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Sandor

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Posts posted by Sandor

    Four Williams scores in 2005

    in General Discussion

    Posted

    No, I'm sorry. I've concluded that it will be highly unlikely that Williams will score Memoirs Of A Geisha and Vengeance since both films will have the SAME RELEASE DATE (December 23). Things have been tight before: Seven Years In Tibet (October 1997) and Amistad (December 1997), Harry Potter And The Chamber Of Secrets (November 2002) and Catch Me If You Can (December 2002). Those must have been tight schedules, but the release dates of those films were at least one month apart. The only way Williams can realistically score both films will be if either the release date of one of the films is postponed or if both films require very little music.

    Four Williams scores in 2005

    in General Discussion

    Posted

    Zimmer on Vengeance....? Hmmm deja-vu anyone?

    I've learned from my "mistakes" in the past by paranoidically-concluding that because of conflicting schedules Williams will not be able to score a film.

    Nobody can tell what will happen with Memoirs or Vengeance.

    To be honest; I don't think these two films will require as much music as Revenge of the Sith and War of the Worlds.

    Music can easily be recorded and be inserted editorially on Memoirs and Vengeance (as I'm sure was done on Schindler for a large part). It doesn't have to be synched as much as on a sci-fi-action film (please don't mention the messy finales of the prequels).

    We'll see. But I REALLY hope Williams will write 4 excellent scores this year to excellent films. I could be his best year EVER, finally eclipsing 1977...

    Countdown: 1(!!) Month Until Revenge of the Sith (Spoilers)

    in General Discussion

    Posted

    Well, again I agree with Chris 100%. Ofcourse I have said many times before that I don't invest time typing posts about things I don't like (oops, now I hope no one will dig up some old statements I've made in the past..). The crtitique directed at Lucas and the prequels has become quite lame. Everything has been said already and ofcourse I also wish Lucas had made some different decisions on Episodes I and II, but alas, there's nothing you can change about it anyway (although with Lucas you never know).

    I've accepted the prequels for what they are. There are moments in the first two installments that are everything I wanted to see in 'new Star Wars films' since I first heard Lucas was preparing them. I like them. I love Star Wars as a whole and the prequels don't hurt the franchise as much as some people want it to.

    But if you still spread the 'Jar Jar sucks' opinion or the fact that Lucas 'raped your childhood' - come on! You've had 6 years to overcome your dissapointment. Some people will go on bitching about it al their lives.

    Yes, I was deeply dissapointed by the Deep Space Nine finale, yes I hated Alien3 (and Alien Ressurection), I was dissapointed by John Williams' The Patriot score...

    Things I really looked forward too, but.... I've moved beyond that; trying to see them in a different light. I hardly mention them if ever!

    To sum it up: Trekkies = you don't need to 'get a life'...

    'Prequel bashers' = get one, it's getting a little childish, ok? :(

    New report from the Episode III scoring sessions

    in General Discussion

    Posted

    This is from www.starwarz.com/tbone

    Don't know if it has been posted before. A report on the End Credits recording.

    Hello friends.

    I am sorry it has taken me a few days to write this but I was asked by Pablo Hidalgo not to say anything until he had mentioned it in his Post Notes. I also want to thank people for their kind words, emails and for sharing in my excitement. I don't have any spoilers sadly, but here is a brief record of my experience in London.

    On Wednesday 9th February, I had the privilege of briefly visiting Abbey Road Studios to listen to a small portion of the soundtrack recording of "Revenge of the Sith." This all came out of me boldly asking Rick McCallum during the Hyperspace online chat if I could pay them a visit. When he answered "Yeah, sure" I thought he was joking at first, even when I received a confirmatory email from John Singh of Lucasfilm, telling me that I was expected at ten in the morning and that I should anticipate my visit to be about twenty minutes. That evening I hardly mentioned it to anyone, not even my girlfriend, as I had this horrible feeling that when I got to Abbey Road I would be turned away with a brief apology and a complimentary T shirt! How wrong I was.

    Not daring to be late, I took a very early train (6.30am) and arrived at Abbey Road before nine. I waited patiently (and nervously) outside as various musicians were arriving and heading into the building, and even spotted a frail John Williams being escorted down into the studios. At around 9.50am I went inside and waited in the reception area for John Singh to find me. To my amazement, a few minutes later GEORGE LUCAS arrived with an aide and signed in to Abbey Road's security book, just under my own name! I froze slightly, not sure whether or not to look at him too closely! He looked just as you would expect - slightly short, sporting that graying beard and checkered shirt. I was to see him again briefly later on during the recording of the soundtrack.

