Miz

Lol, it's a film that my three-year-old likes... because it's pitched at his age group! And it's one of Powell's top scores. I love it for it's simplicity and character.

Lol, it's a film that my three-year-old likes... because it's pitched at his age group! And it's one of Powell's top scores. I love it for it's simplicity and character.

Lol, it's a film that my three-year-old likes... because it's pitched at his age group! And it's one of Powell's top scores. I love it for it's simplicity and character.

Lol, it's a film that my three-year-old likes... because it's pitched at his age group! And it's one of Powell's top scores. I love it for it's simplicity and character.

I work in an autism school and I showed my older students the Google tile list of JW movies to show how evidently impressive he is. Of course they had all heard some of his music and could identify a few franchises, even Jaws, but some were impressed that the list went back to 1958! I explained how his long and continuing career was inspirational, and how I almost saw him conduct in London.

I work in an autism school and I showed my older students the Google tile list of JW movies to show how evidently impressive he is. Of course they had all heard some of his music and could identify a few franchises, even Jaws, but some were impressed that the list went back to 1958! I explained how his long and continuing career was inspirational, and how I almost saw him conduct in London.

Yeah, wrong choice of words. Re-recording, I guess.

I count myself a Bear fan, but didn't know any of this...
 
https://bearmccreary.com/my-decade-with-elmer-bernstein-3/
 
I listened to Kings of the Sun recently in exploration and tribute to this cross-generational composer relationship. Thought it was good, though I don't know if it was Bear's recomposition.

I count myself a Bear fan, but didn't know any of this...
 
https://bearmccreary.com/my-decade-with-elmer-bernstein-3/
 
I listened to Kings of the Sun recently in exploration and tribute to this cross-generational composer relationship. Thought it was good, though I don't know if it was Bear's recomposition.

Editing feels a bit too fast to give it the gravitas it deserves.

Anyway, I've only popped into this thread to ask...
 
Does Ridley Scott choose a new composer every time because he's frustrated that no composer can ever match his vision? Or does no composer ever want to work with Ridley Scott twice? Or both!?

For a fan who hasn't watched any animated Star Wars, this all came across as just-about-above-average. And I'm surprising myself saying this after so many tacky  leitmotif callbacks throughout Star Wars... but it could've done with more Force theme!
 
Pretty hot on the combat. Can't argue with a lightsaber fight in each and every episode. I liked Morgan's fighting style.

There have been plenty of songs from musicals at the last night, especially by Richard Rodgers.  A suite from The Sea Hawk by Erich Wolfgang Korngold was played in 2005 and Henry V by William Walton in 2002.  More recently the romance from The Gadfly by Shostakovich was played at the last night.
 
John Williams has also featured in the last night with his Olympic Fanfare and Theme in 2012, for obvious reasons.

I find each of his albums has much generic dramatic filler and familiar flourishes, all of which work well - or very well - on screen, depending the quality of the drama.
 
That said, every year he still writes at least one score with creative melodies, lovely harmonies, rich instrumentation, and occassionally some fun rock-out moments. That's why I am still interested in his scores.
 
Themes from Foundation for Gaal, and from Rings of Power for Galadriel, Valinor, Isildur and Numenor have all been absolute earworms for me this past year.
 

I find each of his albums has much generic dramatic filler and familiar flourishes, all of which work well - or very well - on screen, depending the quality of the drama.
 
That said, every year he still writes at least one score with creative melodies, lovely harmonies, rich instrumentation, and occassionally some fun rock-out moments. That's why I am still interested in his scores.
 
Themes from Foundation for Gaal, and from Rings of Power for Galadriel, Valinor, Isildur and Numenor have all been absolute earworms for me this past year.
 

I find each of his albums has much generic dramatic filler and familiar flourishes, all of which work well - or very well - on screen, depending the quality of the drama.
 
That said, every year he still writes at least one score with creative melodies, lovely harmonies, rich instrumentation, and occassionally some fun rock-out moments. That's why I am still interested in his scores.
 
Themes from Foundation for Gaal, and from Rings of Power for Galadriel, Valinor, Isildur and Numenor have all been absolute earworms for me this past year.
 

Do any Andrew Collins fans know why he left Classic FM?
 
