Uni

Soapdish was fun, but tried a little too hard. Tootsie is definitely the better of the two.

Fuqua dedicated the film to Horner's memory: http://www.billboard.com/articles/news/6640958/southpaw-dedicated-to-james-horner Also was moved and impressed to hear that Horner did this score for free, since he loved the film so much. Not something you see happen very often in this business.

I think it's your use of the word "change" that might be throwing people off. It implies a reversing of one's opinion, rather than a deepening of it. I would think it'll pretty rare that someone who likes a score will suddenly be turned off toward it once they hear an extended release. On the contrary—most of us pick up extended releases for scores we already love, and it just gives us more to love. (I don't often spend the money to get more of a score I don't care for to begin with.) So I've certainly had my appreciation for scores grow significantly after hearing an extended release. The best example has to be that first 4-CD set of the Star Wars scores that came out in '96. I already loved all three, but I was in heaven once I got to listen to two or three times as much music from them. Same with the Indy scores, and while Hook had an original release of pretty decent length (compared to many others at the time), the special editions—including the Concorde, though that was diminished by the quality—made it even better. I completely agree with this. It tends to eliminate 80%-90% of the "downer" elements common to so many OSTs.

Papillon's definitely the most obscure one on that list. I doubt many millenials have ever heard of it. It's a beautiful score, too, one of his great waltz works.

I've always LOVED Much Ado About Nothing, a score that's pure joy to listen to. I'm not that big a fan of his HP score. Thor was a pretty solid effort as well. I really need to give Henry V and Hamlet a listen. And you guys have inspired me to check out Frankenstein as well.

Bingo. From beginning to end. What boxed set is this? I didn't hear this announcement, and I don't see anything on their website.

We could be wrong on this—and I confess, I haven't listened to that interview yet—but I'm leaning more in this direction myself. Stories like this do tend to proliferate after the death of artists who were commissioned for, or are in the midst of, writing a new work. Again, that's not to say there might not be something to this . . . but it would very much surprise me (and, I'll admit, delight me) if this turned out to be more than a simple sketch or two of ideas Horner was thinking on during the earliest stages of the creative process.

Doesn't completely surprise me. Even more than Horner, most of Barry's stuff sounds very much the same unless you've built up a larger collection of it and can begin to appreciate the subtle differences. All through my early years of collecting, he was the fourth J, and finished my "composer's stanza"—John, Jerry, James, Barry. I was as heartbroken by his loss four years ago as I was for Jerry's ten years earlier. Sucks that he doesn't get more attention here. I actually agree with you on that, and have long thought that Barry would've been the better composer for that film. Not that I have any less love for Horner, but I think he could've done better, and I know Barry could have (and doubly so if Cameron had made the movie ten years earlier).

This was a heckuva lot easier than the Horner list. I don't know if that's because Jerry's scores are more distinguishable from one another (I don't think many folks would deny that), of if his best just stands out more than JH's do. Whatever the case, I only really had a slight issue with the ordering of the last few. The first six or so were set in stone from the word "go": 1. Star Trek: The Motion Picture 2. Poltergeist 3. Alien 4. The Mummy 5. Rudy 6. Total Recall 7. Explorers 8. Star Trek: First Contact 9. First Knight 10. Star Trek V: The Final Frontier I'm a little ambivalent about ST scores taking up three spaces in my top 10, so I may actually change out that last one with one of the runners up before the polls close: - Innerspace - Air Force One - Hoosiers - Powder - Twilight Zone: The Movie

That was absolutely breathtaking. I can't even begin to imagine what it would've been like to be there. JW's finest musical moment, set to a visual display like that? It's enough to bring the most green-blooded Vulcan to tears.

Yes. Elisabeth Shue appears nude in Link. Oh—you meant a video link. Heh. I think they've got the entire movie on YouTube.

No movie that featured a young Elisabeth Shue in the nude could ever be referred to as "crap."

I'll take a look at some point. I've burned out on the statistical thing for the day (I was originally going to post the Top 10 Pieces today as well, but it proved too much to handle). You could be right—and if you are, I'll change the posting.

Or just start over again later in the year, maybe even after the beginning of next year. People will be processing through their (likely expanding) Horner collections until then. And there's the new scores to take into consideration as well. We'll just do a new poll at that point. This one . . . well, this was just people registering their favorites at the time of his passing. Who knows how time will change his legacy? We will, on the other hand, give plenty of time for people to submit their Goldsmith favorites.