    As George disappeared down into the studios, John Singh arrived to greet me and I signed the confidentiality agreement and various other Lucasfilm forms. Within moments I was now inside the heart of the building and I asked John what was on the agenda for the day. He told me that they were recording the "end credits." We moved down a number of internal corridors, some of which could have been straight out of a movie theatre, as the cinema posters for the various movies recorded at Abbey Road were proudly hanging from the walls, including all of the Star Wars series. We climbed a set of stairs, arriving in the "Producer's Lounge," where Rick McCallum was seated behind a desk and I got to shake hands with him and thank him for the visit. "You thought I was joking, didn't you?" he said, and I agreed. Rick urged us to quickly head on to the "balcony" - a small area found above John Williams and the orchestra - because the recording was about to start. It was all exactly as seen on the Episode One webdoc. John Singh offered me a special soft seat. "You're the guest of honour today" he said. After a brief period of warming up, the orchestra began to play. For those interested in exactly where I was, have a look at the music video on the "Attack of the Clones" DVD. At 2.52, the camera catches George Lucas standing on this very balcony.

    I must mention that I saw no footage of Episode III whatsoever. "That's not been deliberate" Pablo would tell me later. There was a big screen but, as the credit sequence had not been created yet, there was nothing being projected onto it. The first piece of music was fast and "action paced" - I was later to hear Pablo refer to it as the "Revenge of the Sith" theme; a piece of music that accompanies the duel. I suspect I only heard a tiny fraction of it as the music then developed immediately into the "Throne Room" music from Episode IV; a fuller and even grander version than we heard back in 1977. Of special note was the trumpet herald that opens this piece, which has only been heard in Episode IV before and will serve as a strong reminder of the original trilogy; we hear the trumpets' heralds twice in this new version. My mind raced as I heard this music being played as, given that we have not heard this in the end credits before, I began to wonder if what I was hearing was the build up to the end and "iris out". In which case, the music didn't fit the major spoilers at all, not sounding like a binary sunset or a distant Death Star. Pablo would set my mind at rest later but confirming that this piece actually forms part of the end credits sequence.

    Just hearing it almost EXACTLY like it was played in 1977 was a truly moving moment. Was I teary eyed? You bet. It sounded fantastic. It slows down stylistically at times but other than that it is an identical piece. Just as Pablo has reported in his Hyperspace "Post Notes", the orchestra plays the piece through once only before the recording begins. John Williams adds his comments after the rehearsal and then the piece is played again to record it; a large red light goes on at the right side of the studio to let everyone know that the recording spools are turning! It was during this second run through to record that I glanced to the side of me to see George Lucas up in the Producer's Lounge listening carefully, wearing the same face as he does on the DVDs: serious, meticulous, absorbing everything.

    I had been promised twenty minutes and I had been there for half an hour! When the recording had been completed John Singh leaned over to me and said "I hate to do this to you but...." I looked up at him and finished his sentence, "My time is up?" He nodded and I followed him back out of the balcony and into the Producer's Lounge, where he showed me a large television screen, explaining that normally the team would be now huddled around it, seeing how the music fitted the visuals. I guess it was a shame that this wouldn't be done today. Maybe they would have let me stay for that too! As Abbey Road Studios are a little bit of a maze, John escorted me back to the main foyer and I left him with my thanks. He gave me his card and I have been happy to keep in touch with him.

    As for my assessment of the tiny piece of the score I heard, I think the mastery of this final music is that it somehow recognizes that this is the end of the prequel trilogy and the Star Wars movies. It doesn't pretend that the films were made in sequence; rather it is "aware" that this is the final Star Wars movie of all time. Subsequently, despite the presupposed gloomy conclusion to the movie, there is a rich fanfare of themes, similar to the little special extra something there was in the "Revenge of the Jedi" end titles.It is both celebratory and serious, reminding me of the music that underscores Luke Skywalker's face as he burns the body of his father on Endor. Using the "Throne Room" is John Williams' wedding ring that marries the two trilogies together. It is ingenious. Although I didn't hear the end, I would strongly imagine that these end titles will end in a triumphant swell, not the quiet fade out we have been used to hearing in the prequels. That seemed to be the spirit of the music this time.

