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John Williams - Jaws

Highlander 2: The Quickening would like a word.

Chen, can you show me on the doll where George Lucas hurt you?

Intrada releasing an expanded Nightbreed 'in a few weeks'. Bear McCreary will be thrilled. He loves this score. Intrada Soundtrack Forum • View topic - Coming in a few weeks...

I think Chen should release his Lucas expose’ and Mattris should release his book manifesto on the same day. Star Wars fandom would implode.

70? When did that happen? 😲 Happy birthday to mad Danny! Some of the pieces I absolutely adore: Karol

I...I just like playing detective, okay?

Happy 70th birthday to Danny Elfman. Celebrating with some of my favourite scores of his. I - briefly - met him a few years ago after a performance of his violin concerto, and the words that came out were 'I love Dolores Claiborne.' And I do! It's so achingly sad and a perfect marriage to the (very underrated) movie.

I agree entirely - they may be currently unfashionable compared to vinyl, but I find CDs are infinitely preferable on all fronts! Mark

Mission Impossible Rogue Nation by Joe Kraemer

The score for The Last Crusade is packed full with amazing moments that could (and should!) be shared here, but among my favorites there is this wonderful little cue. I just love the fanfare on woodwinds at the end of it!

TORPEDO, as JS mentions, would definitely have been a recommendation from me too. Put de Mayer on the map for me, and he continued to impress with the largely synth-driven score for the Tour de France film THE RACER (2020) -- one of my top 10 favourite scores that year. A couple of other newish action scores within your parameters (or at least what I THINK are your parameters) would be BUCKLEY'S CHANCE (Gordon), TOKYO GHOUL (Davis), LIVE IS LIFE (Riveiro) or ZODI ET TEHU (Mika), but to be honest, it's really a type of score that I tune out of these days (most of the time). I sample them when I hear about them, and then move on to other things closer to my taste. I think videogames have a lot of the action scores you're looking for.

C'mon, you're not that old.

Chen is like those gossip shows but for George Lucas

Nobody, and I totally don't have a 250-page writeup with footnotes about it all...

Three things: One, the "Hero's Journey" is a scam. If you actually try and read Campbell's inane, rambling book and try to take any heroic story and fit it into that mould you'll find nothing fits quite right: the order of the steps is almost never just like Campbell describes it and that's because Campbell was a hack. His theorem had long been decried as cherry-picked, overly-generalized and amateurish. Two, if there's a story that REALLY doesn't fit the Hero's Journey mould at all, its Star Wars. The Hero's Journey is: The Normal World Call to Adventure Refusal of the Call Supernatural aid Crossing the Threshold Belly of the Whale Road of Trials x 3 Meeting with the Goddess Temptress Atonment with the Father figure Apotheosis Ultimate Boon Refusal of the Call to return Magic Flight Rescue from without Crossing of the Return Threshold Master of Two Worlds Freedom to Live Star Wars is 1, 2, 4, 3, 5, 6, 7a, 7b, 10, 11, 18. It doesn't follow the structure AT ALL. And third, I do not for one minute believe Lucas actually read Campbell: its well beyond his level of erduition, and it doesn't leave any traceable mark on his writing. Lucas did read a (far, far lighter) column about motifs in fairytales on The New Yorker by Bruno Bettelheim (which, talk about hacks!) and he refers to it in story conferences, he quotes from it verbatim in his notes (see below), he seemingly gave his copy to Lucasfilm's Carol Titelman, and most important, you can point to certain elements in Star Wars and in Return of the Jedi and say "THAT's the influence of Bettelheim." Its why he changed to epigraph to "A long time ago" (right after reading the column), its why he gave the cinematography a slight gauziness, its why he refused to let Kasdan kill Lando off, why the Ewoks are so cutesy (because, he kept on saying during the story conferences, "This is a fairytale!"), etc... He may have also read a review of Star Wars from Psychology Today that compared his film to Bettelheim's theorem, and talked about how Vader is "The Evil Father", and I don't need to tell what influence that may have had on his writing. He doesn't refer to this article, but his notes pick-up its post-hoc etymology. Bruno Bettelheim, Uses of Enchantment, 1977 (mostly from an except published in the New Yorker, 6 December 1975, and almost entirely lifted from G.K. Chesterton's On Household Gods and Goblins, 1928.) Conrad Kottak, Star Wars: Social Science Fiction, in Psychology Today, February 1978 George Lucas' notes, circa 1980 The fairy tale presented in a simple, homely way; no demands are made on the listener. This prevents even the smallest child from feeling compelled to act in specific ways, and he is never made to feel inferior. Far from making demands, the fairy tale reassures, gives hope for the future, and holds out the promise of a happy ending. [...] Fairy tales, unlike any other form of literature, direct the child to discover his identity and calling, and they also suggest what experiences are needed to develop his character further. Fairy tales intimate that a rewarding, good life is within one’s reach despite adversity—but only if one does not shy away from the hazardous struggles without which one can never achieve true identity. [...] children are innocent and love justice, while most of us are wicked and naturally prefer mercy. [...] It seems particularly appropriate to a child that exactly what the evildoer wishes to inflict on the hero should be the bad person’s fate [...] At this age, from four until puberty, what the child needs most is to be presented with symbolic images which reassure him that there is a happy solution to his oedipal problems [...] The good fairy godmother watches over the child’s fate, ready to assert her power when critically needed [... little Red Riding Hood] tells him, the wolf is a passing manifestation—Grandma will return triumphant. [...the sister in Seven Ravens] travels to the end of the world and makes a great sacrifice to undo the spell put on them." aspects of Luke’s father are represented as a good father who is dead (Luke’s real father), a good father who is alive, but ambiguously dead by the movie’s end (Ben Kenobi), and a father who is totally evil and survives, probably for Star Wars II (Darth Vader, whose very name bears the phonetic resemblance to “Dark Father”)." Present [story] in a simple, homely way … This prevents even the smallest child from feeling compelled to act in specific ways and he is never made to feel inferior … Reassures, gives hope for the future, and holds out the promise of a happy ending … Discover identity and calling … Intimate that a rewarding, good life is within one’s reach despite adversity—but only if one does not shy away from the hazardous struggles without which one can never achieve true identity. Children are innocent and love justice. While most of us are wicked and naturally prefer mercy … Need symbolic images which reassure them that there is a happy ending, solution to the Oedipal problems … What the evildoer wishes to inflict on the hero should be the bad person’s fate.” [...] Somewhere the good father (Ben) watches over the child's fate, ready to assert his power when critically needed. Father changes into Darth Vader, who is a passing manifestation, and will return triumphant. Luke travels to the end of the world and makes sacrifice to undo the spell on his father. [... later, in story conferences with Kasdan and Marquand:] The whole concept of the original film is that Luke redeems his father, which is the classic fairytale: a good father/bad father who the good son will turn back into the good father. Lucas also read Tales of Power by Carlos Castaneda (yet another hack!), and in the third draft synopsis, The "Old Man" (Obi Wan) is described "like Don Juan" from Castaneda's book, and this quirky, Don Juan like characterization was then transferred to Yoda and influenced lines like "Luminous beings are we" (Castaneda verbatim) and ideas like "Life Day." And, again, Lucas talks about it in story conferences, in interviews immediately after Star Wars, some of his notes pick-up something of Castaneda's style, etc... But the much-harder-to-read Campbell? Nowhere to be seen, and there's nothing in Lucas' films that you can point at and say: "Aha, he got this from Campbell!" like you can do with just about any other source for Star Wars. At least, you figure, Lucas could take some strange names from Campbell's book, but guess what? There are none. Curious, very curious...

Not sure if it's as good as Dragonslayer, but Ladyhawke is great, despite that unfortunate sword & score. Genuinely moving story and solid performances by the leads. And as far as fantasy films go (like Dragonslayer) not a terrible representation of medieval life. I'd put it in the solid "B" tier of 80's fantasy, below classics like Conan & Excalibur, but certainly better than Legend or Labyrinth. Yeah. Peter Macnicol (an odd casting choice, to be sure) is sort of a stand-in for Luke Skywalker (as I recall he is in fact a wizard's apprentice) with Ralph Richardson in the Obi-Wan role. The comparison only goes so far though, and the similarities to Star Wars are mostly superficial.

Masterpiece, sure, but a classic? Roaming the internet it seems that every movie older than 10 years is a classic. The word has become meaningless to me.

Wonderful Zimmer score though. One of his finest works.