I think that was a copy/paste error, Jay. Willow clocked in at an even 100. (I fixed it.) I feel some of the same bewilderment/frustration about some of these results. Had a hard time believing Glory couldn't crack the top 20, let alone the top 10. And Searching for Bobby Fischer was third from the bottom, fercryinoutloud. That one would've been in my top 10 at one point. Well, I asked about that a couple of times, but no one seemed interested in taking it further. I was open to anything. Intentionally? Or did you just miss the window?

That's because they haven't managed to get it right since Hunt for Red October. I haven't seen the latest one, and don't really want to, because Jack Ryan is a desk jockey who's completely out of place when he's in the field—not exactly the kind of character you associate with a Chris Pine sort of actor. And the short bit of the teaser I watched showed nothing but action . . . again, not what fits with the character of Jack Ryan. The fact that the books are best-sellers tells you this is a character beloved by a lot of people. And I'm guessing most of them decided not to see this movie for the same reasons I've been avoiding it. That might offer something of an explanation as to why it didn't do so well.

Here are the final tabulations. Scores are listed by order of points received (with ties listed in alphabetical order). Once the information became negligible, I dropped it off the report. Everything is listed as follows: - Score - # of points earned - # of votes received, and % of the total (out of 33 voters) - Average point total received - # of first place votes (where applicable) So here we go: 1. Star Trek II: The Wrath of Khan 144 points, 18 votes (55%), 8.00 average, 6 first place votes2. Braveheart 137 points, 19 votes (58%), 7.21 average, 2 first place votes3. Apollo 13 122 points, 19 votes (58%), 6.42 average, 4 first place votes4. The Land Before Time 114 points, 15 votes (45%), 7.60 average, 3 first place votes5. Willow 100 points, 18 votes (55%), 8.00 average, 1 first place vote6. Legends of the Fall 96 points, 17 votes (52%), 5.65 average, 2 first place votes7. The Rocketeer 87 points, 18 votes (55%), 4.83 average, 1 first place vote8. Cocoon 78 points, 12 votes (36%), 6.50 average, 2 first place votes9. Krull 73 points, 11 votes (33%), 6.64 average, 1 first place votes10. Titanic 72 points, 11 votes (33%), 6.55 average, 2 first place votes11. Brainstorm 54 points, 7 votes (21%), 8.00 average, 2 first place votes12. Star Trek III: The Search for Spock 54 points, 9 votes (27%), 5.67 average, 1 first place vote13. An American Tail 47 points, 9 votes (27%), 5.22 average, 2 first place votes14. Aliens 45 points, 7 votes (21%), 6.43 average15. The Perfect Storm 44 points, 8 votes (24%), 5.50 average16. The Mask of Zorro 43 points, 11 votes (33%), 3.91 average17. Sneakers 39 points, 6 votes (18%), 6.5 average, 1 first place vote18. The New World 31 points, 8 votes (24%), 3.88 average19. Avatar 28 points, 7 votes (12%), 7.00 average, 1 first place vote20. Field of Dreams # points, # votes (%), # average21. Glory # points, # votes (%), # average22. The Name of the Rose 23 points, 4 votes (12%), 5.75 average23. A Beautiful Mind 23 points, 5 votes (15%), 4.60 average24. The Spitfire Grill 23 points, 5 votes (15%), 4.60 average25. Balto 21 points, 4 votes (12%), 5.50 average26. Iris 21 points, 4 votes (12%), 5.25 average27. The Journey of Natty Gann 18 points, 3 votes (9%), 6.00 average28. The Legend of Zorro 15 points, 5 votes (15%), 3.00 average29. Battle Beyond the Stars 13 points, 3 votes (9%), 4.33 average30. Bicentennial Man 12 points, 2 votes (6%), 1.00 average31. The Boy in the Striped Pajamas 12 points, 2 votes (6%), 6.00 average, 1 first place vote32. The House of Sand and Fog 12 points, 2 votes (6%), 6.00 average33. The Missing 12 points, 3 votes (9%), 4.00 average34. Black Gold 10 points, 3 votes (9%), 3.33 average35. Gorky Park 10 points, 2 votes (6%), 5.00 average36. Project X 9 points, 2 votes (6%), 4.50 average37. Something Wicked This Way Comes 9 points, 3 votes (9%), 3.00 average38. The Amazing Spider-Man 9 points, 3 votes (9%), 3.00 average39. The Man Without a Face 9 points, 2 votes (6%), 4.50 average40. All the King's Men 8 points, 2 votes (6%), 4.00 average41. Casper 8 points, 2 votes (6%), 4.00 average42. An American Tail: Fievel Goes West 7 points, 2 votes (6%), 3.00 average43. The Four Feathers 7 points, 1 votes (9%), 2.33 average44. Clear and Present Danger 6 points, 1 vote (3%), 2.00 average45. Wolf Totem 6 points, 1 vote (3%), 6.00 average46. Commando 5 points, 1 vote (3%), 2.00 average47. Apocalypto 4 points, 2 votes (6%), 2.00 average48. Enemy at the Gates 4 points, 1 vote (3%), 2.00 average49. In Country 4 points, 1 vote (3%), 4.00 average50. Humanoids from the Deep 3 points, 1 vote (3%), 3.00 average51. To Gillian, on Her 37th Birthday 3 points, 1 vote (3%), 3.00 average52. For Greater Glory 2 points, 1 vote (3%), 2.00 average53. Once Upon a Forest 2 points, 1 vote (3%), 2.00 average54. Red Heat 2 points, 1 vote (3%), 2.00 average55. The Dresser 2 points, 2 votes (6%), 1.00 average56. *batteries not included 1 point, 1 vote (3%)57. Class Action 1 point, 1 vote (3%) 58. Honey, I Shrunk the Kids 1 point, 1 vote (3%)59. Jumanji 1 point, 1 vote (3%)60. Patriot Games 1 point, 1 vote (3%)61. Searching for Bobby Fischer 1 point, 1 vote (3%)62. The Life Before Her Eyes 1 point, 1 vote (3%)63. The Pagemaster 1 point, 1 vote (3%)

I never saw the movie, which I think may be part of its charm (and its success—people tend to relate strongly to scores for movies they watched from childhood). It's a good score, to be sure, but it's always just been another JH work to me. Nothing spectacular, and certainly not top 10 material, but a solid bit of composition.

It's been exactly three weeks since we lost one of the great composers of the latter half of the 20th century in a tragic accident. Since then, many of us have pretty well saturated our listening time with his works, and I'm sure I'm not the only one who's come to an even deeper appreciation of his magnificent talents in that time. He was an extraordinary artist, and a portion of cinema over the next few decades will not be as effective as it might've been had he remained with us. To celebrate and honor his admirable body of work, some of the members of JWFan have submitted their choices for the top 10 best scores of his career. These are the results. They were tabulated by the same means we've used for such lists in the past, i.e. each member's first choice was given 10 points, their second choice 9, and so on. There were no ties (fortunately!), so there was no need to come up with tiebreaking rules. So here it is: the Official JWFan James Horner Top 10 List of Scores: 1. Star Trek II: The Wrath of Khan 2. Braveheart 3. Apollo 13 4. The Land Before Time 5. Willow 6. Legends of the Fall 7. The Rocketeer 8. Cocoon 9. Krull 10. Titanic The runners up: 11. Brainstorm 12. Star Trek III: The Search for Spock 13. An American Tail 14. Aliens 15. The Perfect Storm 16. The Mask of Zorro 17. Sneakers 18. The New World 19. Avatar 20. Field of Dreams And for those thinking in top 25 terms, the list was rounded off by Glory, The Name of the Rose, The Spitfire Grill, A Beautiful Mind, and Balto. It's a good list. I kept mentioning a "surprise" contender throughout—surprising to me, at least. That would be The Land Before Time, which started strong and never fell below fourth place. (It spent quite a bit of time in second place, and even a short while at #1.) For fans of the score, this will only seem reasonable, but that's one that never hit me in that spot. It's good to see his animated work garnered some positive attention. There were some other interesting things about the list. We only ran this for two weeks, compared to the five months allowed for the John Williams Top 10 voting a few years ago. In that contest, 87 people took part, compared to 33 in this one—less than half. But where 67 JW scores received votes, in this one, concerning a composer with a smaller body of work and with much less time to vote, there were 63 films represented—only four fewer. That suggests that a broader range of Mr. Horner's work appealed to people (though that may not be all that surprising given that he never had the equivalent of JW's 60s light-jazz rom-com period). It's also interesting to note that, out of a career spanning 36 years, the top 10 scores span a period of only 15 (1982 to 1997). Of those 63 Horner scores, 16 received first-place votes. (TWOK had the most by far with 6 first-place votes.) No score had a vote in all 10 places. (Legends of the Fall came closest, with a vote in every spot except #9.) As for the most votes given, each of the top three were ties: Apollo 13 and Braveheart (19 votes each), followed by TWOK and The Rocketeer (18) and then Willow and Legends of the Fall (17). All of the top 10 scores received 11 votes or more; none of the rest reached 10 votes, save for The Mask of Zorro (which also picked up 11). One other interesting tidbit: if you retabulate the list based on the average placement of all the votes each received—measuring, in a way, how much people liked the scores they voted for—TWOK still wins, but you get a very different list from there on out: 1. Star Trek II: The Wrath of Khan (8.00) 2. Brainstorm (7.71) 3. The Land Before Time (7.21) 4. Braveheart (7.21) 5. Avatar (7.00) 6. Krull (6.64) 7. Cocoon (6.50) 8. Titanic (6.50) 9. Sneakers (6.50) 10. Aliens (6.43) In other words, these didn't get as many overall points as others, but the people who voted for them seemed to feel more strongly about them. And, any way you cut it, everyone seems to agree that Mr. Horner's first big-studio outing remains his best work. I'm going to add the specific numbers for all the scores that received votes, just so everyone can see how things fell out, but I wanted to post this first to get things rolling. Much thanks to everyone who took part. (Maybe we'll do this one again in ten years, too. . . !)

Please limit discussion to the thread topic. . . . says the guy who suggested doing another John Williams poll in the Jerry Goldsmith thread. Please limit discussion to the thread topic. . . . says the guy who—oh, forget it.

Please limit discussion to the thread topic. . . . says the guy who suggested doing another John Williams poll in the Jerry Goldsmith thread.

Arright . . . this was a tougher haul than I imagined it would be, but I don't think I'm gonna settle things any more specifically than this. As has been the case with others, the order of the first three or four wasn’t easy, but I knew which ones would be vying for those positions. What surprised me more was the fierce competition for the last two spots on the list. Frankly, it's still in contention to some degree, but I could probably go on with this forever, and enough is enough. I was originally going to do mine as a countdown to the best one, but since the action at the bottom was more interesting anyway, I'll just do it like everyone else (though I couldn't resist some commentary tributes for each one). So here's my list for James Horner's Top 10 Scores: Apollo 13 - He got it so right so many times,you know the top spot was going to be no easy decision to make. Ultimately it came down to the one that not only had me emoting the first time I heard it, but still continues to do so on a regular basis. Whether you take it in consideration with the movie it accompanies or just listen to it on its own, A13 has the most goosebump-inducing moments throughout—and no small amount of variety in mood and texture as well. From the simplicity of the opening sequence to the majesty of "The Launch" to the tensely pensive adagio of "Docking" to the pulsing action of "Master Alarm" to the haunting vocals of "Darkside of the Moon" to the triumphant fanfare of "Re-Entry and Splashdown" and "End Credits," Horner made this story come alive for me. (I was another who had never really heard the account of this mission before seeing the movie, and I had no idea whether that heat shield would hold or not . . . and Horner opening up along with those parachutes became one of the most emotional moments in my own cinematic history.) Other fine scores might've held this spot, and I would've been all right with that, but I have no compunctions about calling this one the best of the best. Star Trek II: The Wrath of Khan - I'm hoping it's not knocking Horner, after a career of more than three decades of greatness, to say that his first big-studio film remains one of his best works. But there's no getting around the fact that a newbie in his mid-20s had no business writing a score this bold, sophisticated, and beautiful—especially for the second entry in a franchise beloved by fans around the world and preceded by an entry considered one of the best works of another modern maestro of film music. He won the job with his score for Battle Beyond the Stars, a fine work that was full of many of his typical tricks and treats in a much less refined package. With TWOK, he revised his approach and nailed it. The result is as good as anything the final frontier ever heard. I think what I love most about it (and the sequel that followed) was you could tell Horner got it. He understood the relationships between the characters, the subtext beneath the science, the operatic scope of the story. Too many other composers would've provided a straight-up sci-fi adventure score. Bless Nicholas Meyer for his superb direction, and his superber decision to offer Horner the job. Glory - This one could easily have taken the top spot as well. It takes a quieter, more subdued approach to its subject matter, but it's hard to think of a score that does more to express such complex ideas and emotions with pure, wordless music. The proof of this is in the movie itself, an epic that encompasses and expresses the best and worst of the American Civil War without an overabundance of dialogue. Most of the best-understood sequences need no words to communicate the underlying meaning of matters . . . and most of the reason for this is due entirely to James Horner who, with pieces like "After Antietam," "Lonely Christmas," and especially his personal masterpiece "Preparations for Battle," says everything that needs to be said without requiring the characters to say a thing. It also features yet another of his trademark end credit sequences that expresses all the major concepts of the movie with a slight twist in pacing and texture at the start. Just a classic work. Braveheart - People talk a lot about the romantic aspects of Horner's repertoire, and often cite this score as a prime example. I think there's a better word, though, both for the subject of this movie and much of what JH expressed throughout his career: passion. As mellifluous and gorgeous as the purely romantic pieces here are ("The Secret Wedding," "For the Love of a Princess," etc.), Horner rises even higher when elucidating the passions of William Wallace—for freedom, for his countrymen, for his women. That's what gives the best pieces of this score ("'Sons of Scotland,'" the several battle scenes, and the inimitable "'Freedom'/The Execution/Bannockburn") their stunning power. And, like Glory, this one excels at filling in the subtext of the film with a master artist's brush. Another one that could easily have vied for the top spot. Krull - This one may come across more as a diamond in the rough, particularly since it's the first score on the list to accompany a truly inferior film. But that's part of what makes it so great: Horner showed himself as capable as the likes of Jerry Goldsmith of treating a bad film with the same respect and serious work ethic he would've brought to an obvious Oscar contender like the films mentioned above. And that serious work ethic is another reason this score rates so highly with me: Horner took the job just as he was becoming one of the most sought-after and prolific composers in Hollywood, and as a result was sick with exhaustion throughout the entire five-week process of writing and recording. Yet to hear it, you would think this music was penned by the most ebullient and energetic musician in the business. It bears all the grandeur (and