    I have been quite overwhelmed by the fan reaction since the trip, which has been mostly pleasant! For all those spoiler hounds with conspiracy theories, I promise I didn't see any of the movie, honestly! Everyone at Lucasfilm was very kind and welcoming. I did feel like an honoured guest for an amazing half hour, something that I will remember for the rest of my life. For what its worth, in my mind I went there on behalf of all my friends at the Galactic Senate dot com, my Star Wars home, and for all Star Wars fans. I didn't deserve it, and my hope is that this wonderful experience can in some way be shared by us all. And, yes, as the credits role for "Revenge of the Sith" in May, there will be at least one english fan who will get a very special feeling when that last piece of Star Wars movie music ever is played. I think I'll always be staying through to the very end this time.

    Re-evaluating Thomas And The King

    in JOHN WILLIAMS

    Posted

    Not so long ago I popped in my Thomas And The King CD and listened to the whole thing since I first got it. For those who don't know Thomas And The King; it's John Williams' only musical. It went on stage somewhere in 1976 (although the album was recorded in 1981). It was a total failure in every regard and nobody (except truly devoted John Williams fans) remembers it.

    I know it sounds gayish (NO offense intended!), but I LOVE certain musicals. Les Miserables and Miss Saigon are my absolute favorites (both written by Claude-Michel Schönberg). I LOVE them.

    So naturally I have an interest in the musical that came from the hands of my favorite composer: John Williams.

    The first time I heard it (and this was years ago) I was offended by the simplicity of it, the almost amateur-like song writing, the lack of any form of profundity... I was disgusted by some of the most awful and irritating songs written in the history of musical writing (Power, Sincerity and We Shall Do It! come to mind). I made a vow NEVER to listen to it again for it made me depressed in a way; it made me doubt the brilliance of John Williams. How could Schönberg or Webber create these grand, epic, beautiful stage-shows and Williams didn't even reach 1% of the quality of works like Evita or Les Miserables?

    Anyway; years have passed since then and I realize more than ever that Williams is NOT a songwriter; he is the most brilliant composer for symponic, melodic music, but his songs simply, well, suck. It is no wonder than that Thomas And The King (98% songs) is a disaster. With that acceptance in mind I listened to it again and...

    ...I was amazed that it didn't suck as bad as I thought!

    Actually I start to LIKE (not love) certain songs on the album. The Question is perhaps the best song on the disc. It is not so overly cliché trying to sound like a musical-song. It is quite profound and the "...breaking all the rules"-line is great. The reprise of the same song is more subdued and is very classy. I like 'Tis Love and the closing song So Many Other Worlds (love the arrangment of that song!). Other songs like What Choice Have I? Replay The Game or Improbable As Spring have some potential too.

    I am quite relieved that Thomas And The King is not the incredibly sucky thing I originally thought it to be. It's nice actually.

    What do you guys think?

    London Symphony Orchestra update-EP3

    in JOHN WILLIAMS

    Posted

    Finale

    February 10, 2005

    I'm no musician, so I'm certain there are nuances to each performance and recording session that breeze past my amateur ears. Nonetheless, there are feats I suspect would impress me no matter what level of knowledge I possesed. I am continually amazed by the level of skill exhibited by the London Symphony Orchestra, particularly when the players perform a piece for the first time. I don't know what I assumed exactly, but I figured there'd be a more involved rehearsal. That the musicians wouldn't be tasked to play a piece cold, at first look, not having been previously acquainted with the sheet music.

    There's no lengthy rehearsal. Upon turning to a new cue, the orchestra plays it once, without a click track, without video playback. Composer John Williams and Scoring Engineer Shawn Murphy listen for trouble spots. Williams revisits any troublesome measures with words of guidance or necessary modifications -- oftentimes, the music sounds different with all 110 musicians assembled within the studio space, necessitating a tweak here and there. And then, a take is recorded.

    For the first cue of today, there was perhaps more familiarity with the music than with other pieces. "Good morning, people," says John Williams to the orchestra members. "We'll start with 7M8: the end credits."

    As all Star Wars fans know, the end credits sequence follows a very specific structure. With the iris out of the last frame of the film, there's a triple-attack of brassy fanfare that kicks the music into the main title theme. The up-tempo rendition of the Star Wars theme -- Luke Skywalker's theme -- continues until it is overtaken by a new theme. Then what follows is a reprise of the main themes of the film, before fading out or ending triumphantly.

