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I have one because I'm fat and I want to give some semblance of a jawline.

Most irritating post of the year so far.

Hush now, Bespin, Bespin, don't you cry Mama's gonna check out all of your books for you Mama won't let any Tolkien get through Mama's gonna keep you right under her wing She might let you read, but not Lord of the Rings Mamma's gonna keep Bespin, Middle-Earth Free

He believes he's talking about Maurizio, but I think in reality he's talking about his past self and just projecting that onto someone else.

Amazingly, I couldn't find a previous thread for this composer, who is my 5th favourite of all time, and IMO the greatest European film composer currently living and working in Europe. Anyways, he has a new non-film album out today, but apparently it's only available on his own streaming platform. Haven't seen it so far on Spotify or YouTube, for example. Maybe later. But from the samples, it sounds gorgeous! https://store.preisner.com/melancholy

Top 10: 1. VALLEY OF SHADOWS (for Norwegian director Jonas Matzow Gulbrandsen) 2. The Secret Garden 3. Bleu/Rouge/Blanc (I see them as one work) 4. La Double Vie de Veronique 5. Dekalog 6. The History of Eternity 7. It's Not Too Late (another non-film work) 8. Olivier Olivier/ Europa Europa 9. The Beautiful Country or Aberdeen (both for Norwegian director Hans Petter Moland -- my neighbour! -- and equally good) 10. Fairy Tale: A True Story (the theme here was famously used in the A.I. - ARTIFICIAL INTELLIGENCE trailer) For starters. You might want to pick up his concert work "Requiem for My Friend" too, dedicated to his late collaborator Kiewslowski and used stunningly in TREE OF LIFE, for example.

Well, good for you! If wearing turtlenecks most of the year (because I do feel cold most of the time) and having a similar trimmed beard, having had for about a decade the only website in Portuguese dedicated to Williams and at the time, the most complete and well constructed discography on the web, makes me an obsessed fellow, well, that's my problem isn't it? Because, trust me, I can out run Maurizio... Because, believe it or not, my sons are called João (in memory of my late grandfather) and Guilherme (because my ex-wife felt he was her prince and need a prince worthy name) which can translate to John and William. As many friends have pointed out over the past 21 years, that can't be a coincidence... maybe it wasn't at some unconscious level. That does make look like an obsessed guy about an 92 year young composer... maybe it does, and probably I am. And let me tell you, that never affected the remaining and multiple aspects of my daily life. And I'm sure the same applies to Maurizio. If there is some sort of obsession is still as healthy as it could be, not overlapping with any other needed and healthy daily routine (my current job at the school board is probably less healthier than being obsessed about John Williams...) I just really fail why that is such of a big deal to you. You've grown up and don't worship and old man. Great. I don't mind not growing up. Isn't it great we live in a free world when we can make those choices? If you feel that Maurizio's "obsessive" website isn't worth your attention, just move on to what you find is worth instead of complaining about it. That surely will be and healthy decision.

It’s been 35 years ago that one of the greatest, most influential scores of all time was written by Maestro Danny Elfman, who went on to become one of the biggest names in film music history. I remember being an 8-year-old boy sitting in the theater watching and being blown away by BATMAN. And one of the best things about it was the thrilling score, that was unlike anything I had heard up until then, and frankly, anything I’ve heard since. It became an instant classic, it was one of my first CDs I ever bought and still have. La-La Land Records thankfully released the full score twice, and it will hopefully be released again in the near future. So dear fellow Danny Elfman and Batman score fans, let’s celebrate this amazing score by sharing stories about when you first encountered it, what it means to you, and why, or why it became so influential and memorable. Happy 35th Anniversary, BATMAN score!

Ahh, June 23rd. A date forever etched in my brain... I'd never in my young life looked forward to a day more. I'd just turned 14 and was every retailer's dream, as I bought everything in sight with a Batman logo on it with the money I made as a dishwasher. Yes, I got a part-time job specifically to buy Bat-stuff. Batman was ubiquitous that year, and the restaurant manager had a list on the wall of employees who accidentally broke glasses or whatever and called it "BAT-BREAKAGE". It was the first score album I ever personally bought, and it proudly hangs on my wall now. I love the whole thing, but "First Confrontation" is a standout for me. Happy 35th—and good lord, where has the time gone.