aforementioned passion) of the best from Korngold and Rózsa, awarding a goofy fantasy picture with a biblically epic feel. He earns his kudos for that, if nothing else (and there's plenty else to be had here). Field of Dreams - There are some movies that simply couldn't have been scored by anyone but James Horner. This one stands tall among the preeminent examples. The magic in this film didn't come from an Iowa cornfield. It emerged straight from the conductor's baton. And lest you dismiss this as the exaggeration of a twitterpating fanboy, try watching the scene where Shoeless Joe appears for the first time without any sound (your imagination can easily fill in the click of the lights turning on and the light scraping of a few footsteps). The soundscape Horner lays down here is deceptively simple, yet the scene would have failed utterly without it. The same is true of the rest of the film, which relies on some of Horner's most recognized traits used to their best effect to make us believe something this amazing could actually happen. And as a young man watching in the dark theater the first time, something in me did believe it, almost to the point where I forgot I was watching a movie at all. The beautiful and captivating pieces in the second half of the score—and particularly at the end—sealed the deal, and to this day continue to express something that for me feels more like a familiar personal memory than a recollected cinematic experience. Willow – Following Krull, Horner would have to wait five years to score his first successful epic fantasy. Ron Howard gave him better material to work with than Peter Yates did, for sure, and though the results weren’t quite as epic as Krull, they fit the film perfectly and managed to express a wider range of moods, settings, and characters. This was one of the first scores that Horner wrote similarly to a self-contained symphonic work, almost like a ballet, with longer pieces stretching over several sequences and setpieces (such as “Elora Dannon,” “Canyon of Mazes,” “Bavmorda’s Spell is Cast,” and the outstanding finale and end credits suite, “Willow the Sorcerer”). It’s also acknowledged to this day as both a cornerstone and corner-turner in the composer’s career, and one of his most respected works. The Rocketeer – Horner did it better than this, but I’m not sure he ever made it look easier than he did here. There’s a good-natured simplicity to this score that’s both beguiling and completely winning, and may be the best instance of the music single-handedly leading us to root for the flying hero since the original Superman—along with another one of the most sweeping love themes to accompany it. Horner excels at anything related to flight, and it was clear that the subject matter and period of the story combined to enchant him into writing music that strikes the perfect balance between heroism, nostalgia, inspiration, and romance. There’s hardly a misstep here from beginning to end, and even if it doesn’t tip the scales of epic as much as some of his others, it’s just right for the movie it represents. The Perfect Storm – The surprise entry on my own list, and the only one for which I’ve never actually seen the movie itself. I picked it up during my completist quest, and didn’t listen to it for a while after acquiring it. When I did, I noted that it was a solid piece of writing on Horner’s part, but didn’t give it another serious thought for a while. When I went back to give it another listen months later . . . something clicked. I listened to the first piece (“Coming Home from the Sea”) over and over again, and absolutely fell in love. This is another Horner “passion” work, but rather than that of astronauts, soldiers, or legendary historical figures, this one draws from the passion of the common man—for his job, his family, and for the open sea (which provides the first and takes him away from the second). It’s another one with simple themes, but the way it interweaves them throughout the score is both triumphant and heartrending, sometimes both at once. This is the anchoring work between the great scores of the 90s and the newer movements of the 2000s.The 10th place spot was the hardest, and came down to a battle between two Legends. In the end, there could be only one: The Legend of Zorro – This one actually had to win out over two other scores. First there was Legends of the Fall, which I had thought was a shoe-in for top 10. But in the end it was both the magnificent ethnic flourishes and (once again) that incredible passion he brought to the Zorro character that advanced it past the quieter passion of LOTF. As for the other score, I originally had The Mask of Zorro up for the spot . . . until I gave Legend a closer listen, and found it to be the more sophisticated and polished of the two—all of what made the first score great, but mellowed and expanded and given more of those wonderful flourishes. In the end, I couldn’t deny that this is a better work than both of the others (which, in a way, makes it another surprise occupant on my list). And “The Train” stands tall among the best action pieces of other heroic scores (such Willow and Krull). And the runners up: Legends of the Fall – Oh, how the somewhat mighty have sort of fallen. There was a time this would’ve been a fixture in the top 10, but it’s lost just a touch of its shine for me. It’s still a phenomenal epic romance, though, and vital to the movie it represents. Cocoon – Not quite top-10 material, but it remains one of the finest of his 80s works, as well as one of the best representations of his particular voice and sound during that period. The Mask of Zorro – The only-slighty-lesser sibling to its sequel. If not for Legend, this would’ve taken the #10 spot. Searching for Bobby Fischer – This one had a shot, but it’s just a little too pensive to stand out. Still, it has some classically unmistakable Horner moments, and one of my favorite Horner themes. Titanic – It’ll never be one of my all-time favorites, but there’s no denying how well it worked in the highest-grossing film of all time. (I still sometimes wonder how much more I might appreciate it if Celine Dion hadn’t crooned the love theme to death on the radio. . . .)

