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BTW for those interested in the "co-credited" Mancina cues : Swamp / KKK => the first 1:20 are Mark Boat Dock / Follow The Cubans => Whole track is Mancina (very Bait), with some Jablonsky programming on the cue. Rabin's segment is just the last 15 secs. Escape Mortuary => No one will be surprised the segment from 0:49 to 1:05 is Mark, sounding very much like Bad Boys 1. Then obviously you have Syd And Mike which is also very much in the Bad Boys 1 vibe as well.

That picture in this thread perfectly encapsulates the evolution of Harry Potter:

Oh, trust me, I guarantee you Chen is already thinking about this. And how it will all fit into one big WotR/Hobbit/tHfG/FOTR/SotP/tHfG/FOTR/TTT/ROTK marathon. Followed by the inevitable ROTK sequel. Including how long it will be with and without credits. I'm sure before ROP became a disaster, he was going to try to fit that in too!

I guess it's news in the sense of both Disclosure Day speculation and Cannes 2026 speculation. Entertainment outlets always like making guesses about the lineup including which Hollywood movies will premiere there out of competition. Nobody posted this yet, Spielberg did an hourlong interview with the Big Picture podcast: Really good and mostly a general conversation (this interview is also the source of the quote that he's developing a Western), but he does say some interesting things about Disclosure Day, obviously without spoiling anything: He got obsessed again with UFOs after the 2017 New York Times article that uncovered a secret Pentagon program that ran from 2007-2012, and the 2023 subcommittee hearing on UAPs (20:09) "My feeling right now is this: I don't have any information exclusive to me that all of you here, if you read about this and have seen the plethora of documentaries about this dating back to 2018 when these documentaries really started to roll out, I don't know any more than any of you do. But I have a very strong, sneaking suspicion that we are not alone here on Earth right now and I made a movie about that." (21:55) "I think our movie does take into consideration, without giving too much away, the social dislocation that could occur, theologically, if it would be announced that there's evidence -- not only evidence, interaction that's been going on for decades that we are just now finding out about. It's gonna cause a disruption in a lot of belief systems, but I don't think it is a lethal disruption at all." (24:40) He mentions it takes place in the future (25:50), and claims it "moves really fast" in terms of pacing (29:06) He wrote a 50-page story in 2023 and then Koepp wrote the screenplay based on that (59:50)

I have to admit that while I like having the complete score well performed (pronunciation aside), I prefer the more lithe performance of the Kojian’s take. Korngold’s music is very busy and balletic and I feel Kojian gets this aspect better. I have to admit that I actually found the music in the film exhausting by the end. It’s so busy that you just kinda want it to take a break after a while. I appreciate this may be a minority view! Love it on its own though. I feel the same about The Sea Hawk recordings although this has a the third option of the Chandos recording with the BBC Philharmonic under Rumon Gamba which I look on as the sumptuously upholstered version. The orchestral performance coupled with Chandos’ plush sound brings out the Richard Straussian nature of Korngold’s writing even more so. But again, Kojian taps into the balletic side while Stromberg is technically excellent but a touch heavier and slightly drier sound. I think this works better for Herrmann but I’m glad to have all versions!

I would recommend these in priority: The Fly (1986) Dead Ringers (1988) Silence of the Lambs (1991) Crash (1996) The Aviator (2004) Eastern Promises (2007) Hugo (2011) Spotlight (2015) Then all the scores you listed are worthwhile. I consider myself a Howard Shore fan; here’s the CD in my "basic" collection…

Now, now... There's no call for that.

@scoreman36 You will therefore be escorted to the Music Punishment Cabin and bound to a chair, where the vinyl of The Cowboys will be set upon the turntable. In its grooves, you'll undergo a mind‑expanding penance. Williams’ harmonica, brassy sweep, and folk‑tinged strings will pry open your narrow tastes. They’ll slowly recalibrate your judgment until you can no longer deny the richness of what came before Jaws.

I'd say Jaws is the first movie he scored that is universally regarded as a masterpiece I think Fiddler on the Roof is the first thing Williams worked on that still carries a cultural reputation. It's worthy, not a big cinephile movie but I think it's got a spot on the longlist of classic movie musicals, if not one of the heavy hitters. Maybe Top 25-50. Oscar winner, Best Picture nomination. It had a documentary produced a few years ago about it and the fact that got any traction whatsoever in the 2020s speaks to its legacy. The Long Goodbye had mixed reviews at the time but has been influential and is well-regarded now, moreso than Images in the Robert Altman canon but obviously not on the level of Nashville or McCabe. Definitely a vibe, I'd say it's a pretty esteemed movie by one of the all-time great directors. It's in the US National Film Registry. I would say the disaster movies are more curios than classics these days. I think there's maybe an awareness of The Poseidon Adventure and The Towering Inferno as legendary special effects accomplishments, I've never really seen anybody talk about Earthquake. Towering Inferno got a Best Picture nomination (in the year of The Godfather: Part II and Chinatown, if we're gonna define greatness), highest grosser of the year and a big deal at the time. It's still impressive effects-wise, memorable cast, but not really an enduring movie. In general I think the modern appeal of those things was completely upstaged by Titanic. How to Steal a Million, I haven't seen, I can believe it's a gem but it's pretty much forgotten in William Wyler's career and it feels like John Williams fans are the only ones I've ever seen supporting it. The answer is pretty much Jaws, though.

I keep being reminded of Gambon when I see Lithgow, and I don't even know whether we saw McGonagall in the trailer. Hence I'm torn on what we've seen thus far - I don't support the usual avalanche of hate it's getting for merely existing, but it looks like they haven't gone in some radically new direction sufficient to avoid very strong comparisons to the movies. Rickman is Snape, Smith is McGonagall, Coltrane is Hagrid. Moreso, the two actors playing Hermione and Ron aren't standing out to me like Grint and Watson. There are many, many issues I have with Columbus' movies (I'll avoid repeating myself, but he's such a pedestrian director to me when he isn't doing comedy) but the casting wasn't one of them. I originally found even Rickman not 'slimy' enough considering the books' description, but I later realised his performance is more cold and haunting.

Wizards in the HP world really live like they're in the 1800s. The book explains that there's so much magical atmosphere in Hogwarts that no proper electronic devices can work in there. Since the books are set in the 1990s, I wonder if today's wizarding kids are losing interest in doing all this magical stuff because, well, why would you play chess with living pieces and fly around in a broom when you can play Fortnite all day and watch TikTok all night with this cool Muggle thing called "the internet"?

The world just saw it.

The books, and the movies, and the show, take place from 1991-1998.

Been enjoying the FSM book and all those 90s interviews and got to Alan Silvestri just after he’d scored Forrest Gump so inevitably had to give it a listen. Still think this is an absolute classic which somehow manages to have several main themes, all of which are equally terrific and hugely memorable. He really was on a roll. Great interview too, Al sounds like such a lovely guy, as does Robert Zemeckis. A shame his movies haven’t always continued to deliver but I’ll still look forward to every collaboration they work on.

Just to be clear about my "fixed" comment, I was just pointing out, that the theme you mentioned, is technically more of a theme for the film/Jake not just a love theme for him and Bergen's character. as it is used in several scenes she is not present.

There's an irony there that you never seemed to grasp.

The first two films ultimately had a bit of a TV film look. An expensive TV film, sure, but a TV film nonetheless. That being said, what I think people liked about those and that this new iteration apparently is missing (obviously, just based on that trailer) is warmth. Visually, the first two films looked warm and cozy, which feels comforting and as a result, people were more willing to accept their shortcomings. But now the sun is gone and only clouds are left. Woe is us!

Since when is Eckhart well-respected? I mean...