And it has For Seiji. I admit I'm also a bit tired of very similar programmes being repeated all the time, but complaining about publishing the recordings just validates DG not releasing Vienna II.

On episode 63 of The Best Song Podcast, I discuss the stories behind the creation of the five songs nominated for the 1995 Original Song Oscar. That includes "Moonlight" from the remake of Sabrina, a song written by John Williams and Alan & Marilyn Bergman. For all three of them, this would be their final Oscar nominations in the original song category. I covered this film in episode 77 of The Baton, but it would be great for you to hear the song stacked up with its Oscar competition, and celebrate John Williams' final original song nomination. Competition was tough for this Oscar, though Disney went all-in for Alan Menken's chance to win a fourth Oscar for original song with "Colors of the Wind," and Bryan Adams had a #1 hit song with "Have You Ever Really Loved a Woman." While the five nominees are great, you'll hear some songs that failed to get nominated, including a very popular song by Whitney Houston.

Here's an interesting article about all the cuts that were demanded for the UK theatrical release... https://melonfarmers.co.uk/bbfc_cuts_temple_of_doom.htm

Never understood the Dark Knight Rises hate.

Given your avvy, waiting until the third page to post this shows admirable restraint JTN. 'Well, when an adult male is chasing a female with intent to commit rape, I shoot the bastard. That's my policy.' 'Intent? How did you establish that?' 'When a naked man is chasing a woman through an alley with a butcher's knife and a hard-on, I figure he isn't out collecting for the Red Cross.'

“I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhauser gate. All those moments will be lost in time... like tears in rain...”

Unsurprisingly, we're getting shawms too. https://www.instagram.com/p/C4fPZ8kMkCK/

DG can only release what the orchestras perform. I mean, I assume Williams decides the concert programs, not the record label. The way it looks to me, DG has been very conscious of what has already been released and has done their best to satisfy everybody. As far as Vienna II is concerned, they digitally released the 3 tracks that were unique to that concert. And the first Vienna concert single CD contained the one Mutter track that didn’t make it onto Across the Stars (Devil’s Dance). I agree that a greater variety would be great, but I don’t think it’s going to happen beyond the one lesser-known piece he usually throws into each show.

I just want to continue the discussion that Anthony started; Lately I’ve been truly obsessed with the Mars Needs Moms Recording Session album, as it contains a lot of unreleased gems that it’s mind boggle Powell didn’t put it in the official OST I think I remember reading that Powell came very very late into this project. This is a similar case with Pan when he replaced Dario Marianelli at the last minute. And also just like Pan, what he delivered under the time constraints is truly commendable, and in fact, we are here aware that many people have ranked Pan high among Powell’s works, just like Mars Needs Moms The Mars Needs Moms score, for many general listeners, was popular as being HTTYD-ripoff, as one of the theme (at least some section of the theme) is a direct lift from Test Drive theme. But considering the time, I can forgive. Especially as the other themes are really strong and among the best Powell has ever written. Here I want to share some of tracks from the recording sessions that were unreleased in the official OST that really needs to be appreciated. “Bed Remorse”: 03 Bed Remorse.mp3 The sad statement of the main theme here is really lovely, and really plays well with the scene ( I remember I shed a bit of tears during that scene) ”No Time”: 13 No Time.mp3 I always adore how Powell can play around with his already great theme to make it even greater, as heard here ^^ “Capture-Fall” 17 Capture - Fall.mp3 A nice action piece ”Time Running Out” 24 Time Running Out.mp3 The best out of the unreleased. Such such mindboggle Powell didn’t put this track in the OST. Listen to that statement of the theme in the beginning and tell me if that isn’t a glorious Powell moment!

It's on!

I love his work too, thank you @Thorfor the tip about his new album ! To the ones you've already mentionned, I'll add Silence Night and Dream, and 10 Pieces for orchestra (both non film).

Just like JW!

I was born in 1984, and I wore our tape of TOD out before I was six! But I’d say she’s mature for her age in that sense. I read her scary books that are a bit above her age, we show her some PG-13 movies. We’re more hesitant with realistic violence and guns than we are with cartoonish stuff like what happens in the temple.

Second pass at an edit: I shortened Armada Battle. I realised a lot of the messiness comes from tempo shifts, abrupt/imperfect transitions and some basically 1:1 reprised segments. I narrowed down the key offenders to 3 sections that I removed: 2:48-3:32 (the Wings / Challenging the Alpha reprise), 4:55-5:39 (The Kill Ring reprise) and 6:22-6:44 (The Hiccup & Toothless Attacked reprise). Not to toot my own horn too much but something must be right about my "musical sense" because thankfully the first and third are actually on cue borders, some of the weaker transitions come from that, and because the FYC contains the cues separately that also gave me some clean openings/endings to work more flexibly with. The first and second are simple transitions, switch the later section in for the removed one when it would come in, let the buildup bleed through in a crossfade etc. The third was trickier since I was left with a buildup and a quiet unimpressive clean opening, so I snatched 3:30-3:32 for a quick brass and percussion burst to patch the transition with (and make a tiny fragment of the removed material live on!). To further "clean up" the tempo, I tightened up the 4:31-4:34 buildup to the fast Love Theme (made it start earlier, shortened it a tiny bit), and very slightly sped up 4:44-4:55 which is a kinda weird drop in tempo after that Love Theme. I'll need to live with it a bit, come back after some time of course, but I think I succeeded in tightening it up, focusing it more on the new stuff, new renditions and better integrated old renditions.

"Drebin, I don't want any more trouble like you had last year on the southside. Understand? That's my policy." "Yes. Well, when I see 5 weirdos dressed in togas stabbing a guy in the middle of the park in full view of 100 people, I shoot the bastards. That's my policy."

Hey! That's not until JUNE. Don't make us all older than we have to be!

There was an overhaul on amazon's site. One track in Corsets and Clownsuits (though I think this was already there before). Some tracks from the first episode of Expats up with 2024 in web title. Guess we're officially in 2024 era.

The console versions of the CE have the soundtrack in their own jewel case. Still awaiting mine.

People won't laugh at my post now...

His music had a background cameo

I used to think he was my role model. Then I realized that just because I enjoy his music, he isn’t my friend or my mentor or anything like that. He’s just a man who writes good music. And that my true role models were right there with me: my parents. My Dad, and now that he’s gone, my Mom, the best role model I could have.

"Why so serious?"

I think it was either Total Recall or First Blood 1 or 2. I became aware of Goldsmith as a composer later than of Williams, but I’m sure I enjoyed his music when I heard it in films like Star Trek or Basic Instinct, etc. The man was such a prolific composer that you just couldn’t not hear one of his scores when you watched films on a regular basis. But I really started to appreciate his work in the 2000s and and maybe even later, when my JW phase started to fade, and I realized there was another titan of film music like him. Sometimes I wonder what scores JG would’ve written to films like Jaws, Star Wars, Indiana Jones, E.T., Jurassic Park or Schindler’s List. He definitely would’ve done some magical stuff, although completely different from what JW did, but something equally great for sure.