If someone decides to read the vague "clues" in my message, and deduce from that which scores I'm referring to based on the order in your list, and can think of a way to change their votes in such a way that would have a significant influence to tip the balance on one or two scores in the other direction, and they feel it's worth it to make that sort of gargantuan effort (when if they really want to keep a score's score high, all they have to do is put it at the top of their list) . . . then I suppose we might have to call for a revote for the sake of fairness. Of course, if anyone was that interested in changing the results, they could simply tabulate all the lists themselves and vote based on that. It's not like this has been by secret ballot or anything. I don't think we need worry too much about ballot tampering, particularly only a few hours before the results are published.

. . . And already, things are off to an interesting start. This list is (so far) only slightly more predictable than Horner's list was as it evolved. For those of you who are listing things "in no particular order," splitting lists, etc., I can only score them in the order you list them. If you want to make changes based on this understanding, feel free to; otherwise, they get tabulated as listed. He didn't really score Voyager, and Soarin' isn't technically a film work . . . but I added them nonetheless. (Not like they're much of a threat to the top 10, which would require a regulations committee to make some kind of ruling.) Without further clarification, I can only assume your #8 is The Motion Picture (given that he scored five films in all), and your #9 is the sequel to First Blood. Remember when I told you you're unique? You just proved it, by being the only person who hasn't put in a vote for ST:TMP. Congrats! Feel free to amend your list (especially to add this score!).

This reflects my own experience pretty well. I tried to open the door to some other, lesser-known scores (on my part, anyway), but in the end I just couldn't see listing anything I didn't know really well (except for my #10, which snuck up on me right at the end). It is, after all, my top 10 list, not some removed, academic thesis. And I do really like your list. For one thing . . . you did break the tie! You also moved one score up a slot. Congratulations.