filmmusic

I have quite a lot of self-respect and can live just fine with the original CD, which is one of my least played JW soundtracks, together with Minority Report and War of the Worlds (which is why I do not need those expansions as well). On the other hand, soundtracks like Tintin are regularly played and I would be first in line for an expanded edition. Somehow I seem to prefer the "French" sound to the "Irish". :-)

It was nominated to subvert your expectations. 

Hehe. Too late. I'm at track 14. It doesn't do anything for me I'm afraid.

Sequels are always categorized as "adapted" by the Oscars.  They are based on the original film.  So yes, this year Rian Johnson is nominated for "adapting" his own original character/concept that he wrote for the first Knives Out film.
 
It makes zero sense.

30 years ago, Oscar nominated scores:
Aladdin Alan Menken
Basic Instinct Jerry Goldsmith
Chaplin John Barry
Howards End Richard Robbins
A River Runs Through It Mark Isham
 
How times change. I loved 5 out of 5.
Now, I hardly love one...

30 years ago, Oscar nominated scores:
Aladdin Alan Menken
Basic Instinct Jerry Goldsmith
Chaplin John Barry
Howards End Richard Robbins
A River Runs Through It Mark Isham
 
How times change. I loved 5 out of 5.
Now, I hardly love one...

There are probably people who were your age now in early 1993 who thought those scores paled in comparison to the scores from 1962

30 years ago, Oscar nominated scores:
Aladdin Alan Menken
Basic Instinct Jerry Goldsmith
Chaplin John Barry
Howards End Richard Robbins
A River Runs Through It Mark Isham
 
How times change. I loved 5 out of 5.
Now, I hardly love one...

I have listened to it. If I remember correctly I think I kind of liked it.
Anyway, I think the Oscar nominations for best score for once more, show that the movie you have scored should be nominated in other big categories too, for you to be nominated. (an exception for Babylon)
When there are composers absent like Korzeniowski for Emily (and I'm sure others too), what can I say...
 
By the way, I just voted. I think I've heard enough from Everything Everywhere All at Once.

I have listened to it. If I remember correctly I think I kind of liked it.
Anyway, I think the Oscar nominations for best score for once more, show that the movie you have scored should be nominated in other big categories too, for you to be nominated. (an exception for Babylon)
When there are composers absent like Korzeniowski for Emily (and I'm sure others too), what can I say...
 
By the way, I just voted. I think I've heard enough from Everything Everywhere All at Once.

I have listened to every one (well, almost, couldn't finish Babylon) except Everything Everywhere All at Once.
I'm listening to it now and I will reply in 2 hours. 

Haha. I guess we should start a new thread about re-recordings.
Well, maybe, yes. I don't know...
I just had in mind complete scores, that are re-recorded when the original recordings are perfectly fine eg. Conan, Superman etc.
Now for the rest, I haven't given it much thought.

No, I don't reject ost versions/albums, I just reject re-recordings made years after the original recordings, when there's no reason to do so.

I don't like re-recordings (even if the original recordings are in mono or don't have very good sound).
I can accept them only in instances where the original material has been lost or badly damaged.

Bound from 1996 (his first collaboration with the Wachowskis) and Warriors of Virtue from 1997 are fun, even if they both at times have rather strong cases of temp track bleed (but then, not even The Matrix was particularly original, except for how perfectly Davis combined the Adams/Glass/Kernis tropes and applied them to the film). 1999's House on Haunted Hill has a powerful organ opening cue.
 
My theory is that Davis failed to keep up with modern scoring trends (and aside from Williams, there are few who can afford that), perhaps because he was not interested in writing music that doesn't have a strong, recognisable identity of its own, and/or perhaps because he isn't interested in scoring films under contemporary conditions (no time to structure anything because everything will get edited and shuffled around after scoring has finished anyway).

I'll throw The Unsaid (2001) into the mix:
 

Hmmm.. No, it wasn't this. It was another logo which I see in blu-rays I think.
It starts with those horn figures which are at 1.16'' of cd1track1.

Well crafted orchestral score (I read in the liner notes, the directors wanted John Williams to score their film), but, although I read about each character having his own theme etc., I can't recall any of them (or pinpoint them while I was listening).

Just listened to Robin Hood: Prince of thieves (Complete film score, discs 1 & 2 of Intrada release).
Still, I prefer The Three Musketeers which I find more thematic I think. (Maybe I should have listened to the OST first as you suggested)
I liked parts from Robin Hood with the love theme, but apart from this I didn't "get" any other full themes. By the way, I didn't know that music from this soundtrack had been used for a film logo  - I forget now which logo..

Hadn't seen this before. Very fun movie!
Was there any sequel planned? It seemed that way to me in the end.

I grew up with the Sissi films which I adore, and just now I found out that there have been re-recordings of 3 suites by Conrad Pope in 2016! 
(Funnily enough there were people replying to my thread at FSM about a possible release back in 2016, and I hadn't seen it!)
This music is among my most wanted releases since it's a masterpiece, and I would love complete releases, but I guess this will do too.

Try Tokyo Ghoul, one of his more recent scores…
 
Yavar

I LOVE the main theme of Dune by Toto. Now, the Zimmer soundtrack... I could not finish...