Virile, in Indy's sense, is the set of character traits inclusive of courage, strength, ingenuity, but with a hefty nobility of self-sacrifice. I would argue the whole character arc in ToD is Indy going from merely fun, adventurous (but ultimately very selfish--fortune and glory motive) to a willingness to take risks/death for the sake of others, even those with whom he has not connection (the slave children). The fact that he is always in over his head and knows it makes it silly fun versus the more "serious" hero in a John Wayne-soldier sort of way. James Bond is borderline psychopathic in how he interacts with woman/others. He's presented as the epitome of cool more so than heroic.

A24 Films LINK 1 or 2 All Dirt Roads Taste of Salt (Sasha Gordon & Victor Magro) Beau is Afraid (Bobby Krlic) Dicks: The Musical (Marius De Vries & Karl Saint Lucy) Dream Scenario (Owen Pallett) Earth Mama (Kelsey Lu) Iron Claw, The (Richard Reed Perry) Occupied City (Oliver Coates) Past Lives (Christopher Bear & Daniel Rossen) Priscilla (?) Showing Up (Ethan Rose) Talk to Me (Cornel Wilczek) When You Finish Saving the World (Emile Mosseri) You Hurt My Feelings (Michael Andrews) Zone of Interest, The (Mica Levi) Aegean Entertainment https://awards.aegeanentertainment.com/ Amazon Prime Video https://consideramazon.com/home Alex Borstein: Corsets & Clown Suits [Song - "Jewmange" (Alex Borstein, Eric Mills, & Salva Rey), 03:01] Citadel (Alex Belcher) - Season 1, 6 Episodes [99 cues, 3:17:52] Daisy Jones & the Six (Tom Howe) [7 cues, 08:06] Daisy Jones & the Six [Song - "Look At Us Now (Honeycomb)" (Blake Mills, Jason Boesel, Stephony Smith, Jonathan Rice, & Marcus Mumford), 04:32] Daisy Jones & the Six [Song - "The River" (Blake Mills, Z Berg, Joe Keefe, & Kayslee Don Collins), 04:55] Daisy Jones & the Six [Song - "Let Me Down Easy" (Z Berg, Ali Tamposi, James Valentine, & Blake Mills), 03:24] Dead Ringers (Murray Gold) - Season 1, 6 Episodes [84 cues, 2:15:07] Expats (Alex Weston) [9 cues, 16:07] From (Chris Tilton) [15 cues, 27:35] Gen V (Christopher Lennertz & Matt Bowen) - Season 1, 8 Episodes [153 cues, 02:56:12] I'm A Virgo (Merrill Garbus & Nate Banner) - Season 1, 7 Episodes [101 cues, 01:51:47] Marvelous Mrs. Maisel, The [Song - "Your Personal Trash Man Can" (Curtis Moore & Thomas Mizer), 02:10] Maxine's Baby: The Tyler Perry Story (James Poyser) [26 cues, 53:30] Primo (Dan Maracco) - Season 1, 8 Episodes [96 cues, 35:57] Red, White & Royal Blue (Drum & Lace) [60 cues, 1:24:51] Spy Among Friends, A (Dustin Halloran) [18 cues, 31:01] Swarm (Michael Uzowuru) [11 cues, 13:43] Swarm [Song - "Something Like That" (Donald Glover, Kirby Lauryen Dockery, & Riley Mackin), 03:37] Wheel of Time, The (Lorne Balfe) - Season 2, 8 Episodes [27 cues, 1:24:03] Amazon Studios LINK 1, 2, & 3 Air (Paul Haslinger, additional music) [2 cues, 05:32] [NOTE: From the digital book on Amazon Studio Guilds' site.] American Fiction (Laura Karpman) [22 cues, 47:15] [Note: This current version corresponds to the OST.] American Fiction (Laura Karpman) [7 cues, 13:11] [NOTE: Not presently visible on the site.] American Fiction (Laura Karpman) [44 cues over 43 files, 55:50] [DEFUNCT after never being visible on the site.] Bottoms (Leo Birenberg & Charli XCX) [42 cues, 49:14] Boys in the Boat, The (Alexandre Desplat) [22 cues, 1:18:36] [NOTE: Not presently visible on the site.] Burial, The (Michael Abels) [36 cues, 37:44] Cassandro (Marcelo Zarvos) [14 cues, 34:25] Covenant, The (Christopher Benstead) [29 cues, 1:30:54] Creed III (Joseph Shirley) [28 cues, 1:26:45] Creed III (Joseph Shirley) [9 cues & 1 song plus duplicate of the song, 39:52] [NOTE: Not presently visible on the site.] Creed III [Song - "Blood, Sweat & Tears" (Abbas Hamad, Udoma Peter Kelvin Amba, Mohammed Ismail Sharri, & Jarrett Goodly), 03:43] Foe (Oliver Coates, Park Jiha, & Agnes Obel) Good Person, A (Bryce Dessner) [18 cues, 27:24] Landscape with Invisible Hand (Michael Abels) [42 cues, 42:05] Million Miles Away, A (Camilo Lara) Saltburn (Anthony Willis) [32 cues, 56:54] Saltburn (Anthony Willis) [18 cues, 44:10] [Note: This version corresponds to the OST.] Saltburn (Anthony Willis) [17 cues (some partial), 24:47] [NOTE: From the digital book on Amazon Studio Guilds' site.] Silver Dollar Road (Alexei Aigui) [23 cues, 28:52] Silver Dollar Road [Song - "Wounded Heart" (Ondara), 03:50] Annapurna Pictures 1, 2, or 3 Apple Original Films 1 or 2 Flora and Son [Song - "High Life" (Eve Hewson, Gary Clark, & John Carney), 04:33] Flora and Son [Song - "Meet in the Middle" (Eve Hewson, Gary Clark, John Carney, Joseph Gordon-Levitt, & Robert John Ardiff), 03:08] Killers of the Flower Moon (Robbie Robertson) [17 cues, 38:20] Napoleon (Martin Phipps) [20 cues, 49:19] Still (John Powell) [19 cues, 43:15] Bleecker Street LINK 1, 2 , 3 or 4 Golda (Dascha Dauenhauer) Jules (Volker Bertelmann) Lesson, The (Isobel Waller-Bridge) Starling Girl, The (Ben Schneider) What Happens Later (David Boman) CBS Films 1 or 2 DreamWorks LINK 1 or 2 DreamWorks Animation http://fyc.dreamworks.com/ Focus Features LINK 1 or 2 Asteroid City (Alexandre Desplat) Book Club: The Next Chapter (Tom Howe) Champions (Michael Franti) Every Body (Amanda Yamate) Holdovers, The (Mark Orton) [13 cues, 25:38] Housekeeping for Beginners (Alen Sinkauz & Nenad Sinkauz) Inside (Frederik Van De Moortel) My Big Fat Greek Wedding 3 (Stephanie Economou) Of An Age (?) Polite Society (Tom Howe & Shez Manzoor) Thousand and One, A (Gary Gunn) GKIDS https://gkidsawards.com/ Boy and the Heron, The (Joe Hisaishi ) Lionsgate http://www.lionsgateawards.com/ Are You There God? It’s Me, Margaret (Hans Zimmer) Blackening, The (Dexter Story) Hunger Games, The: The Ballad of Songbirds & Snakes (James Newton Howard) Hunger Games, The: The Ballad of Songbirds & Snakes [Song - "Can't Catch Me Now" (Olivia Rodrigo & Daniel Nigro), 03:25] John Wick: Chapter 4 (Tyler Bates & Joel J. Richards) Joy Ride (Nathan Matthew David) Sisu (Juri Seppä & Tuomas Wäinölä) Magnolia Pictures http://www.magpictures.com/awards/ Neon LINK 1, 2, or 3 Netflix LINK 1, 2, 3, 4, or 5 After, The (Francesco Le Metre) American Symphony (Jon Batiste) American Symphony [Song - "It Never Went Away" (Jon Batiste & Dan Wilson), 03:49] Camp Courage (?) Chicken Run: Dawn of the Nugget (Harry Gregson-Williams) Dads, The (?) El Conde (?) Deepest Breath, The (Nainita Desai) Fair Play (Brian McOmber) Ginny & Georgia [Song - "Marriage Is A Dungeon" (Lili Haydn & Ben Bromfield), 01:58] Killer, The (Trent Reznor & Atticus Ross) [22 cues, 51:54] Leo (Geoff Zanelli) Maestro (misc.) [6 files, 24:34] [NOTE: From the digital book on Netflix's site.] May December (Marcelo Zarvos) [1 cue, 01:55] [NOTE: From the digital book on Netflix's site.] Nimona (Christophe Beck) [42 cues, 1:15:17] [NOTE: From the digital book on Netflix's site.] NYAD (Alexandre Desplat) [17 cues, 40:26] NYAD [Song - "Find a Way" (Linda Perry), 03:12] Queen Charlotte (Kris Bowers) [17 cues, 29:01] Rebel Moon - Part One: A Child of Fire (Junkie XL) Rustin (Branford Marsalis) [36 cues, 39:29] Rustin (Branford Marsalis) [33 cues, 50:36] [NOTE: From the digital book on Netflix's site.] Rustin [Song - "Road to Freedom" (Lenny Kravitz), 02:47] [NOTE: From the digital book on Netflix's site.] Society of the Snow (Michael Giacchino) [34 cues & other selections (plus one missing link), 1:17:24] [NOTE: This version matches the defunct 34-cue version below, except with the addition of a 10-minute end credits suite in mono(!) and the Xerxes file missing. See spoiler for more details.] Society of the Snow (Michael Giacchino) [28 cues, 1:11:59] [NOTE: From the digital book on Netflix's site. This version corresponds to the OST.] Society of the Snow (Michael Giacchino) [34 cues & other selections (plus one missing link), 1:07:55] [DEFUNCT - 33 of the files still available (see spoiler above)] Stamped from the Beginning (?) Victim/Suspect (Morgan Kibby) Weathering (?) Wonderful Story of Henry Sugar, The (?) Open Road Films http://openroadfilms.com/AWARDS/ The Orchard https://awards.theorchard.com/ Paramount Pictures LINK 1, 2 , 3, or 4 Dungeons & Dragons: Honor Among Thieves (Lorne Balfe) Mission: Impossible - Dead Reckoning Part One (Lorne Balfe) Teenage Mutant Ninja Turtles: Mutant Mayhem (Trent Reznor & Atticus Ross) Transformers: Rise of the Beasts (Jongnic Bontemps) Roadside Attractions http://roadsideawards.com/home Searchlight Pictures LINK 1 or 2 All of Us Strangers (Emilie Levienaise-Farrouch) [18 cues, 1:04:30] LINK 1 or 2 Chevalier (Kris Bowers) [14 cues, 33:11] LINK 1 or 2 Flamin' Hot (Marcelo Zarvos) Flamin' Hot [Song - "The Fire Inside" (Diane Warren), 03:20] Last Repair Shop, The (Kris Bowers & Katya Richardson) Next Goal Wins (Michael Giacchino) Poor Things (Jerskin Fendrix) [34 cues, 52:24] LINK 1 or 2 Rye Lane (Kwes) Theater Camp (James McAlister & Mark Sonnenblick) Solstice Studios https://www.solsticestudiosguilds.com/ Sony Pictures LINK 1 or 2 Dumb Money (Will Bates) Napoleon (Martin Phipps) [NOTE: See entry under "Apple Original Films" above.] Spider-Man: Across the Spider-Verse (Daniel Pemberton) [40 cues, 2:00:36] LINK 1 or 2 Spider-Man: Across the Spider-Verse [Song - "Am I Dreaming" (Leland Tyler Wayne, Roisee, Rakim Mayers, Mike Dean, Peter Lee Johnson, & Landon "Script" Wayne), 04:16] Suzume (Kazuma Jinnouchi & Radwimps) Sony Pictures Classics http://www.sonyclassics.com/awards-information/ Carmen (Nicholas Britell) Freud's Last Session (Coby Brown) It Ain't Over (Jacques Brautbar & John Forest) Miracle Club, The (Edmund Butt) Peasants, The (Lukasz Rostkowski) Persian Version, The (Rostam Batmanglij) Shayda (?) Shortcomings (Gene Back) Strange Way of Life (Alberto Iglesias) Teachers' Lounge, The (Marvin Miller) They Shot the Piano Player (?) STX Entertainment LINK 1 or 2 United Artists Releasing 1, 2, & HFPA Universal Pictures LINK 1 or 2 Migration (John Powell) [27 cues, 1:07:49] Oppenheimer (Ludwig Göransson) [24 cues, 1:34:54] Super Mario Bros. Movie, The (Brian Tyler) [13 cues, 29:32] Super Mario Bros. Movie, The [Song -"Peaches" (Jack Black, Aaron Horvath, Michael Jelenic, Eric Osmond, & John Spiker), 01:36] Trolls Band Together (Theodore "Teddy" Shapiro) [24 cues, 47:56] Trolls Band Together [Song - "Better Place (Reunion)" (Shellback, Justin Timberlake, & Amy Allen), 