John Williams – A Tribute EuroArts, Danish National Symphony Orchestra 20 March 2026 Featured artists: Anthony Hermus Experience the fascinating world of John Williams' music in a concert that brings cinema to life. From the epic fanfares of Star Wars to the magical sounds of Harry Potter and E.T. to the touching melodies of Schindler's List, this program spans an impressive arc between adventure, fantasy, and deep emotion. An evening full of goosebumps, big emotions, and unforgettable film music that awakens memories and ignites new enthusiasm. 1 E . T . : Flying Theme 3:59 2 Hook: The Flight to Neverland 5:03 3 Theme from Jurassic Park 5:59 4 Harry Potter and the Sorcerer's Stone: Nimbus 2000 2:15 5 Born on the Fourth of July: Main Theme 6:29 6 Theme from Schindler's List 4:48 7 Jaws: The Shark Theme 3:14 8 On Willows: Concerto for Harp and Orchestra 7:45 9 The Terminal: Viktor's Tale 4:13 10 Theme from Seven Years in Tibet 7:36 11 Excerpts from Far and Away 8:55 12 Song for World Peace 4:52 13 Raiders of the Lost Ark: Raiders March 5:18 14 Star Wars Main Titles 5:35

Well the books do deal with racism but it is mainly related to muggle born wizards and muggles rather than skin colour.

I already found it hard to sympathize with James Potter in the books, who was clearly a jerk. Rowling committed the cardinal sin in the books of not showing, just telling (and through the mouth of his friends) his growth from a bully at age 15 to a caring, loving, sympathetic to the Muggle and Muggle-born cause (I mean, aren't the Potters a traditional Wizarding family while Snape is a Muggle-Born? Geez) at age 17 that convinced even Lilly to date and marry him? The way she tells us, it seems that James just magically (pun intended) went from a Malfoy-esque jerk (but Gryffindor, so that makes him a good guy, right?) to a champion of Wizarding tolerance. But neither he, nor Sirius, nor Lupin regretted or even apologized to Snape. They were just like "Ah, we were just kids, we were having fun, and Snape attacked us too, he's a jerk as well". Now, imagine if, in addition to being a bully who comes from a rich, traditional, pure Wizarding family who humiliates a poor colleague with Muggle parents, they also add a racial element to this already effed up dynamic. How will they make us root for James "KKK" Potter? As an adult, I can see that there are a lot of unintended fucked up things in those books that Rowling either didn't see when she was writing or she forgot to carefully consider. The Dursleys, for instance. They are child abusers. Vernon and Petunia should've been prosecuted and locked in jail at the end of the series. Most of their abuse is played for laughs, and at the end, neither of them seems to be even remotely aware of how cruel they were (are). Sure, Harry, as a Messianic-like figure, forgave his tormentors and they all moved on, blablabla... But come on. What is the legal punishment in the UK for domestic violence and abuse against a child? Sigh... One bright side, though: I haven't seen anyone using smartphones in the trailer. Maybe the show, like the book, is set between 1991 and 1992. Not that it matters that much, since the wizards all live like they're in the 1700s...

Just watched The Incredibles again (doing a Pixar marathon). Giacchino's score is soooo good! Yes, it takes A LOT of inspiration from John Barry and Bond. Some tracks like Kronos Unveiled almost sounding like a rejected track from one of those. But the main theme is just so spectacularly fun. His secondary themes as well and the whole thing juzt alsays brings a smile to my face! Incredible😉

2CD Amistad (released by La-La Land) is SOLD OUT! https://lalalandrecords.com/amistad-25th-anniversary-expanded-limited-edition-2-cd-set/

This great Friedhofer track, from Charles Gerhardt’s Captain Blood album, is one of the highlights of the Classic Film Scores series (and one of my absolute favorites).