    With the end of Episode III serving double-duty as a finale to the entire saga, but also the end of the first trilogy, the end credits are slightly different this time around. They contain a major piece of music that otherwise has no place in Episode III.

    After the fanfare of the main theme dies down, the glide of a harp segues into Princess Leia's theme, now indelibly associated with peacefulness of Alderaan, one of the closing worlds of Revenge of the Sith. It is, perhaps, the most passionate and emotional cue in all of the Star Wars saga. In the recording session, when it builds to its final crescendo, Williams finishes to a rousing applause and cheers of appreciation from the orchestra.

    "It'll be another 25 years before we do this again," jokes Williams.

    "That's my goosebump fix for the session," says Scoring Assistant Andrew Dudman.

    As the end credits are always a montage of multiple themes, this cue is not recorded as one piece. Rather, Williams isolates the sections. He picks up the piece around measure 58, where the new "Revenge of the Sith" dueling theme appears. This then segues into a surprise, and not an unwelcome one.

    The stately "Throne Room" from Episode IV, the music that accompanies the Yavin 4 awards ceremony, appears in the End Credits. It's the unedited version of the piece, that is different from what appears in A New Hope. It's been recorded as a concert piece this way: instead of the iris out to Episode IV's end credits, it goes into a reprise of Princess Leia's theme.

    "We haven't recorded it in this configuration here with this orchestra since the very first film," says Supervising Music Editor Ken Wannberg.

    With each cue running over six minutes, Shawn Murphy describes the next two pieces as "monster cues."

    "In the old days, when we were using those little reels, each one would have taken up a reel," points out George Lucas.

    The first of the two, "Scenes and Dreams" starts off sweetly, with a violin playing during a tender exchange between Anakin and Padmé. It is night on Coruscant. She has changed into her nightgown and stands on the balcony of her apartment, while Anakin leans against the curving wall, admiring the beauty of his beloved wife. The "Across the Stars" love theme plays, and unlike some of the other Padmé and Anakin scenes, there's no nebulous threat lurking in the lower registers, no undercurrent of uncertainty.

    This makes the contrast to the music's next turn all the more pronounced. Anakin experiences a chilling nightmare, played with shrill strings in an increasing crescendo that peaks with his sudden awakening. He leaves his shared bed with Padmé, dons a robe and heads outside, to the airy verandah to stew over his unsettling vision.

    Padmé soon joins him, and the music brings up Anakin's innocent boyhood theme from Episode I. Very fitting as he notices the token of affection he gave her all those many years ago, the japor snippet Padmé wears around her neck. There's a fragile twinkle of bells to accompany the shot of the jewelry. The music is moody as Anakin explains his fears to Padmé.

    These somber tones continue as Anakin next confers with Yoda about his vision. There's slight intonations of the Force theme on a bassoon as the discussion turns philosophical. An interjection of brass moves us away from the moody introspection to more objective issues, as Anakin arrives late to the Jedi briefing room, and then the cue ends.

    The next lengthy cue, which ends the day's recording session, is named simply enough "Moving Things Along." It isn't very thematic -- mostly background music to establish mood, with flourishes to accompany establishing shots. With the visual introduction of fiery Mustafar, we're given a bellicose, percussive passage with blasts of hard brass. The camera glides in to the mountainside processing facility, soaring past platform-riding Mustafarians skimming the molten rivers for precious ores, past the flea-riding aliens that walk along the hardened surface of the lava flows.

    The music gets more atmospheric and smoky as we cut inside the facility, and see Darth Sidious holographically communicating to the Separatist leaders.

    Before the cue's end, we'll hear Darth Vader's theme and the Emperor's theme -- which is truly appropriate as it accompanies Palpatine's formal declaration of a New Order.

    It's a satisfying finale for this leg of my personal Episode III journey. The scoring sessions will continue for another week -- including isolated percussion and choir sessions, but I am returning to the U.S. after today. Expect Post Notes to return to their ILM focus, with perhaps a look at the mix preparation at Skywalker Sound.

    As I write this, there are less than 100 days before the world gets to experience Revenge of the Sith.

    Let Peter Cavanna's once-in-a-lifetime experience prove the maxim: it never hurts to ask. "Nothing ventured, nothing gained," he beams. "I've done that all my life: I've always asked for things that were sort of impossible."

