publicist

Samples
http://www.youtube.com/watch?v=6FZBX2Urp8A

Or maybe we'll get things like that:

I like it in a same way I like Star Trek: The Motion Picture. In both cases the slow pace might not be especially cinematic (by today standards, anyway), but there something endearing about them. Maybe it has something to do with them being hopeful, unlike so many other s-f films. And yes, both scores are their composers' definitive masterpieces.
Karol

"Chateau Swashbuckling" is pure bliss.

The guy owned it as Hamlet!
Father, I shall avenge thee!

Cool. My spanish translation is of the "my hovercraft is full of eels"-variety.

Having a Russian day.
Hamlet by Dmitri Shostakovich
Ivan the Terrible by Prokofiev (augmented by the selection from the Orthodox lithurgy)
Alexander Nevsky cantata.
Karol

Funny enough, Joel's "Shadows of the Empire" Star Wars score sounds a lot more like his own original work than an actual Star Wars score like it was meant to be, despite the few obvious quoted themes. I find that a bit ironic.

It's the entire program:
http://www.youtube.com/watch?v=7rJ39cN-CIM

Yeah he was fighting Zod and Co. in the middle of big cities, paying no attention to the safety of normal people. It's all the same to me.
That he saved the world means absolutely nothing...
After all that he takes down the satellite and proclaims himself a protector. On his own terms.
Let's face it, he's a twat.
It's better handled in The Avengers. They actually protect the citizens in that film.
Karol

Yeah The Mexican is great. Also never seen The Sopranos. I really like him in Where The Wild Things Are and True Romance. Still need to see Killing Them Softly.

On the Waterfront: This was the first time I saw the film and it was just magnificent.

Gawd . . . I swear, if I hear one more person complain about the endlessly-documented TRON/Dennis The Menace three-note crossover, I'm gonna lose it. . . .
- Uni

I received Clear And Present Danger yesterday, the sound is improved as well. I noticed instruments in The Ambush I never heard before. Unless its a different take.

Tora! Tora! Tora! by Jerry Goldsmith
Unlikely to be become a fan favorite on the scale of Star Trek or Alien, but probably one of his very best works. It's creative and intelligent, sparse and tense. Somewhat of a distant cousin to Planet of the Apes, but one that has aged much better. If there's one thing I regret is that this film wasn't made a decade later - the Bruce Botnick recording would have been brilliant. All I also need to point out La-La Land re-issue has one of the most gorgeously designed booklets in their whole catalogue.
Twilight Zone - The Movie (FSM) - another one from his top list
Karol

http://store.intrada.com/s.nl/it.A/id.8098/.f
The Album
01. Main Title/Clear And Present Danger 5:24 Hear This Track
02. President's Mission 1:16
03. Jack's New Office 1:40 Hear This Track
04. Greer Signs Memo 0:47
05. Cortez Arrives In U.S. 1:13
06. Jack Briefs FBI/President 1:00
07. Operation Reciprocity 3:22 Hear This Track
08. Blow Up Narcotics Plane 1:59
09. Try Lindo Brand 1:23
10. Fire In The Hole 1:53
11. Moira's Fatal Phone Call 1:43
12. Ambush 9:53 Hear This Track
13. Casket Arrival 2:46
14. The Laser-Guided Missile 3:55
15. Jack Sees Bombing 0:59
16. Looking For Clues [Film Ending] 3:39
17. Cortez Is Watched 2:46
18. Greer's Last Hospital 1:43
19. Deleting The Evidence 4:43 Hear This Track
CD 1 Time: 53:00


01. Greer's Funeral/Betrayal 6:22
02. Chavez Sees Prisoners 1:30
03. Escobedo's New Friend Part 2 3:21 Hear This Track
04. Second Hand Copter 2:14
05. Rebuffed [Not In Film] 1:08
06. Escobedo's New Friend Part 1 1:40
07. Cortez Kills Escobedo 2:50 Hear This Track
08. Finding The Prisoners [Film Version] 1:27
09. Jack Creates Diversion 1:35 Hear This Track
10. Woodroom/Finale 4:35 Hear This Track
11. Escobedo's New Friend Part 3 2:02
12. Truth Needs A Soldier/End Title 5:48 Hear This Track
Total Album Time: 88:05

The Extras
13. Main Title/Clear And Present Danger [Album Version] 5:24
14. Looking For Clues [Album Ending] 3:28
15. Finding The Prisoners 1:27
Total Extras Time: 12:24
CD 2 Total Time: 45:38
Price: $24.99

TV Show: DaVinci's Demons. I'm an enormous Bear McCreary fan and tend to play games/watch shows solely because he's doing the music (much like Williams). The main character theme is a musical palindrome! Also there's a lot of period instrumentation and such. Pretty neat.
Movie: The Avengers (yes, I know I'm a little behind on my new movie quota ). Really love how a couple of the themes from Captain America: The First Avenger managed to spill over into the score, though I am surprised and a bit disappointed that The Hulk didn't get one. Fun score, but nothing earth-shattering.

