Blanchett's description of the film as a Rorschach test was extremely apt. It's very much a "show don't tell" film.

Woah, that was cool, I liked it!

agreed it looked bad. The car chase for the life of me I couldn’t make out what was going on. Terribly shot.

Well, The Batman is an audio-visual marvel (no pun intended). I'm not sure if I love the film itself but it is aesthetically very pleasing. Karol

I haven't seen a FYC, but then again I wouldn't know where to track it down. I hope it gets an extended physical release, which Franglen has hinted at.

Yes I posted what I found a while ago:

Oh heck yeah! I’m probably one of the few people here who can say this was apart of their childhood

I think the “machine” is literally a new piece of equipment, like a printer, they’re going to be using at JKMS. They’ve shown the trunks the sheet music is transported in before, and they look like this:

I have stayed away from this, mainly because I didn't like the film. Now that I've heard it, well, I'd say it's quite good, although static at most times.. I liked the use of the organ though. Having listened to all the Oscar nominated scores of that year (and the winner of course), I think I'd prefer this over the others. (I have to re-listen to Mr. Turner to remember it though. The thing I remember is that it was a highly sophisticated score). An Oscar winner really? Morricone has written hundreds of scores, some magnificent ones, and you give the Oscar to this? Well, I'd say it felt more of a whole-career-Oscar than for the specific score. The main theme is like listening to Philip Glass. I think Thomas Newman is best when he remains to his distinctive style. This deviated a bit in my opinion.

That's an odd time of year to watch this film. I personally can't watch holiday-ish films at another time...

Prelude concerts are often performances with Tanglewood fellows at Ozawa Hall. Since last year, I guess they might take place at the TLI.

I still haven’t watched any of S3, but the act of talking more in S2 felt like a character thing. A part of shedding the solitary life and shedding the cult he was raised in, building a family on his adventures, removing his dome, etc etc.

Living Beautiful film. Very British. I've never seen the film this is based on so I can't judge on differences or if one is better. But I enjoyed this very much. It's quite a simple story, but as the title suggests it's about living and what you do with your life. There are some lovely messages in here. Bill Nighy is outstanding. I've been a fan of him for so long, even met him once in London (he's very nice), and I'm happy he gets the recognition he deserves for this role and his career. His perfomance is anything but showy, it's all in the little things. The way his eyes move or he turns his head. I thought it was terrific! The score by Emilie Levienaise-Farrouch fits the film like a glove and has some beautiful piano arrangements.

Another custom cover for a one-off, Of Grit and Glory by John Williams:

I love that he said the main musical thing he learned from Horner was to not be afraid of a theme and to really go big and explore it, because man does Franglen utterly excel at thematic writing and development in this score.

The Fabelmans I caught this at the cinema the other weekend. At first, I was really into it, thinking I was seeing a special movie. But then, things got more routine and less interesting. After a while, it felt like I was just seeing a series of different scenes from Spielberg's childhood, without strong connecting tissue to give a good reason for everything being there. So really I guess it's Tony Kushner's screenplay that let me down. The acting was really top notch, as was the cinematography, production design, and clever use of period music and old film scores. The funniest scene was when Sam was dating the Christian girl, that was great But overall, I didn't think this was a terribly effective film. It doesn't live up to the potential it had. Oh well.

Episode 5 might be the strongest episode of television I have seen in a long time.

Fucking hell That was an absolutely beautiful continuation of one of my favourite episodes. Tackling such a controversial topic yet again with such sensitivity and nuance, and presenting some really challenging moral dilemmas that requires quite a bit of thinking in classic Trek fashion. The acting was incredibly on point, very raw and affecting performances, and the music was magnificently spotted, giving breathing room where appropriate and putting the pedal to the medal to accentuate the emotion where best suited. This is why I love media, I feel like this more than anything else is a more effective tool to helping someone empathize with a group they can't relate to than any political argument, enough of a layer of sci-fi abstraction that you let your guard down and then by the end you might finally see things the way they do I am so immensely thankful that this show remains a grade above the rest by not just wallowing in the despair of the unfairness at it all, it looks at what seems to be an impossible situation and goes: "No, there is a solution. It isn't hopeless. Unity can help us achieve great things". It's a through-line of optimism that makes this show feel like it comes from a different era and it is all the more poignant for presenting it in our current era It is incredibly rare that a piece of media makes me cry both tears of sadness and tears of joy (in the same episode no less!), and that says it all in the end