The Poseidon Adventure is not considered great? Hmm. It's a classic 20th Century FOX movie with an ensemble cast, popular song, Oscar wins I thought. I always believed it to be Iconic since I was a little squirt, the movie about the upside down ship. I looked it up and Wikipedia is now describing it as a Cult Film. It seems the postmortem was already done on this article. It's possible this one was skipped over by the Boomers and mainly appreciated by The Greatest Generation and that other one that came after them and a select few since. Modern More Sophisticated Audiences likely have never seen it and if anything know it only from the awful remake where Kurt Russell dies horribly in a drowning.

Maybe if I was a film score historian. But I want something pleasing to the ear, and I generally don't like the tempos of Golden Age recordings. All of my stuff from that era are re-recordings.

angry-annoyed.mp4

Yes, another pairing! Alan Silvestri - Ready Player One Thomas Newman - He Named Me Malala

How was Data able to take Moriarty's drawing of The Enterprise outside the Holodeck?

Definitely seems to be the case, which is a shame, I was looking forward to that. But hey, if we get more music from the dude, I don't mind at all, especially with a concept like this. He seems to have been hired last year, which makes me wonder if everything's already been scored / recorded already. I only say that because it's been delayed numerous times since that initial hiring, and there's also a mention on the Instagram page about a super advanced screening as a prize for some silly TikTok filter. If anything has been recorded, I wish it was used over the actual trailer music, the big moment with the brass honestly isn't as strong as it should be because of it. As for the actual movie, I'm reminded of a lot of things like Abrams' Super 8 and some 00s Spielberg oddly enough; not getting a lot of 80s Spielberg at all, despite what early reactions have said. I'll gladly be skipping any future trailers though, I'd like to save the probable Cloverfield connection for the theater, rather than during the Official Trailer.

Knowing little about Asimov's novels, I found the show to be quite engaging and actually got better as the seasons have went on. S1 was uneven but s2 was definitely an improvement and s3 has stayed at the same level. From what i read, if you take it as an adaptation it leaves quite a lot to be desired because it's more inspired by the novels in many aspects, rather than a straight adaptation, but it makes for a solid sci-fi show with some great actors, most notably the three iterations of Empire, with Lee Pace being my favorite. The visuals and the score are top notch all around so I guess it's at least worth checking out if it caught your interest.

I think Potter fanboys (are there any females here, they them?) are clearly blinded by nostalgia for these movies you Grew Up With, and irrationally infuriated by the redo. You all were ready to hate this thing from the start and derailed earlier discussions with complete insanity. I remember. I think it's gonna be good. Maybe it will look kind of ugly and have terrible music, but that's been everything for the past 20 years. This is the world we live in.

Giacchino is scoring and the film has a new title

For me, I just can’t imagine the first three Harry Potters without John Williams. My fear is it will either 1) be completely absent or 2) will be horribly butchered. Best solution, for me at least, is to leave it alone.

In other news, a fork has been found in the kitchen.

I loved the CE3K/Williams reference in Project Hail Mary!

"Difficult times lie ahead, Harry Potter fans"

Harry told me he considers Armageddon to be Trevor, and he'll side to whatever Trevor wants. So if that was to happen one day, Harry won't be a problem.

I finished the first season of One Piece and it was rather pleasant to watch from start to finish. For hype comparison: I enjoyed this waaaaaay more than Pluribus. The cast are actually fantastic, once they bed in a bit. A charming ragtag of heroes and scoundrels who surprisingly recalled to me the well-knit Firefly family, who were basically also pirates. Apparently this thing has been a smash and it's just as well at a reported $18mil per episode. How much did Firefly season 3 get cancelled for? (adjusted for inflation) Shot on location mainly in Africa; I read the showrunner refused to use the Volume. Now if only they'd tone down those cursed shallow DOF shots which delete all that cool theme parkish attention to detail in the background. I'm sure Netflix are mandating that shit at this point. Anyway, I'm dying to move straight onto S2, but I'm going to take a big break instead as I don't want to have to wait another year for S3. Me and the missus also REALLY tried to get into What We Do in the Shadows over the past fortnight, but we threw in the towel during episode 5. I'm afraid the internet is fucking lying about this one (and it certainly doesn't hold a candle to the original movie). It just isn't funny. So we flicked through the carousel and despite my strong urge to resist, hit play on Shrinking. I'd already trialled this early last year and couldn't stand how cloying it was. American saccharine is just the worst. Yet it is strange how a re-view can change things – particularly when watching with someone else who laughs and is clearly enjoying it. I guess her reaction made me get over myself and take it for what it is, which is when I started to not mind it. Maybe it soon picks up, like these popular series tend to (the vampire one was showing no such signs). We'll probably end up sitting through the whole thing now.