    During Rick McCallum's online chat on February 8th, a Hyperspace member with the screen name GazelleUK boldly ventured the following query:

    Rick, I live just a few miles from those studios. Any chance of me coming down now and having a prevue???

    The answer was classic McCallum, a shoot-from-the-hip, take-everyone-by-surprise response:

    It's too late for today. But if you're here at 10:30 tomorrow, I'll let you have a little peek. Ask for John Singh. But if you tell anyone else, I will have you terminated.

    Now, I typed that for Rick, and I wasn't a hundred percent sure if he was serious. John Singh, (LFL International Publicity) and I exchanged an incredulous look before asking Rick if this was for real. "Yeah, let's do it," he said. So, John made it happen by sending GazelleUK (a.k.a Peter) an email inviting him to the studios.

    "I thought he was just joking," says Peter. "You can't just do that! Not on a forum, where everyone can read that. I mean, who knows who else will show up?"

    As he recounts it, Peter wasn't entirely willing to believe it was real until he showed up at Abbey Road studios this morning. "I didn't tell my girlfriend or anyone anything about it, because I thought it wasn't going to be true."

    John Singh met Peter, and took him upstairs to briefly meet Rick. From the Producer's Lounge, Peter got a bird's-eye-view of the orchestra as they performed the End Credits sequence for Revenge of the Sith. "I'll admit I was a little bit confused. I was trying to think how that particular music would fit in. In my head, I thought this a very familiar tune that will appear in a very unfamiliar place," he says.

    "My eyes were watering just listening to that music," he continues. "Not only is this Star Wars, but they're great musicians as well and it just sounds fantastic. I thought, these people aren't making movies; they're making magic. And it was absolutely magic."

    Most Overrated Williams Scores

    in General Discussion

    Posted

    Again; name one score that is REALLY overrated?

    There is such a weird tendency among John Williams fanatics especially to label a score that you don't LIKE as being OVERRATED.

    There isn't such a thing as an overrated score!

    There are scores that you may dislike, but please stop trying to make your distaste for a certain score more dramatic or intellectual by refering to it as being OVERRATED.

    I already start hating that word; overrated.

    You know I don't really see the greatness of the Star Trek The Motion Picture score. But I know many film music lovers do. Who am I to say the score is overrated based on me disliking the score? How ARROGANT would that be?

    Oh, and some may not like Schindler's List, but in NO way is it overrated! In fact; millions raved the Party Animals back in 1993 (in Holland), but only a small minority appreciated the brilliance of Schindler. Bad example I know, but my point it that Schindler's List (and FILM MUSIC in general!) is vastly underrated.

    (yeah, I already posted this, but since you guys still go crazy with the word overrated (except Chris) I can just as well repost it....sigh.... a new low for me....)

    Most Overrated Williams Scores

    in General Discussion

    Posted

    Again; name one score that is REALLY overrated?

    There is such a weird tendency among John Williams fanatics especially to label a score that you don't LIKE as being OVERRATED.

    There isn't such a thing as an overrated score!

    There are scores that you may dislike, but please stop trying to make your distaste for a certain score more dramatic or intellectual by refering to it as being OVERRATED.

    I already start hating that word; overrated.

    You know I don't really see the greatness of the Star Trek The Motion Picture score. But I know many film music lovers do. Who am I to say the score is overrated based on me disliking the score? How ARROGANT would that be?

    Oh, and some may not like Schindler's List, but in NO way is it overrated! In fact; millions raved the Party Animals back in 1993 (in Holland), but only a small minority appreciated the brilliance of Schindler. Bad example I know, but my point it that Schindler's List (and FILM MUSIC in general!) is vastly underrated.

    Most Overrated Williams Scores

    in General Discussion

    Posted

    Well, I TOTALLY agree with Chris on this.

    By the way; is there such a thing as an overrated score? I was trying to think of an example, but couldn't find any.

    If any score is overrated on this board based on the posts I would have to say The Lost World. But it's surely is not overrated by general film music listeners who hardly ever praise (or critisize) that score.

    Okay. Williams' "rip-offs." What are they?

    in General Discussion

    Posted

    My heart broke when they listed ET (it was on their website with audio clips), and had a file of some piano trio, can't remember who wrote it, that pretty much had the main theme note-for-note with a few rhythmic changes in the melody. But chord-wise and melody-wise an obvious rip.

    I remember this was a piece by Dvorak. I didn't find it THAT similar.

