Jeff

I rode the ride a couple of weeks ago. Very cool, immersive experience. I highly recommend you check it out if you're in Anaheim (did they update the Orlando version as well?) The music didn't stand out to me except in the queue - it seemed like some of the music I heard was straight off the 1997 ESB release, but maybe it was a re-recording (it was definitely touched up, but didn't seem to be a complete re-write). I'll have to pay more attention on the ride next time I'm there to hear Giacchino's music.

Has anyone seen this? One of my favorite HISHE clips. I shouldn't have watched it at work - so difficult not to laugh out loud!

Sorry, I'm a little lazy on the research. I'm sure someone will come up with another one soon enough.

The Mission:Impossible theme will have been used in four movies (and the television series) by the end of this year. Imperial March is used in five (if you count the allusion in Anakin's theme). In fact, several of Star Wars themes could make the list. Raiders' March appears in four films, a couple of theme park attractions, and other tangential media releases. It's not quite what you mean, but there are some brand themes used in opening titles that are quite ubiquitous (20th Century Fox fanfare, Universal, and my favorite, "When you Wish Upon a Star" from the Disney logo.) But then it gets too easy to think of examples of opening titles, like the Mission theme or the Simpsons, that have appeared at the beginning of every episode of TV programs. Bottom line, I think Hedwig's Theme is in the top 3 (after Bond and Star Trek) if you count integrated use in films only.

The Harrison Ford/Sean Connery relationship in TLC is fantastic - part of the reason its my favorite Indiana Jones movie. And the father-son relationship in WotW makes the film worth watching. And it must have been rewarding for those who love to hate Tom Cruise to see him in such a despicable role for the first half of the movie.

I am a dissenting voice in that consensus. Why all the hate for Inception's score? It has some great, unique moments and if you ignore the fact that the majority is in the mold of other Zimmer scores, it's quite powerful when matched with the film.

By rating and roughly ranked in order of my personal preference (which fluctuates): 5 stars (the masterpieces): The Empire Strikes Back Return of the Jedi Jurassic Park Harry Potter and the Prisoner of Azkaban Star Wars Indiana Jones and the Last Crusade E.T. Hook Harry Potter and the Sorcerer's Stone Sabrina 4 stars (anything short of an outright masterpiece): Empire of the Sun Raiders of the Lost Ark Indiana Jones and the Temple of Doom Attack of the Clones Revenge of the Sith 3 stars (great scores - worth a listen once in a while): The Phantom Menace Harry Potter and the Chamber of Secrets The Lost World: Jurassic Park Indiana Jones and the Kingdom of the Crystal Skull 1-2 stars: I don't bother listening to Williams' scores I think would be ranked this low, but I have yet to listen to one bad enough to earn the rating. I didn't include any scores on my list that I don't own or haven't listed to all the way through. Also, a disclaimer - my love for a score can sometimes be influenced by my familiarity with it. Eventually, some of the scores you may consider a 5-star score that I rated lower may move up the list as I discover its intricacies.

I still think this is a fake leaked score and the actual Williams score will be revealed July 15th at the cinema.

It could be when McGonnagal gives them detention for crashing the car into the Whomping Willow.

If this is an accurate cue listing, I will be very pleased to hear Leaving Hogwarts during the 19 Years Later epilogue - I think it would fit perfectly. Incidentally, what would Dumbledore & Harry be tracked from? I'm not familiar with cue titles. I think you're right that it must be tracked from earlier films. Although the title doesn't fit movie 8, there is a part in the book where Harry is caught by a couple of Death Eater staff in the castle, which would fit metaphorically with earlier detention music.

I believe Lincoln was at a showing of "Gone with the Wind."

Yes, I have the "emotional range of a teaspoon." Actually, I personally liked Stepmom, but I used it as an example because I know a lot of people don't like it. I guess that's basically the question I'm asking - is music a higher form of art than film? Or at least, are movies that are released with the intention of making lots of money likely to be artistic enough to rival the score written for them? I'm not sure what the answer is, but it seems to me that Williams is nearly always in "art" mode, whereas the films he scores can sometimes be simply entertainment.

That's why I specifically asked for Williams scores. And I half agree with you about Jurassic Park, but doesn't the score sometimes feel to you like it is on a plane above anything a movie can deliver, no matter how good it is? Maybe not, but I'm curious why.

