bruce marshall

Well, I bet and I lost. So, until February 23rd 2024, I'll be using Lorne's face as my avatar. Anyone who'd like to block me to you don't have to look at him every time I post, feel free to do so. 
 
Thanks, Academy 

THE FABELMANS wasn't "obligatory". Great score that should have won.
But, yeah, a lot of his recent noms have that feel.

You're right. I got Coda mixed up with Roma.
 
To be fair, they both have four letters, including an "o" and "a", as their second and last letter, respectively. And as everyone knows, Coda star Emilia Jones was in Youth with Rachel Weisz, who was in Let's Dance with Roma star Yalitza Aparicio, so it's a common mistake.

Have you seen CODA?

Not really strange when you think about it. The show is about attracting viewers and promoting Hollywood's product. So it's unsurprising that people might be more inclined to watch if they thought a movie they actually saw and loved might win something, rather than depressing dreck like Coda and Nomadland.
 

Then read this one.  Also good and newer.  Burlingame's is more about history which is actually very interesting and Scoring the Screen is more about how various impactful composers approach the craft. 
Scoring the Screen: The Secret Language of Film Music (Music Pro Guides): Hill, Andy: 9781495073731: Amazon.com: Books
 
The Score.  What I don't like about it is hearing what composers do is very uninteresting for lots of reasons.  Some of them won the lottery to do what they do an that's very much not transferrable to anyone else.  For example, Danny Elfman never sought to be a film composer.  It was Tim Burton who was a fan of Oingo Boingo who pushed Elfman to score his Pee Wee film.  How many people are in a very unique collage band that combines elements of art, punk, rock, pop, jazz, and world, amongst other genres in their sound and gets someone who will become a very significant director pushing you to score their films?  So hearing personal testimonies is far less valuable to working professionals but might be more interesting to fans.  
 
The Score: SCORE: A Film Music Documentary — The Interviews: Schrader, Matt, Thompson, Trevor: 9780692827079: Books - Amazon.ca
 
 

This book interests me, but it needs a new edition. The year 2000 is too old.

RIP Mr. Shickele.

Drunk, you mean?

The use of electric guitar in parts of AVTAK's score helps to add excitement to a Bond film that, if we're honest, needs all the help it can get at times. 

I enjoy AVTAK, but TLD is way, way better and actually my personal favorite Barry Bond score (even though I acknowledge OHMSS as his greatest).
 
Yavar

Ordered because I adore this score. Hoping Chris Malone could squeeze a little more clarity out of an already great sounding recording. 

So it's happening.

I'm not signing unless @Thor does!

I understand the intention. Still I am more interested into complete editions of the prequels and the sequels as there is much more music missing. 

Original Petition:
 
Link to petition: https://chng.it/M95VFmdPbv
 
We're gonna need to give this petition as much exposure as we possibly can.  Share it anywhere you frequent where you talk about film music and Star Wars!
 
If we can get at least this much accomplished, it becomes much more likely that Disney will allow Matessino to do the rest of the Star Wars scores, as well as the Indy scores, too!

"An elegant [soundtrack] for a more civilized time".😔
 

This is so superfluous redundant obsolete.
Won't watch.

Happy with the OST on this one.

@Jay Thank you for sharing the information here.

I invite you to discover the website, sign up to be notified when the first volume is released and download the free excerpts, which I hope you'll enjoy.

LA-LA LAND ALERT!!!
JAMES BOND SHIPPING UPDATE 
However, OCTOPUSSY is experiencing an unexpected manufacturer delay and will begin shipping out on Jan 30. Any orders containing OCTOPUSSY will begin shipping on Jan 30, unless we get them earlier than that, in which case they'll start shipping as soon as they arrive. We apologize for the additional wait.

They got the biggest blue-screens they could find.

Sam Worthington Says Avatar Starts to Shoot Again in 1 Month: ‘It's Bigger Than You Can Imagine’ (Exclusive)

I'm not a fan of repurposing film music, and found the use of Herrmann's music in 'The Artist' distracting, wholly unnecessary, and self-indulgent on the part of the director.
 
Even if the idea is to pay homage and draw a parallel, as in Scorsese's use in 'Casino' of Delerue's 'Thème de Camille' from Godard's 'Le Mépris', it just seems disrespectful to the composer to cut and paste his work.

I love this film. Seen it twice already in theaters and I'm front row center for the 4-hr director's cut when it hits Apple TV+ (and, please please please God, 4K blu-ray). The soundtrack has similarly impressed me -- Borodino is a goddamned masterpiece, for instance, and I hope Phipps gets recognized for his work by the Academy. I'm so happy this FYC exists!
 
What I've come to learn to appreciate about Phipps' approach to scoring this film (after my second viewing and, now, after listening to the FYC) is that he managed to create an epic sound that is truly different from the epic sound of Zimmer and his factory-farm clones. It's a considerably more intelligent sound, one that rewards close listening, one that has range and multivariate character. And it's an up-to-date sound -- you couldn't mistake it for any other decade than the present one. No pastiche (except perhaps the diagetic stuff). No overprocessed synth instruments or overpowering synth drums. And no one-trick-pony shtick like, say, Goransson and his violin that sounds like a cat being tortured.