The excessive amount of percussion instruments can give some really interesting results. Like in the case of Christopher Gordon's Daybreakers where he, I think, had 36 different percussion tracks layered on top of each other.
http://www.youtube.com/watch?v=MSvlziMPnJg
An excellent score, I should add.
Karol

Revolution: John Corigliano. I hated the film when I saw the film in the '80s. The score isn't all that bad though. Very unWilliams is a time when everything was Williams.

Alex

I completely completely agree!
But the prejudice (either negative, or positive towards a person), is always there in people.
Education tries to change that a bit. (meaning if you're educated on something, you can be more impartial - as can be - towards that something)
I tried recently to explain to some, that were so enthusiastic about a Williams concert piece I think (but otherwise don't listen to classical music), that if the exact same piece hadn't had the name Williams on it, but the name Zacharia Petrovich (just a random name), not only they wouldn't call it a masterpiece, but they wouldn't even care to listen to it!

I thought the Goldsmith cameos in the Goldsmith thread were really cool, and then it had me thinking, how many other composers got the chance to score a cameo on their film. I cant list many, but Id like to see who got so lucky. Has Williams ever had a cameo? Seriously doubt it. But how about the stars of the younger generation, like Giacchino?
Here are a few I found:
HOWARD SHORE
Shore getting Drunk:

Shore conducting Steiner's King Kong in Jackson's King Kong (although you can barely see him):

JOHN BARRY
Barry appearing as conductor in Deadfall:

Barry conducting orchestra in The Living Daylights:

JERRY GOLDSMITH
Both Goldsmith and Spielberg are together in this one for the Gremlins (already been mentioned in the Goldsmith thread):

JAMES HORNER
Horner walking down in Star Trek II:

BERNARD HERRMANN
Conducting (as usual) the orchestra in The Man Who Knew Too Much:

DANNY ELFMAN
Hard to believe, but thats actually him in The Gift:

Anything else to share guys? I know I missed a lot!
DAFT PUNK
During the club scene during Tron Legacy
http://www.youtube.com/watch?v=CounIhWOdtM

Alexandre Desplat was spotted in costume on the set of George Clooney's The Monuments Men:
http://www.popsugar.com/Matt-Damon-George-Clooney-Set-Monuments-Men-30659165?slide=1&image_nid=30659183
I wonder how big his role is.

Marc Shaiman in..

The Adams Family


The Wedding Planner


Down with Love


Broadcast News




Christopher Young in Spiderman 3



Our very own JW in an episode of Johnny Staccato (1959)



Miklos Rozsa in The Private Life of Sherlock Holmes (1970)



David Newman in The Runestone (1991)



Henry Mancini in Son of the Pink Panther (1993)

Danny Elfman in Forbidden Zone (1982)

The Duellists
Not sure if it's a great film or not. It shows a young director just learning his craft. The use of music is quite overbearing and the writing seems a bit clunky at times, but Ridley Scott's visual talent is nevertheless at full display here. And this is the element which elevates it to another level. I kind of find it unfortunate never got to explore further this kind of a territory (as his next film was Alien). A lot of it looks like a tribute to Barry Lyndon. Interesting film, if not entirely successful.
Karol

STAR TREK INTO DARKNESS - Michael Giacchino
A closer inspection of Giacchino's new score solidifies the general impression of it in the movie: like Abrams' movie, it has a certain flair for the BIG moments but is disappointingly shallow in connecting all the dots. Giacchino has proven that he's adept at solid orchestral writing so his dependence on very simple (and very tiring) rhythmic devices comes as a surprise for such a kinetic venture. The theme from 2009 is proudly paraded around without doing anything that it didn't do the last time, only Spock's theme gets some serious workout in a fight sequence and the new thematic material tends to be so mousy that your enjoyment largely depends on how you like the themes from the first film. Obvious deviations from the established orchestral formula are LONDON CALLING and KRONOS WARTET, one which satisfies itself with doing an uninspired Philip Glass impersonation, the other giving us a war cry similar to countless video games and last year's DARK KNIGHT RISES (it's symptomatic that the track titles are far more inspired than the actual music).
So while it's far from being a disgrace within current blockbuster parameters it seems to lack anything that rises above dutiful and a bit joyless handiwork.