Romão

100% agreed on all counts, KK.

The two suites on the original release are a perfect encapsulation of this score

It's also one of my favorites. I too vastly favor the OST arrangement. The score is so badly treated in the movie anyway that it's probably best just to ignore what it was written for

Ran, by Takemitsu, is pretty much perfect in the film

Grant Morrison did bring back a lot of that silliness and whimsy to mainstream comics, taking a lot of creative risks and doing mostly fantastic work. Also, his interpretation of the ending of The Killing Joke really made me look into that comic with new eyes. I agree with Moore that the melodrama and tragedy is laid a little too think, but that last page really elevates it, IMHO. Also, although The Dark Knight Returns is my all time favorite comic book, I would not group it with Watchmen and The Killing Joke in terms of grimness and seriousness. In fact, it's probably one of the funniest comic book stories I have ever read. It absolutely embraces the silliness of it all. And it's something that was completely disregarded by Zack Snyder in his loose adaptation of that story, to his own harm

I think ROTJ might have the best highlights of any JW score

I can't praise ROTJ enough, it's one of my all time favorites, but I would never praise at the expense of TPM, which I also consider to be a masterpiece

My bad, sorry everyone

So he's developing a Wild at Hear tv series for Netflix? https://thestudioexec.com/david-lynch-to-film-wild-at-heart-tv-series-for-netflix/?fbclid=IwAR0LKKSrpypsJ3CaV81WNOAAfdWQggiSmzbay0__2HdCmUB85dK0zQzrlWQ

I do miss the new version of Chase Noir with saxaphone instead of muted trumpet. Like I said above, that theme really gets to me

The dialogue is also wonderfully snappy. Am I the only the one to think that blockbusters movies, even the less than good ones, used to have much better dialogue up until 1995 than they do nowadays?

The OST was indeed great, but the expansion did open up the Riddler theme for me, how it is carefully developed throughout the score. Plus, it has several new statements of this theme: This is, in my view, one of the most gorgeous and sensuous love themes ever written. Why use it on such a wafer thin character?

The first two tracks in Batman Returns (or a longer track, as you prefer) is one of the most incredible things Elfman has ever written. It's the very best showcase of his style, I think

Yeah, I've been curious about that myself. I've seen several people sharing that theme in homage to Morricone and it would be a bit of a shame, from all the tremendous amount of great work the man has done, people would be signaling out something he didn't actually write. But I suspect he gave the credit to his son as a gesture of sorts

Not to mention, the score to Batman & Robin rocks