Thor

Probably a good idea. Should you nonetheless be curious, it appears it's now only available via the Wayback Machine.

Indeed. Strange rule.

I don't know how rich Christopher Young is at this point, but if it's just a matter of a couple of thousand dollars to make the limit, maybe he'll chip in the remaining himself? He seems like the person to do so.

I do, yes. But I have a number of personal issues that need to be sorted out first. It's a surplus energy project, after all. It appears this Google Podcasts app closes tomorrow(!), so if anyone wants to download for posterity from that site, I suppose today is the day.

I have no such easter tradition, but I did watch it for the first time during easter -- mid 80s, in Denmark, on the telly, while visiting some extended family (in that boring period between dinner and coffee & cakes). I vividly remember many scenes, especially Moses on the mountain, but I don't believe I watched the full thing. Saw it up again just a few years ago, and it's still an impressive epic. The score is obviously an early cornerstone in Bernstein's career. Love it. But what's always fascinated me the most is that the exodus music sounds so "British" -- like something out of a Britten or Elgar composition (it's all rather pomp and circumstance). Kinda at odds with the geographic setting, but also interesting. I always wanted to know the reasoning behind that particular style choice.

Trolls 4-ever!

A genuine Disney-Lynch collab would be something to behold! I should point out that I'm a huge Disney fan. Wrote a "thesis" about him and his work in 9th grade. It's just weird to see the growth of the company into things that are soooooo non-Disney by nature.

Is now the time I admit that I'm not THAT big a fan of those scores? I mean, they're fine, but I'm content with my 38-minute playlist of HTTYD 2, the superior of the scores. There, I've said it. Shoot me! Throw tomatos! Do what you wish!

Crikey! That just looks.....wrong.

MUNICH is a nice inclusion there. A lot of these programs are rather boring, IMO, playing the same evergreens over and over again, and I suppose this is another example. But many of them manage to sneak in a less-concert-performed piece in there (or two), so I always look forward to that.

That's true. Never even thought of that.

I suppose, yes. No "inherited property" on that one. Doesn't matter if it's post-acquisition.

Indeed. If we're keeping it to softcore stuff, I always have to give a shoutout to things like HISTORIE D'O (both original Bachelet and Zimmer/Myers sequel), L'ATTENZIONE (Donaggio), FEMINA RIDENS (Cipriani), ORGASMO NERI (Cipriani).....but I'm getting ahead of myself, I promised to mention only five at a time. Besides, BILITIS towers over all of these anyway (but that's a proper good film, not a trashy B movie).

Congrats on the book, Falstaft! Did you consult the EMPIRE STRIKES BACK chapter in Kathryn Kalinak's book SETTLING THE SCORE at all? Or Evensen's(?) seminal online rundown comparison of Wagner and STAR WARS? Those are some STAR WARS music sources I remember from the olden days. In any case, while the musicological musings in your book will probably fly over my head, it would be cool to own.

Yeah, I warned you about the re-use. I, too, consider THE CHAT superior to LE TRAIN. By the way, as far as George Martin is concerned, I really recommend his compilation from a few years back, that includes both film and non-film work.

So should we count LINCOLN too?

A-ha! NIXON and WAR HORSE! The first is a very strong (and somewhat underrated) score, and the second one of the three best he's done since 2005. So even if there was no acquisition, at least there are those two! Googling around, it seems Hollywood Pictures closed shop in 2007, and Touchstone in 2016.

Ah, OK. So not any of the two I mentioned. This one has a Robert O. Ragland score, I see - mostly famous for GRIZZLY and Q, but really underrated composer.

OK, I can keep this going for a while if we're talking scores, but let me just start off with five recommendations for films I consider belonging to this category: OCCHIALI NERI (Arnaud Rebotini) Brilliant, seething synth score for the latest Argento flick that tries to pay hommage to the Goblins of this world. DOWN TWISTED (Berlin Game) 1987 thriller (and early Courtney Cox film) from the Cannon group. Another great synth score from Eric Allaman and Richard Scheuregger under the Berlin Game nomer. CODE OF SILENCE (David Michael Frank) Considered a Chuck Norris 80s cult classic these days, but containing a spectacularly funky Frank score. EMMANUELLE 2 (Francis Lai) Always a master of exploititative sex comedies and dramas, Lai delivers a superbly elegant and sensual score for this 1975 film, just a couple of years before his iconic BILITIS. TERMINAL EXPOSURE (Hans Zimmer) 1987 B movie, about sex, crime and action (and a little bit of BLOW UP-like premise at its core), and the first Zimmer did solo (without Myers). You can hear the seeds of his later sound in it. Great stuff. I think NoteforNote released it recently.

Yeah, I suppose it's fine. I was just curious if Williams wrote anything DIRECTLY for Disney in his career, prior to the merger. I can't think of anything off the top of my head, but then I'm not an expert on labels and companies.

I could probably find out by googling around, but anyway - a question to all of you company-savvy people in here: Has Williams ever done a Disney film PRIOR to Disney acquiring Fox etc.? If not, it's a bit strange to get a "Disney Legend" award when all the titles are indirect Disney titles.

I don't know which BABYSITTER film is in your collection. There are obviously many films with that title (and that's without taking porn into consideration). The 2022 film has a marvelous score by Forever Pavot, one of the 10 best that year, and the 1975 film likewise has a stunning Francis Lai score. But I don't believe it could be any of those, since both leave out the "The".

A bar after my taste! Film music and beer, my two favourite things.

Hey, MSM, seems like you got eye contact in that last shot! I got one too, in Boston 2014, but alas didn't manage to take a picture of it.

And John Williams, for that matter.