Sometimes when I listen to a JW score, I think about how sad it is that something so beautiful and moving was written for something as trivial and trite as a movie (especially if the corresponding film was a lightweight blockbuster). Sometimes, the movie may be among my favorites, but the score is simply so remarkable that its film is almost undeserving (I would put Jurassic Park in that category). Sometimes the score is only average but the films is so bad that the disparity is significant (maybe Stepmom?). We started talking about this in one of the other threads, but my curiosity is piqued: What film, in your opinion, is least deserving of its Williams score?

I don't know much about Abrams but he convinced me that he put his heart into Super 8. That's the type of homage I appreciate.

I loved the film. Undoubtedly some will be disappointed because this film is doing something bold - trying to recreate something that is near to many of our hearts - and many will judge it to be a failure. I, however, view it as a spectacular success. I would change virtually nothing about it. I was completely satisfied. I agree that the children were great actors. I can't understand how mrbellamy didn't find a heart in the film. I cared about the characters almost from the very beginning. There was lots of genuine emotion. To each his own, I guess.

Yeah, that's basically what I was getting at. The film stock and the technology play a big part in the 90s look, but I think there's more to it than that, including stylistic choices.

I think 90s filmmakers in many cases paid more attention to detail than those in the 80s. When I watch an 80s movie, a lot of it seems somewhat ad-libbed or just thrown together. What made 80s movies good was that they were raw and authentic. A good 90s movie seems more meticulously planned. It was good if the plan was a good one.

I would say that the early 90s have a very distinct style from the 80s. It's different than the late 90s, but I think it has more in common with the late 90s than the 80s. Movies like Jurassic Park, Hook, Home Alone, and The Rocketeer are very sharp and clean (stylistically), whereas Goonies, The Breakfast Club, Stand by Me, E.T., etc. are more gritty and rough. There are some 80s movies, like The Last Crusade, that fit more with the 90s style, but overall it's fairly easy to spot a 90s movie compared to 80s.

Congressman Weiner's explicit Twitter photo finally leaked on an obscure filmscore fan website.

I finally watched these - they helped me realize that Doyle's and Hooper's music has somehow grown on me over the years. I still prefer Williams, but some of the other composers' stuff is quite good and memorable. The possession theme, the waltz from GoF, the Flight of the Order, Umbridge's theme, and the ending of OotP are among my favorite non-Williams Potter themes and melodies.

I couldn't disagree more. I think watching why and how a person "falls from grace" is just as interesting and worthwhile, if not moreso, than seeing them redeemed. It's an exploration of the age-old question - why do good people go bad?

There was a physical R2 in both ep II and III. Ep III is the only film to feature close ups of the CGI R2. (scenes mostly in the Invisible hand) Interesting. So was Kenny Baker inside for both II and III?

I, for one, am not suggesting that Vader should have recognized 3PO in ESB, just that Anakin shouldn't have been the one to build him in TPM. I get Wojo's argument, but it's irrelevant as the other reasons are valid enough not to have Anakin be the "maker." Oh, and I agree with Data about the AotC scene. I think the scoring works there.

I can forgive the Chewbacca/Yoda connection because they were never put together in the OT so there was no place where their previous connection would have come up. At least it gave us our one chance to see Kasyyyk in the saga. It doesn't bother me that Jango Fett is the clone for the stormtroopers. It doesn't necessarily contradict anything in the OT and if the Clone Wars really did involve actual "Clones," they might as well be clones of one of the most talented people in the galaxy. It's kind of an interesting backstory, actually. Jimmy Smits as Bail Organa is solely a casting decision. I have nothing against him. Anakin building Threepio, on the other hand, was a ridiculous excuse to have him in the PT. It would have made much more sense, as has been mentioned, to switch the roles of the droids and put Threepio on Padme's ship. What really bothers me about that choice is that Anakin was too immature (forget young - Jake Lloyd's acting did not convince me that Anakin had the brain power to put together a droid, even from spare parts) to build a droid . That and the whole discussion above about Vader not recognizing his own creation. I don't care how long it's been, when you've put that much effort into something, you'd recognize it. That said, I'm glad the droids made it into every episode. As far as I can think of, Anthony Daniels is the only voice that is heard in all 6 films. Anakin and R2 are the only other characters to appear in all six films (Kenny Baker is the only other actor credited in all six, but R2 was CGI only in II and III, I think). So I like that there's that anchor throughout all the films, especially as IV supposedly was from the POV of the droids.