batmanand

So here we are, the 2006 awards season gets into full swing today/night (depending on time zones). The nominees for the 2006 Golden Globe for Best Original Score are: Brokeback Mountain Composed by Gustavo Santaolalla The Chronicles Of Narnia: The Lion, The Witch And The Wardrobe Composed by Harry Gregson-Williams King Kong Composed by James Newton Howard Memoirs Of A Geisha Composed by John Williams Syriana Composed by Alexandre Desplat Here's hoping...

Blasphemy! Burn the witch...

Haven't heard Munich yet (comes out in UK on 30 Jan I think). 1. RotS 2. Memoirs 3. WotW

He still has a way to go, Newman has 9 Oscars. True true... But I suppose he can pull himself clear of his contemporaries.

"Ben Kenobi's Death, TIE Fighter Attack". Track 9 Disc 2 of the SE.

He comes across so gentle, so likeable and yet so wise. Let's hope: 1. He gets 2 nominations this year (to draw with Newman) 2. He wins this year (to pull him well clear of everyone else) 3. He gets another nomination next year (to take that record too)

9 only because ESB is better.

As far as I can tell, it is basically a discretionary (read: immoral) rule, that is there to screw over certain scores because the Academy doesn't happen to like the score/composer and needs a reason that sounds official.

What about the new Spielberg about Lincoln?

Erm Prologue... Erm Hook... erm best trailer music ever...

Is Film music a "type" of music? Yes, obviously. Is Film music a "genre" of music? Maybe no.

For me, if you have the SEs you have Star Wars 4-6. Some like the Anthology, but I find the SEs superior in just about every way. The SEs, for me, are the model of how soundtracks should be released.

Of the five, Se7en and Fight Club are streets ahead. Between the two of them, I would give it to Se7en by a whisker.

I play most John Williams on an orchestra. I play Cavatina on a guitar.

Listening to the sample on iTunes in the UK: Harry's Wondrous World: a little dead for me, prefer the HP:PS recording Nimbus 2000: exciting that it is finally being recorded, but as chs058 said it is a little slow and ponderous Fawkes the Phoenix: lacks magic, woodwind is not as good as original on COS OST Dobby the House Elf: quite nice performance, if again a little slow The Chamber of Secrets: a more mysterious, less menacing take on the piece. Interesting, although I still prefer the OST version Gilderoy Lockhart: No Ticket has never sounded so good... Mischief Managed/Window to the Past/Buckbeak's Flight: could only hear a bit, but sounded quite nice and "fun" Hedwig's Theme: again, more emphasis on mystery than magic. Not as good as on OST Overall, advice would be to get Nimbus 2000 only. 6/10 (at least they used an orchestra)

At the moment, "Mastadge Drag" from Stargate. Up there with "Prologue" from Hook, "Fighting the Destroyer Droids" and "Escape from Naboo" from TPM as one of the most exciting minute-long cues ever.

Is it coming out in the UK on 16 Jan too?

Fawlty Towers - simply put, no series has, does or will ever maintain the level of quality of EVERY episode of this classic. Spooks (in US called MI-5) series 1 and 2. Series 3 and 4 were OK, the first two were amazing. The Simpsons - always good for a laugh, some hilarious bits in it make it consistently excellent Arrested Development - so much going on in each episode, no laughter track, some great acting. The best US show for a decade But the winner: Yes, Minister and Yes, Prime Minister. If any of you have not seen it, go and find it now. Every line is either funny, insightful, cutting, or all three.

Troy love theme - prominently heard in track Achilles and Briseis - is a note-for-note rip of Arnold's Stargate theme.

I think that cue works reasonably well in the film, but it is not really suitable for a Star Wars OST.

In Troy, the love theme between Achilles and Briseis IS Arnold's Stargate theme. In Enemy at the Gates, the love theme IS JW's Schindler's List theme.

I have not yet heard Munich, so I voted ROTS. I look forward to hearing all of JW's 2005 output though. On the issue of variety of styles, I would add that, unlike some composers, when JW does "ethnic" scores, he doesn't simply overuse an "ethnic" instrument (Horner is the big offender here). Yes, he did use that whatdoyoucallit in MoG, but it is subtley used to add a richness, not as the main focus of the score. It is the same when he did Seven Years in Tibet. What could have been a cliched Asian score turned into a beautiful orchestral masterpiece. JW moves in a myserious way...

I went with Probing the Basement, but it is still a 3* cue.

A tough choice. Have not heard Munich yet, and thought that of the other three ROTS had by far the best cues. Was a choice between BotH, Anakin's Dark Deeds and SW & ROTS. Went for Anakin's Dark Deeds. The ending fanfare - still officially unreleased in its entirety but amazing on CD none the less - is nothing short of spectacular. Works perfectly on CD and in the film,

http://en.wikipedia.org/wiki/2006_in_film Hardly a classic year.