I've finally seen it - wanted to earlier, but I couldn't get good places before. Even today the IMAX was full. I liked the first one, but wasn't fully convinced by it. At the cinema, I was very impressed by it at first, but as it went on, I started thinking about all the stuff that was missing, and my first rewatch at home emphasised these shortcomings. There's much to like about it for sure, but leaving out both the banquet (very difficult to put on film, surely, but the one sequence I was most excited to see) and the entire Jessica intrigue plot made it feel rather stale and overlong - adding 10 or 15 minutes with that stuff would probably have made it feel shorter (cf. TTT's EE). Rewatching it recently made me appreciate it more again, but I still think it could be better. I also thought part 1's cinematography was good, but sub par for Villeneuve. I loved part 2 today. I felt it brought across the themes of the book very well, while also giving more substance to the characters, who I remember as mostly plot devices from the book (i.e. quite the opposite of part 1). The cast was great; Chalamet and Zendaya were both very strong and anchored the film, and Ferguson was great as usual as both concerned mother and terrifying Bene Gesserit. The film refreshingly managed to avoid most Hollywood tropes, and what little humour was added mostly worked well by staying true to the characters and situations (something that Peter Jackson increasingly failed at as his LOTR films progressed). I loved the cinematography this time around; some scenes were even reminiscent of Deakins's Blade Runner 2049. And even the score had its moments and only a few bothering moments (fewer than part 1). It still often seemed too loud, but that was just in keeping with the film's sound design (more half of the time it was hard to tell apart the score from the effects anyway). Curiously though one of the score's few moments of silence is one that I thought could have used more music: The silence during the build up of the sandworm riding sequence (and the lack of score through most of it even when the silence was over) was clearly a deliberate choice, and it did work, but I think some tense underscore buildup could have given the whole sequence more of an impact without taking away the "silence before the storm" aspect. Then again, the overall style of the score is very much at odds with what I'm describing, so perhaps leaving the sequence unscored was for the best. Ultimately, it's still nothing I'd be interested in listening to outside the film, and I wish these films had scores that were actually musically interesting - though I admit that I find it hard to imagine the films with significantly different music. I'd also forgotten how much the main theme/motif thingy owes to Once Upon a Time in the West. One thing though: It was too loud! Though that's probably not the film's fault but the cinema's for turning their IMAX equipment up to 13. It was louder than a rock concert. And some of the room's wall attachments kept clattering whenever the subwoofers became active. I don't mind loud films when it works (Dunkirk in the same cinema was physically straining, but that's part of what made it so effective), but this was definitely more than would have been appropriate.

Compare the strings at 1:56 of the above to 2:22 on this: Not even in the same class.

The company I work for has just given everyone a £150 voucher to use at Resorts World in Birmingham. This World Of Hans Zimmer thing is there in April so I just got myself and a friend a ticket for it. Best thing on the menu.

That's the second biggest Monkey Island Collector's Edition I've ever seen! PS: The soundtrack is a proper CD! Included in the 2 CD jewel case that also holds the Windows version of the game (Mac and Linux version come on separate discs in paper sleeves). The jewel case design serves nicely as a soundtrack case, so I'll put that in the CD shelf and the box with my other games.

Orchestral version of the Disco arrangement

I usually hear William Ross, uncredited.

A collectible box of Dead Composers™.

While I prefer Casino Royale as a complete work, there is no question that this should be considered his best 007 score - simply for the reason that he proved himself so utterly for the job, and the legacy proves that. All of his Bond scores have several singular superb moments in them and I place this score as a very close second. 'White Knight' is not only my favourite Arnold Bond cue... it's also not only my favourite Arnold cue entire... it's one of my favourite cues of all time! (Hearing it played live at Birmingham Symphony Hall back in 2016 was one of my absolute captivating live music experiences to date). The tension build in the first third of this cue is fucking sublime. Those bass marimbas! The expansion is fantastic by the way!

Fixed.

Temple of Doom is such a heartwarming film. I don't get why people got so upset about it...

Great composer, his music is melodic with great use of piano and strings. My favorite scores: 1. It's all About Love 2. Lost and Love 3. Menachem & Fred 4. When a Man Loves a Woman 5. The Beautiful Country 6. Anonyma, Eine Frau in Berlin 7. Aglaja 8. Bleu/Rouge/Blanc 9. Feast of July 10. Un Secret

Who are you talking about?

I'll be honest, I know JW didn't compose or record it, but I can't see the arabic digging song from Raiders getting released any other way than on a Matessino Raiders expansion.

Wow, this is invaluable work! I'm a bit late on the hype train, but I'm working on a video breaking down the thematic storytelling in HZ's Dune scores, and these lists have saved me a lot of time. I'd like to credit both you and @WampaRat when I'm done.

No idea, but that's the only individual cue credited to Williams listed for the film. Here's the full list:

I'm not gonna defend this series, but my understanding is that Galadriel just thinks Celeborn is dead. In any event, they've cast someone to play him in Season 2. I still can't believe actual adults came up with that, put it on screen, saw the finished product and then signed off on it. It's just so fucking absurd.