gkgyver

So you are a Poirot fanatic as well as a LotR fanatic, Mikko? You're becoming more sympathetic to me with each day!
I've read practically every Poirot novel in existence and have the old album as well.
Now, if they could release another edition of Patrick Gowers' Sherlock Holmes, that was even better.

So you are a Poirot fanatic as well as a LotR fanatic, Mikko? You're becoming more sympathetic to me with each day!
I've read practically every Poirot novel in existence and have the old album as well.
Now, if they could release another edition of Patrick Gowers' Sherlock Holmes, that was even better.

Re-releasing sucky films that sucked 10 years ago and didn't get any better over time in a format that emphasis the fakeness of everything is sucking oxygen. Releasing the complete Williams scores that most fans would drool over, however, is not.

But the Oscars don't care about CD presentation, they evaluate film presentation.
Also, the structure is not really relevant when the style of the scores are very similar. I listen to scores mainly for their sound and style, and not really their structure. And I don't think the Academy goes that deep into "structure" either. When something sounds similar, it sounds similar, end of story.
That's most likely also one of the main reasons why An Unexpected Journey wasn't nominated. They just don't care about structural and thematic connections when the whole score as presented in the film sounds like a LotR highlight reel.

Some of the most iconic motifs come from his Godzilla scores. Invasion of the Astro-Monster or Godzilla vs. Mechagodzilla, or Godzilla vs. Mothra ... or the end title march from Godzilla vs. Destroyah.

It wasn't Blumenkohl who turned the thread, it was the people who attacked him for stating his honest thoughts.

It wasn't Blumenkohl who turned the thread, it was the people who attacked him for stating his honest thoughts.

Pity.
Such a productive thread ...
I demand a French, a German, and a Dutch subforum!

Wow, as soon as the JW geeks get their own land on this forum, they start to stalk John's family ...(just in case, this was a joke)
Scientists and musicologists alike refer to this as "The Big Boom-Tzz Theory".

I don't understand that. I really don't.
What exactly would have to be redesigned? Ocarina of Time is perfect for a movie story. Ever heard of CGI?

With the modern film scoring techniques surrounding us on all fronts, John Williams' music sounds unspeakably fresh.

The alternative prologue: http://www.sendspace.com/file/4cnr4r
Enjoy.
Youtube version:

I don't hate him or his music. Anymore.
I find him intensely annoying. His music AND him talking about his music.

To quote Hercule Poirot: "My dear Hastings, at my age, all that is young seems beautiful."

It is. But no match for Breaking of the Fellowship.

It shore is.

It shore is.

The sound is very much the same. No progression at all. The Batman scores are as much power anthem scores as anything on Zimmer's record, the only difference is that they are shorter and that he had some ambient sounds thrown in.
I'm getting sick of people constantly referencing The Thin Red Line. It's not that fucking special.

It's a good time, yes. Zimmer keeps on inventing and reinventing himself. As much as I absolutely adore his power anthem style, I'm glad he's also moved on to explore more ambient textures and hypnotic soundscapes.

Knowing what's going to happen is not really a factor in whether a movie is interesting, emotional and/or enjoyable, never really was. Did anyone watch "Titanic" not knowing what was going to happen? Does the enjoyment get sucked out of a Bond movie because you know Bond will live and the villain will die?
Is a remake of King Kong stupid because we know the ape's going to die? Does anyone not enjoy Lord of the Rings because he knows the ring will be destroyed?
Nah.
It's not about the "if", it's about the "how".
The SW prequels also could have been awesome, and it had nothing to do with predictability.
But still, believe it or not, there are people watching the Hobbit not knowing how Sauron rose to return or even knowing what the Necromancer is.

Really, to my ears, most of the reused/repurposed music isn't tracked but are in fact new arrangements and recordings. Things get iffy with the moments of "The Breaking of the Fellowship" in the middle of the film and "Samwise the Brave" at the end, those may be tracked because the edits in them don't flow very well. But most other cases of reused music seem to be new recordings.
Also, after seeing the film, I feel pretty certain that "Edge of the Wild" is an alternate for the "Overhill" sequence.

How can something be in the "wrong key"? Or when is something in the "right" key?
Not many.
I think there are no true alternates except "Roast Mutton". The extended tracks are, well, extended, but not really alternates in the sense that the rest of the track (outside the aded music) would be different.

So I assume Howard Shore decided at an earlier stage to use the theme?

With the modern film scoring techniques surrounding us on all fronts, John Williams' music sounds unspeakably fresh.

And another one, Skyfall rearranged: