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While it's a conventional choice, i recommend his King movie 'The Dead Zone'. A rare case of a Dino De Laurentis production that didn't suck.

I don't think that kind of stuff is Newman's calling.

It's very clear that this 'rumour' sprung from people leaking internal information about Williams' displeasure not with credits and such (he must be displeased very often if that would so overly concern him), but probably the whole Desplat situation and Giacchino's limp variations on his tunes...which must sound amateurish to him. Since he doesn't listen to much film music, and who would blame him, he probably expected a more accomplished successor.

Top 3 for sure.

Though i'd label that more as 'Horner corner'. Barry's writing may often be simplistic, but his choice of chords and voicings is so idiosyncratic that i you either *really* sound like him or not at all.

Which many other artists also wrote, and nothing in Newman's really suggest Barry's, idiomatically. But i'm beating the dead horse here because i wish Newman had really written a Barryesque score.

But Barryesque makes you click 'Play' hoping for languid strings and an 'Out of Africa' tune!

What a tangent! If forced i would say there is an eclecticism present similar to 'Petulia' and 'The Knack', but apart from that i see virtually no similarity here.

No, but it was so close that i deduced that the relationship with Costner was finished by that point.

I may talking out of my ass, but i think these two fell out over 'The Postman', which JNH even poo-poohed in an interview as a lousy movie.

and 'The Duellists'.

My condensation of Boba Fett I+II (a sound 26 minutes):

Because graphics and 8-bit sound align. As for POTC, i remember i found it sledgehammer-y and brutish, but i certainly didn't wish for a Korngold score instead, saying it wasn't the rock idiom i did question, but how it was applied. Still, things improved so markedly by POTC III, i'm not complaining too much about the ugly duckling which is the first one. The style didn't offend me as much as how brute it was (see above) and how derivative of other scores (Kilar's Dracula).

Finally!

The shark, never mind it's a rubber model, as it is portrayed in the movie, does things that are neither physically possible (not even in the 70's, whatever that means) nor in the nature of the shark as a maritime being. No, a shark couldn't drag three barrels below the waterline, wouldn't follow and attack the boat like a stalker and wouldn't explode (i think Mythbusters did an episode on it). I didn't think anyone would actually watch this movie and come away from it even remotely thinking that could be the case. Be that as it may, even its makers considered the shark a supernatural force, but you can read or watch several very entertaining essays clarifying that.

Ladyhawke bothers me because it's such an ill fit for this particular film and its ways of storytelling (the somewhat similar Princess Bride doesn't feel as forced). POTC looks and feels exactly right for the RCP scores it got. I don't think this 'anachronistic' argument holds much water, as 99% of the audience don't give much of a shit about this, but if it starts to stick out like a sore thumb, something went awry.

Jaws is a masterpiece, but that hasn't got anything to do with it depicting realistic shark behaviour, which you were referring to. It's a demon shark and for the sake of the movie, we are willing to suspend our disbelief up to a point. But certainly we don't believe for a minute that the things how they happen in this movie are shark-istiky possible, or at least i hope we don't.

Yeah right, because the shark in 'Jaws' portrays very typical shark behaviour, right down to dragging a 10 meter boat under water and exploding when a quarter-full oxygen tank goes off in its mouth (sarcasm alert!).

Sebastian, Justine, The Ballad of Cable Hogue, Shamus and The Cassandra Crossing all feature similar elements (be it the pop stylings or the harpsichord melancholy).

Bitchin' great brass.

It's based on a Michael Crichton book that could be great or awful, depending on when it was actually written, but the score is probably the last really brilliant sci-fi score in existence.

Where have you been? Doyle has been writing like this since his Apes/Thor and Jack Ryan scores, and truth to be told, apart from british stuff like 'All is True', his american scores tend to be on the weak side, 'Orient Express' included. At least the travelogue stuff and some of the more outré moments in 'Nile' sound much more attractive.

Probably his name is only the linking element and they pay WB, Sony etc. flat sums for all (or a sizeable amount) of JNH scores, like Varése did for their physical releases and then put their name on it. It's anyone's guess how this works for stuff that is already sub-licensed, i. e. Dante's Peak.

Better than the first one, for sure.

It was (at that time) not unusual for studios to send out inquiries to all A-list composers to be on the safe side for big tentpoles.