I was sad to hear Jonathan Ross presenting instead, he doesn't bring half the charisma or knowledge. And once I realised, Andrew's last show was no longer available to listen again.
 
On top of the move from 5-7pm slot to the 7-9pm slot (swap cooking dinner time for baby bedtime and my own vegging infront of the TV), this show is now as unattractive as it was before Collins came on.

I'm gonna say it, I think CotW is as strong a score as HTTYD... it uses a different palette and instrumentation, but is just as varied, heartfelt, melodic, original, poignant and impactful. And I'm a card-carrying fan of HTTYD, both score and film.
 
Furthermore this score probably is the more accomplished for being from an inferior film, and yet having such comparable quality.
 

I'm gonna say it, I think CotW is as strong a score as HTTYD... it uses a different palette and instrumentation, but is just as varied, heartfelt, melodic, original, poignant and impactful. And I'm a card-carrying fan of HTTYD, both score and film.
 
Furthermore this score probably is the more accomplished for being from an inferior film, and yet having such comparable quality.
 

I'm gonna say it, I think CotW is as strong a score as HTTYD... it uses a different palette and instrumentation, but is just as varied, heartfelt, melodic, original, poignant and impactful. And I'm a card-carrying fan of HTTYD, both score and film.
 
Furthermore this score probably is the more accomplished for being from an inferior film, and yet having such comparable quality.
 

I love how the Fondor became a ship with character, and took on the Star Wars trope of a plucky smaller ship outwitting a large Imperial one... and with such creativity. But that's not what this is about. The subtle ways authoritarianism shifts society (Mothma's daughter), the way these downtrodden heroes have their hands forced, the corners the Empire puts them into, the tragedy of their separation and distrust of each other, the anticipation of how they might unite, the prequel-benefit of knowing that they're going to rise up. It's all delicious. Finally, Star Wars for grown-ups.    

I love how the Fondor became a ship with character, and took on the Star Wars trope of a plucky smaller ship outwitting a large Imperial one... and with such creativity. But that's not what this is about. The subtle ways authoritarianism shifts society (Mothma's daughter), the way these downtrodden heroes have their hands forced, the corners the Empire puts them into, the tragedy of their separation and distrust of each other, the anticipation of how they might unite, the prequel-benefit of knowing that they're going to rise up. It's all delicious. Finally, Star Wars for grown-ups.    

I love how the Fondor became a ship with character, and took on the Star Wars trope of a plucky smaller ship outwitting a large Imperial one... and with such creativity. But that's not what this is about. The subtle ways authoritarianism shifts society (Mothma's daughter), the way these downtrodden heroes have their hands forced, the corners the Empire puts them into, the tragedy of their separation and distrust of each other, the anticipation of how they might unite, the prequel-benefit of knowing that they're going to rise up. It's all delicious. Finally, Star Wars for grown-ups.    

I love how the Fondor became a ship with character, and took on the Star Wars trope of a plucky smaller ship outwitting a large Imperial one... and with such creativity. But that's not what this is about. The subtle ways authoritarianism shifts society (Mothma's daughter), the way these downtrodden heroes have their hands forced, the corners the Empire puts them into, the tragedy of their separation and distrust of each other, the anticipation of how they might unite, the prequel-benefit of knowing that they're going to rise up. It's all delicious. Finally, Star Wars for grown-ups.    

I love how the Fondor became a ship with character, and took on the Star Wars trope of a plucky smaller ship outwitting a large Imperial one... and with such creativity. But that's not what this is about. The subtle ways authoritarianism shifts society (Mothma's daughter), the way these downtrodden heroes have their hands forced, the corners the Empire puts them into, the tragedy of their separation and distrust of each other, the anticipation of how they might unite, the prequel-benefit of knowing that they're going to rise up. It's all delicious. Finally, Star Wars for grown-ups.    

I love how the Fondor became a ship with character, and took on the Star Wars trope of a plucky smaller ship outwitting a large Imperial one... and with such creativity. But that's not what this is about. The subtle ways authoritarianism shifts society (Mothma's daughter), the way these downtrodden heroes have their hands forced, the corners the Empire puts them into, the tragedy of their separation and distrust of each other, the anticipation of how they might unite, the prequel-benefit of knowing that they're going to rise up. It's all delicious. Finally, Star Wars for grown-ups.