publicist

You are on a discussion forum, offering often a bit childlike positions on everything from world matters to film composers. Deal with the occasional backlash, dear. 

That would be the kind of miracle I'd very much be in favour of.

Greenwood would have been the more deserving winner (though rather for 'Phantom Thread'), but Hans' & Co. win is not undeserved, so there.

T'is is not the season, but since it was Silvestri's birthday this seems most celebratory.

Top score.

It's his customary Barry tune.
 
The theme is fine, but the bridge is perfunctory and if i ever had a beef with Goldsmith's style, it's that his thematic bridges often come off as 'let's get done with this with as few notes and surprises as possible', which often make a great theme appear less so, because the bridge doesn't carry it.
 
It works in cases like 'Rambo' or 'First Contact', but for every Long Road there are 9 others that sound shallow. 

The last time Horner innovated was 1992, when brought Pärt and Glass into the film music fold. 

The last time Horner innovated was 1992, when brought Pärt and Glass into the film music fold. 

Gee, really? The point of the whole thing was to show how insensitized and numbed Bana had become through his experiences. The sex probably was meant to emphasize it, as a purely physical exercise, with a haunted look on his face suggesting he's not in the moment but relives his past experiences.

It's his customary Barry tune.
 
The theme is fine, but the bridge is perfunctory and if i ever had a beef with Goldsmith's style, it's that his thematic bridges often come off as 'let's get done with this with as few notes and surprises as possible', which often make a great theme appear less so, because the bridge doesn't carry it.
 
It works in cases like 'Rambo' or 'First Contact', but for every Long Road there are 9 others that sound shallow. 

Yes. It really is. I always consider this score his last proper calling card.
 

 
The Hog Chase cues are reason enough to offer this guy the next Bond film. The brass writing is simply sublime.

More unnerving the 'The Omen' for me.

Another JNH that seems lost in the shuffle. It's a charming, sometimes borderline Horner-esque celtic fairy tale score, think of his Disney scores coupled with something like 'Lady in the Water', with a unique interpretation of the score's ideas in a 8-minute Chieftains piece (The Water Horse Suite). 
 
The central cue is 'Swimming', an operatic piece fulfilling the same function as the first bike ride in E. T. and Howard rises to the task. The similarities do not end there: in the final action/resolution cues (Saving Crusoe, The Net, The Jump), the fast-paced action material (business as usual) is interrupted by the same kind of soaring, almost religious-sounding musical resolution, though it's much more fleeting here. Still, it was an unexpected surprise in 2007 and deserves a bigger spotlight next to his more well-known Disney scores of the era.
 
 

The 11-minute final race cue is a real winner, and the faux-ethnic style mixed with western composition techniques is really charming. One of my favourites from 1999, and yes, it doesn't suffer from Powell's more hyperactive later style.

I suppose this is a "kick" to the John Powell fan kids who grew up with his HTTYD scores as the best thing since sliced bread. This has always been my second favourite Powell score (after FACE/OFF), and it's from 1998. Great West Africa-West blends. I tend to prefer Powell pre-HTTYD, so sue me, you tiny wincy kids!  

Another JNH that seems lost in the shuffle. It's a charming, sometimes borderline Horner-esque celtic fairy tale score, think of his Disney scores coupled with something like 'Lady in the Water', with a unique interpretation of the score's ideas in a 8-minute Chieftains piece (The Water Horse Suite). 
 
The central cue is 'Swimming', an operatic piece fulfilling the same function as the first bike ride in E. T. and Howard rises to the task. The similarities do not end there: in the final action/resolution cues (Saving Crusoe, The Net, The Jump), the fast-paced action material (business as usual) is interrupted by the same kind of soaring, almost religious-sounding musical resolution, though it's much more fleeting here. Still, it was an unexpected surprise in 2007 and deserves a bigger spotlight next to his more well-known Disney scores of the era.
 
 

Another JNH that seems lost in the shuffle. It's a charming, sometimes borderline Horner-esque celtic fairy tale score, think of his Disney scores coupled with something like 'Lady in the Water', with a unique interpretation of the score's ideas in a 8-minute Chieftains piece (The Water Horse Suite). 
 
The central cue is 'Swimming', an operatic piece fulfilling the same function as the first bike ride in E. T. and Howard rises to the task. The similarities do not end there: in the final action/resolution cues (Saving Crusoe, The Net, The Jump), the fast-paced action material (business as usual) is interrupted by the same kind of soaring, almost religious-sounding musical resolution, though it's much more fleeting here. Still, it was an unexpected surprise in 2007 and deserves a bigger spotlight next to his more well-known Disney scores of the era.
 
 

It's not being polite, it's dodging discussion, but hey, no one forces anything on you.
 
I think it's a great achievement, all things considered. Back when i was in school, SL was mandatory viewing, and while this concept fell flat on its face especially with a certain young male demographic, a much bigger percentage felt shaken and moved by it, something schoolbooks and documentaries never remotely achieved.
 
We might bemoan certain things that can be considered manipulative or naive, but on the whole, a bleak, sometimes borderline unwatchable Holocaust movie like this just wouldn't have been possible in Hollywood at that time (without Spielberg). 

Sure. Well, in its studio recording there are all these subtle Tibetan bowls, tanburas, specialty instruments, drones and the musicians are recorded in stems which allows more room to mix in certain reverbs and ambience so the whole thing feels really lush and airy, like it's "out of this world", much like the game.
 
This would be hard to replicate live of course, and the fully orchestral version sounds more grounded and exposed, which isn't a bad thing (it's orchestrated well and Wintory is clearly a pro), but it has a different quality to it.
 
The finale cues are the good examples of this I think. More or less, the same musical material, but the feeling is different imo:
 
 
vs
 
 
 
Again, not a bad thing at all, because they're both doing different things. The latter feels a little closer to "conventional" film music, while the former feels more like its own thing.

Goldsmith in knighthood mode was always a great match, but of course 'First Knight' is a much more conventional approach, with the Orff, Vaughan Williams et al. quotations being much more overt than in 'Lionheart'.
 
That being said, let's not forget that he did this as late replacement for Maurice Jarre and even though he only had a 4-5 week timeframe, he insisted on composing the big choral cue at the end - it was planned to just license 'Carmina Burana', afair. And it does profit mightily from its expansion.

It's a work of great subtletly, like 'Abzu', and it's so unlike modern film music i'm somewhat thankful Wintory found that 'niche' (which of course is bigger than the movies, but still).

It's a work of great subtletly, like 'Abzu', and it's so unlike modern film music i'm somewhat thankful Wintory found that 'niche' (which of course is bigger than the movies, but still).

Goldsmith in knighthood mode was always a great match, but of course 'First Knight' is a much more conventional approach, with the Orff, Vaughan Williams et al. quotations being much more overt than in 'Lionheart'.
 
That being said, let's not forget that he did this as late replacement for Maurice Jarre and even though he only had a 4-5 week timeframe, he insisted on composing the big choral cue at the end - it was planned to just license 'Carmina Burana', afair. And it does profit mightily from its expansion.

Don't try to appear so overly PC, rather discuss your opinion in terms beyond simplistic statements á la 'in my opinion it's an infallible masterpiece, period'. It may be my problem, as i come from a journalist background, but i find the discussion culture here has been really come to a crawl after several older posters left the board.

I don't really care about the tangibles of this project and just say that this is the first Spielberg i personally feel not the slightest urge to watch, even if i'm sure the are the usual crane and dolly shots that work brilliantly in the aid of the storytelling.