03:37] Walt Disney LINK 1 or 2 Ahsoka (Kevin Kiner) [46 cues, 2:23:21] Andor (Nicholas Britell) - Season 1, 12 Episodes [89 cues, 02:39:08] Ant-Man and the Wasp: Quantumania (Christophe Beck) Bikeriders, The (David Wingo) Boogeyman, The (Patrick Jonsson) Creator, The (Hans Zimmer) [12 cues, 43:54] Echo (Dave Porter) [22 cues, 1:17:21] Elemental (Thomas Newman) [36 cues, 01:10:36] Elemental [Song - "Steal the Show" (Ari Leff, Thomas Newman, & Michael Matosic), 03:13] Guardians of the Galaxy: Volume 3 (John Murphy) [26 cues, 49:53] Haunted Mansion (Kris Bowers) Haunting in Venice, A (Hildur Guðnadóttir) [10 cues, 34:51] Hocus Pocus 2 (John Debney) [9 songs & 19 cues, 1:08:48] I Am Groot (Daniele Luppi) Indiana Jones and the Dial of Destiny (John Williams) [18 cues, 1:07:14] Iwájú (Ré Olunuga) [43 cues, 1:26:46] Little Mermaid, The (Alan Menken) [8 songs & 4 cues, 30:58] Little Mermaid, The [Song - "For the First Time" (Alan Menken, Howard Ashman, & Lin-Manuel Miranda), 04:08] Little Mermaid, The [Song - "The Scuttle Butt" (Alan Menken, Howard Ashman, & Lin-Manuel Miranda), 02:02] Little Mermaid, The [Song - "Wild Uncharted Waters" (Alan Menken, Howard Ashman, & Lin-Manuel Miranda), 03:00] Loki [Season 2] (Natalie Holt) [56 cues, 2:01:53] Mandalorian, The [Season 3] (Joseph Shirley & Ludwig Göransson) [34 cues (plus one missing link), 2:05:58] Marvels, The (Laura Karpman) Ms. Marvel (Laura Karpman) [76 cues, 3 volumes, 2:23:03] No One Will Save You (Joseph Trapanese) [33 cues, 1:13:48] Obi-Wan Kenobi (Natalie Holt, William Ross, & John Williams) [31 cues, 1:22:50] Prey (Sarah Schachner) [20 cues, 45:28] Quiz Lady (Nick Urata) [23 cues, 35:06] Secret Invasion (Kris Bowers) [12 cues, 47:16] She-Hulk: Attorney at Law (Amie Doherty) [28 cues, 52:14] Stan Lee (Michael Dean Parsons & Scott Michael Smith) Star Wars: The Bad Batch [Season 2] (Kevin Kiner) Star Wars: Visions [Season 2] (Various) Star Wars: Young Jedi Adventures (Matthew Margeson) Voices Rising: The Music of Wakanda Forever (Ludwig Göransson) What If...? [Season 2] (Laura Karpman) [11 cues, 34:51] Wish (David Metzger) [55 cues, songs, & instrumentals; 2:10:22] Wish [8 songs & 4 instrumental versions, 36:48] [PARTIALLY DEFUNCT - 4 instrumental versions available in 55-track version above] Wish [Song - "This Wish" (Benjamin Rice, JP Saxe, and Julia Michaels), 03:25] Warner Brothers Screenings, AMPAS, HFPA, & BAFTA Barbie (Mark Ronson & Andrew Wyatt) [15 cues, 36:36] Barbie [Song - "Dance the Night" (Mark Ronson, Andrew Wyatt, Dua Lipa, & Caroline Ailin), 02:57] Barbie [Song - "I'm Just Ken" (Mark Ronson & Andrew Wyatt), 03:43] Barbie [Song - "What Was I Made For?" (Billie Eilish O'Connell & Finneas O'Connell), 03:42] Bottoms (Leo Birenberg & Charli XCX) Boys in the Boat, The (Alexandre Desplat) Color Purple, The (Kris Bowers) [11 cues, 21:15] Color Purple, The [Song - "Keep It Movin'" (Halle Bailey, Denisia Andrews, Brittany Coney, & Morten Ristorp), 03:53] Color Purple, The [Song - "Superpower (I)" (Terius Gesteelde-Diamant), 04:30] Creed III (Joseph Shirley) One Life (Volker Bertelmann) Wonka (Joby Talbot) MISCELLANEOUS NOTES: ARCHIVES OF PAST YEARS' THREADS: 2022, 2021, 2020, 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/ Some studios' FYC sites may be aimed at the Emmy Awards, which operate on a different season than the Academy Awards, Golden Globes, and BAFTAs. Therefore, there may be some overlap with the 2022 FYC offerings.