I seem to have developed a habit for making myself try things that I would normally never have considered in the past. I pick up on show titles that seem to have a buzz surrounding them, and even if it's something that is waaaay out of my comfort zone I have a sort of autistic response lately which demands that I try it anyway. The idea being that magic can occasionally be found in the most unlikely places, and well I can't just be watching these so-called 'prestige dramas' all the time and most of them are too darn serious. I'd bet there's almost nobody here watching this one. I saw there was actually a thread, but it looks like it's just one guy. Shame - One Piece is ace! "I can't watch a kids show", I thought, but I've noticed 80s era tropes are returning in modern stuff, and characters are beginning to say shit and bitch again – like they did in The Goonies. But there's also some blood and guts, people being sliced in half. Sketchy PG-rated seems to be making a comeback. Anyone else noticed this? One Piece appears to be a very expensive production, and yet it looks like BBC 1 Saturday evening fare. A bit like Doctor Who, I suppose. It's expansive and full of special effects, while never appearing bigger than a telly programme. In fact this nutty swashbuckling adventure is basically Doctor Who with pirates. The exact same quirky characters and corny dialogue are present, and the episodic formula that sees a new tale or dilemma each week is all there, whilst the big season arc progresses in the background. It's well done and surprisingly moreish, at least once I had given it time to bed in a bit. The main character makes it pretty easy, as he has the most infectious grin and irreverent personality that I bet even the original animé cartoon didn't manage to capture. It's quite fun to see him literally stretch his way through the latest scrape, along with his rag-tag crew (we're not your crew). Some of these guys are charming and can be genuinely funny - like Doctor Who could be at times. The plotlines are fun and creative, and even after decades of shows like Star Trek and Doctor Who mining endlessly for new fantasy conundrums, the writers here still find ways of bringing twists to the old stories. Along with The Orville, One Piece shows there are still fresh ways to spin a yarn and be clever with it. I hear season 2 greatly ramps up the quality, and I'll be taking some of that.

Shrinking Season 3 x Episode 4 Paul singing the Indiana Jones theme when he returned to work was very funny. Also his impersonation of Jimmy a few moments after that was funny. Ford is so good in this show! His scenes with Michael J. Fox were also really wonderful. Derek on drugs was hilarious! Him with the mannequin and then calling everybody was very funny. Wonder if that one call will have any repurcussions. Jimmy speaking in Gabby's class was also funny. And I liked their argument after that. I think it was due to happen at some point. It did give Gabby something to have a breakthrough with Maya. That scene with her comfessing her loneliness was very sad I thought. And then lastly the whole thing with Brian & Charlie and the baby was great. And Liz spying of them was kinda fucked up but the way it happened made it funny. What was fucked up was the way Liz spoke about Matthew and him overhearing. I wasn't really into the whole storyline with Matthew, but I feel this is the sort of catalyst I was waiting for. Should bring some intense and strong scenes in coming episodes.

If you want a foreign sounding choir and some questionable takes, absolutely!

Also worth mentioning i think is the Anthony Adverse rerecording with John Scott and Berlin Radio, as well as The Sea Hawk and The Sea Wolf with Rumon Gamba and the BBC Philharmonic. And of course the Charles Gerhardt Kings Row.

I don't understand this non-chronological trend. Why can't the score just tell the film's story? That's literally its only fuction.