    Why didn't anyone mention Korngold's Kings Row theme? Or didn't I read all the posts that good?

    Kings Row is the template for many pieces Williams wrote during the late '70's and early '80's, the Star Wars main theme and the Superman march being the most obvious.

    But even if it's especially close to Star Wars I find Williams' theme a superior musical statement.

    Wow, This Is Interesting...

    in General Discussion

    Posted

    Guys (and girl),

    Please stop being so upset about this thing. In the past there have been some really degrading things said about rap-music on this board.

    So can you imagine how weird it would be if some Snoop Dogg-messageboard would be going all upset and saying things like: "Ya know on da messagboard over at da www.jwfan.net people have been saying da f*ckin bad things bout rap! Let's go over there and tell dem da truth about da rap man!!"

    Wouldn't that be sorta silly? Would we REALLY be interested in the truth about rap?

    Concerning classical music folks and their appreciation of film music I always remember a quote from Mark Walker from Gramophone. He wrote:

    "...the cynically-inclined (refering to classical music intellectuals) generally don't listen to film music; it's too openly emotional for them..."

    That always makes me view their critique and silly arguments as meaningless. They imply that we don't see certain things about film music; that John Williams is a hack, that orchestral music today never reaches the heights of the past,...

    But in fact, as Mark Walker put it, it is not we that are missing something, THEY are missing out on the beauty and profundity of modern day symphonic writing...

    Honestly I pity them for being so narrow-minded.

    Gladiator Soundmix

    in General Discussion

    Posted

    Stefan!!!

    I forgot one important thing: the sequel album (More Music ...) isn't really interesting with the excepting of one track;

    DUDUK OF THE NORTH

    Stefan, I promise you man this is one really great piece of film music! It starts with a, suprise suprise, duduk solo which is somewhat impressionistic at first, but becomes more and more melodic as the piece progresses. Then, after the first few minutes, a guitar is heard over a string synth motif and it will really blow your mind! It's THAT good and to make things better the cue ends with a Media Ventures "orchestral" rendition of that guitar motif and it's stunning.

    One of my favorite unknown pieces of film music!

    Gladiator Soundmix

    in General Discussion

    Posted

    I never really listened to Pirates that well. In a lot of ways the masculine theme from Gladiator is just another variation of the theme Zimmer presented in Crimson Tide (or even Backdraft). But the score as a whole with the powerful Wagnerian Might of Rome, the beautiful ending of The Battle (very Morricone like - listen to his Secret Of The Sahara "Kerim" cue to hear the resemblance), the brilliance of Am I Not Merciful and the central theme best heard in Honor Him make it a unique experience.

    This score is way better than most here want it to be.

    What movies have made you cry?

    in General Discussion

    Posted

    Just some things I remember:

    "That'll do Pig. That'll do." The final scene of Babe (1995). After Babe does "his thing" and the crowd cheers and that Saint-Seans music is played.... Ah man, that's one of the most beautiful moments in film history.

    The Breaking Of The Fellowship. The final scenes of the first Lord Of The Rings film... I can not watch that without my eyes becoming at least moisty. The music really drives these moments home. Frodo on the side of the river, the ring in his hand, Sam almost drowning, Sam's heartwarming words, Aragorn, Legolas and Gimli going after the Uruk Hai to save the other hobbits... "Let's hunt some Orc!", "Yes!" I even get fragile when I type that! It's so good....

    Braveheart - the final scene: the charging of the starving Scotsmen... THAT voiceover, some of the most simple, yet powerful lines ever, makes this scene so memorable. And the music by James Horner is excellent here. Superb!

    Mask - The film is overly sentimental I know. It also changed the fact that Rocky Dennis was really just a normal teenager and not the superintelligent wizkid we see in the film. But the scene where Cher realises he died on just a day like any other is INCREDIBLE! I get tears in my eyes everytime I see Cher's performance. She plays this SO good and realistic. Powerful stuf.

    Seabiscuit - again, the final scene. That's a wonderful piece of modern filmmaking. It's so simple yet so sincere and breathtaking. I never thought I would love this film as much as I do.

    And scenes that deeply move me:

    The Piano - Ada changes her mind....

    The Hunchback Of Notre Dame (Disney) - final scene (Sappy? Yes, yes... so what! I'm a wuzz for this kind of material!)

    Schindler's List - I could have done more

    The Return Of The King - final 23 scenes (!)

    Ah man, this goes on and on and on!

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