Supergirl would also like to pitch in.

Beat me to it by about 8 seconds lol. Really looking forward to this one.

Nah. In my head I’m…

Indeed. Karol

Oh, and I forgot, the best fantasy film of the 1980s is Syberberg's Parsifal.

When he was a mere 62 he had the misfortune to meet some weird fanboy outside the Royal Albert Hall. Happy birthday!

Just like the sonata form... Who died?

Even before it was pointed out in a sequel, Luke is already 'the chosen one' archetype in A New Hope because of the Hero's Journey story template, which I'm sure Dragonslayer is adapting as well.

Nitpicky perhaps, but certainly as far as the public (including Dragonslayer's scribes) were aware, Luke wasn't a "Chosen One" until The Empire Strikes Back aired, by which point the story of Dragonslayer was I believe in the can. Until that time, Luke was an everyman. I think the similarities of Galen and Ulrich to Luke and Ben ultimately go back to the roots of all four characters in Bilbo and Gandalf. Strictly speaking, the film that jump-started the fantasy genre in the 1980s was Excalibur: it was released almost at the same time as Dragonslayer and made far more money. And if Excalibur was influenced by Star Wars, it was in a little bit more roundabout way. 70mm showings of the Star Wars films were often a programme with a short: Star Wars with Duck Dodgers in the 24-1/2th Century, Return of the Jedi with Dilemma and The Empire Strikes Back with Black Angel. Roger Christian who directed Black Angel said John Boorman showed the film to his entire crew before Excalibur, and if you watch both you can definitely see that the visual style of Excalibur owes something to this short. So, in a sense, the fantasy genre sprang from a short shown with The Empire Strikes Back. Also, if you read drafts of Boorman's script from before he attended The Empire Strikes Back, the whole bit about "The Dragon" is missing: he added that afterwards, a very thinly-veiled pastiche of the Force, particularly as described by Yoda.

you may enjoy the film Irati from last year. (i mean, or not, i don't know)

great reply. i think i like about indy that he manages to have and make friends everywhere for reasons such as these. (also enemies, but) there are a bunch of ways to input ¿: https://en.wikipedia.org/wiki/Inverted_question_and_exclamation_marks#Computer_usage. it actually just means the same as ?

That tagline wouldn't stand a chance nowadays. The yoof would never look up from their phones for long enough to read it.

look some people are just not myopic this happens to me a lot. there's lots of stuff that i like in the skill of it and that can make me talk or learn about the medium, that at the same time can carry dumn political inertia or intentional things (those are different) or subtle or overt stuff (those are different) at the same time. i call this "good stuff but ugh" because i don't have a word for this. unfortunately the myopia people sometimes try to prop up the "ugh stuff and ugh" into "good stuff but ugh", which is pretty ridiculous imo. not anything can manage to become "good stuff but ugh" under normal circumstances. Kingdom for example is not "good stuff but ugh" at all. Temple has elements of "good stuff" among the ugh. That's why Temple is actually frustrating, but one has to make an effort to reemember the existence of Kingdom.

Menken?

Thanks to Spotify I discovered her

The E.T march

Sounds like a typical social justice warrior comment (who are experts at finding something "problematic" with almost every movie ever made). And Temple of Doom was one of the best movie theatrical experiences in my life. I kind of feel bad for people who can't enjoy these movies for what they are because they're too obsessed in finding racism, sexism or something phobic in everything.

