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It's really one of the best moments in that score, I agree. However, did anyone else notice a similarity between this cue and Williams' "Cinque's Theme" from Amistad? I'm not speaking about the melody or the theme, but imho there's more than a resemblance in terms of atmosphere, orchestration and mood. My bet is they temped the scene with that cue. ?? There may be pieces which are more apart from another, like i. e. 'Yellow Rose of Texas' and the Can-Can, but a lot it ain't....

That i don't know. Zimmer's score oozes classical elegance, which is the best thing you could've done with that story, anyway. Horner may have produced a similar sound just with more characteristic trademarks, to put it kindly....so i'm happy that Zimmer (and team, of course) did this.

S*P*Y*S is not light-hearted. If it's anything, it's dangerous to your hearing...So goofy that it hurts <_<

I guess the true fanboy is the one who opens a thread about 'Dennis' and needs about three posts to get to inevitable 'my pet composer writes everything better' point. It's a jerky notion and unfortunately gazillion fanboys seemingly can't live without it...

That requires a very big IMHO. Let it just be stated that Goldsmith couldn't have written 'Born on the Fourth of July', while Williams couldn't have pulled a 'Gremlins' to save his ass. The rest of the discussion measures up to stupid fanboy reasoning. What intellectual inferiority complex leads to this 'my idol is better than yours and i can scientifically prove it' nonsense may stay their secret.

Pardon? The shark was as motionless as a rubber mattress. The guy had to climb in it's jaws to be eaten. The shark in 'Jaws 2' does not really look bad, it's just photographed in very unflattering angles. Some of the broad daylight shots look quite terrible, though. But that goes for 'Jaws', too. The final attacks on the 'Orca' do look like the shark is squished whenever it hits something.

One has to say that the benefit of the creators of a work of popular art (and i say that in the broadest sense possible, as we talking Hollywood films) is certainly more important in the grand scheme than soundtrack collectors not getting COMPLETE! releases or similar things. I mean, if the general consensus were that they're withholding those releases because of the too-big artists' share, people would sending letter bombs to John Williams himself instead. I just don't see why some Eisner or Katzenberg or whatever weasely manager earns big-time for negotiating deals or mediocre actors with marketing value are so much more important than creative people like the writers.

'Spiderwick' is just boring. Nothing to do with stolen themes. God, when they even get a tunesmith like Horner to cook low on the themes, where does this lead us!?!

So what? Aren't the love theme and the 'Hoist the Colours' theme from this third Bruckheimer-POTC-grenade some of the best themes churned out this year? Answer: they bloody well are...When Hans is able to do something right what most modern composers can't, it's writing tunes.

Maybe because he's 12 years old and his musical perception skills are on deaf-mole level? This kind of statement would suggest that you know absolutely nothing about music in any sense of the word. EDIT- okay that may seem a little harsh but it's one thing to not like Desplat's style but to outright invalidate his compositional abilities would honestly suggest that the person making such statements has little understanding of formal music theory or practices. Desplat has more inherent musical abilities than almost anyone in Hollywood at the present time. His music may sound "thin" or transparent because he scores for orchestra differently than the Hollywood credo of overdone, thick-as-molasses orchestrations. I meant the POSTER, not Desplat, of course.

Maybe because he's 12 years old and his musical perception skills are on deaf-mole level?

Is that your way of saying it's total BS? Because if it, I agree with you. Worse than 'The Last Castle'? For 2 weeks, the only film i was able to watch was a Preston Sturges film called 'Sullivan's Travels', which was ok. Veronica Lake still seems somewhat kinky.

Apart from the fact that the 'Poltergeist' trashing was done by the other guy writing the comments and 'Deep Rising' still rocks, i hope this isn't one of those ill-fated attempts to invalidate one's opinion because it isn't corresponding with your own? No, you wouldn't sink as low as that. And i eagerly await your thorough condemnation when i tell you that i don't even hold 'Superman' in high regard. This PLUS my disdain for cozy rehashs like the first two Potters should give u enough ammunition to shred my credibility to tears, wouldn't it?

I'll bet on that. Doesn't make the music better. But in fairness i have to say that i should expect that on a Williams-fan-board. What kind of orgasmic joy people like King Mark may feel when the world finally finds out that Williams was responsible for writing things like the Malfoy music may stay their secret.

But why bother, anyway, with a film score which is quite mediocre, regardless of who-wrote-what?? When i had to review the DVD, i really couldn't find much of merit, the music sounded perfunctory and Hollywood-standardish for kiddie fantasy fare. The concert suites are really the only halfway worthwile thing to own. AND the best of them, this 'Dracula' type theme for the chamber, doesn't even occur at key points of the film, if i remember right.

FAN BOY SIZE MEASURING ALERT! Who's got the longest? It's my pet composer!!

Well, it's 'two-hand-Randy'-made-fit-for-100-musicians-by-10-orchestrators' music, then, which still is miles behind any trained composer's effort. Hopefully, it will have at least a catchy tune arabian style...oh, and i can't wait for 'The Mummy 4 - Attack of the Ants-in-your-pants-Creatures'

I've seen all these movies one time, except 'Schindler', which i've seen like 3 times over the years. Most of these films are rather turgid, in this very american 'YOU'RE NOW WATCHING DRAMA'-type of way...Especially 'Angela's Ashes', which is a story domiciled in poverty, but not really about it, since McCourt writes about the mysterious joys of childhood his alter ego experiences, a point which the film almost completely ignores. As sublime Williams' score is, it further destroys the childhood-notion with it's gloomy heaviness. What bothers me when people reviewing films, there never seems to be a middle ground, it's as if a movie is only 'boring', 'great' and so on. I cannot understand how one can see i. e. 'Private Ryan' as a complete masterpiece. Everyone with at least some cinema-going experience should be able to see at least some of it's faults, despite of it's virtues. There is almost no film which is 'perfect as it is', most filmmakers will heartily agree with me there.

Yes, it's certainly no big shakes, but as casual pleasure it get's the job done. And 'Chronicles of Narnia' IS bad...i only saw fragments of the film, and the badness of both seemed to complement each other really well....

Maybe Shore realized halfway through the trilogy, that the theme was more useful than he thought at first. I distinctly remember him referring to that theme (which is certainly one of the better thematic inventions of LotR) as 'Proclamation of nature' theme or something like that, so he eventually may have decided that it would fit other needs as well, instantly finding a far-fetched interpretation for it's use

Let's hope not. Another 13 minutes wasted on a new album....

Maybe he's just trying to bring some spark to the shopworn threads of the 'Name the 3 best renditions of Boba Fett's Theme' variety which crowd this board? Maybe i can fuel the debate by saying that digging out the most tired warhorses for 'Harry Potter I' is at best enough to get in the category of 'gets the job done so-so'? (while Williams passed with flying colors for 'Azkaban', which shows you that this Columbus git was responsible the first time around)

But wasn't that the point? Spielberg did alot of rather crappy movies (the last i remember vividly is 'WotW'), but this ain't one of 'em.

If one is on a steady diet of film music from L. A., that might very well be the case (although i doubt it), but it's really a slap in the face of film composers all around the world. Musicians like Debbie Wiseman, Roque Banquos and Frederic Talgorn (who did the splendid 'Moliere' recently...friends of 'Restoration', listen up!) should rightfully be appalled by such narrow-mindedness.

Has anyone an idea how much unreleased stuff is in 'Monsignor'? I've once seen it, like 15 years before, and only remember that i was shocked how trite it was so i didn't see it from start to finish. The album sounds like a perfect summary, though.