LEGEND; LABYRINTH; WILLOW. THE PRINCESS BRIDE leaves them all behind

I can see that we have a long way to go. If there is to be a brave new world of film appreciation, our generation is going to have the hardest time living in it.

There is Supercell, a score for a low budget movie that was lauded a few months ago for being old-fashioned and similar to the 80s/90s scores we all know and love - it even has a love theme! I didn't care much for it but it got a lot of fans in the film music community.

Yes, the first one is quite bad but he gets better by the third

Thank you so much! It's always a fun creating a breakdown for Powell's score ----- Now continue to the rest of the theme/motif: The "Doubt/Questioning/Gamble" Theme First heard in this track: ^^ Like the title of the track, this music plays when Fox describes he questions his early life like "chip in a poker game" (?) game, so that's why I named this as such. This arrangement reminds me of Endurance Heard again in this track: ^^ Again, as what the title of the track says, it plays when Fox tried to get close to his future wife, but at the same feeling doubt/question himself whether "he is the right guy for her" And this statement in this track: The "Parkinson" Theme First heard in this track: Then heard again in the next track, in its serious statement: The theme is also intertwined with the "hyperactive" motif, like I shared before in the Late Night TV track And the theme also appears in more tracks later. Lastly, and this is so smart of Powell, he turns this sad theme into a positive statement in the final track, conveying message that Fox finally befriends with the Parkinson, hear it here: The "Parkinson Symptoms" Motif/Sound effects It's not a motif per se, more like a sound effect First heard in the very first track: ^^ I like the choice of synth Powell used here, somehow it feels kinda soothing 😄 And that's it! 🙌

I'm reviving this page.

After hearing the score in full, it's actually a good music. What is certain here, it is way more cohesive and has better thematic concept than James Newton Howard's recently released Light & Magic. And as a matter of fact, it's significantly better than Powell's Don't Worry Darling from last year. Yes, it's "a minimalist" score ( it's sad couple of years for Powell fan ) The score is constructed mainly on guitar and piano, complemented by electronic to add that "groovy-ness" It actually quite a neat call back to Powell's early 2000 minimalist rom-com score. But it's "truly a Powell score" of course, not only because of his distinctive arrangement, but also because how well thought out the thematic concept is. I have seen the documentary, and based on that, here I share with you my estimation on the theme breakdown: "Michael J. Fox's Hyper-active" motif Many have known how wild Fox during his young age and the beginning of the documentary delves on that subject. That's why, the first couple of tracks (actually starting from the second track), Powell gives a statement on that motif. First heard in this track, at this particular part: ^^ like I mentioned before, the motif reminds me of Call of The Wild and so "Powell-y" Then, to its distinctively Powell "rising" progression, hear below: ^^ to me, this is one the highlight of the score. The "rising" is truly Powell that I love Then to its "sad" statement, hear below: ^^ love this statement 👍 Another testament of genius storyteller Powell is, that "hyperactive" motif is now intertwined with I assume "the parkinson" theme/motif, hear here: ^^ this music plays on part of the documentary, if I could recall, where Fox trying to hide his ever present Parkinson symptom during his many late night interviews (or perhaps after he has shared to the world the news his disease, I forgot) So it's really apt how Powell presents this statement. Fast forward and finally, "the final" statement, heard in the final track here: ^^ Hear how this final statement has a sense of "resolution" in its arrangement. It's also similar arrangement to the scond track, so it's like a full circle. So smart! Now let's move on to the big one: The Main Theme First heard in the second track, at this particular part: Then to its main statement, heard in the third track here: (The main statement can also be heard in the track "the Audition" later on) ^^ The main theme also reminds me of Call of The Wild. But it's still good and quite hum-able Then to its "happy" statement, hear it here: Fast forward again, then finally, to its "final" statement: There are many other motif/theme that I have found, again the name below is merely my assumption: - "Doubt/Questioning" theme/motif (this is the one that sounds like Endurance) - Parkinson motif/theme - Parkinson symptom motif (or sound effect) Maybe will add later. In the meantime, do hear and admire the score yourself

I have my kids sit behind my chair, and kick it at the appropriate times. Works for any movie, really.

Meh. I'm more hyped for Star Wars Episode XXX.