Romão

Cool BTS shot
 
 

Here is my two piano arrangement of "The Falcon":
 
 
Finn's theme just doesn't get enough love!
 
(Btw, I matched the tempo of this computer recording to the original track, so if you play them both together they should line up...)

His work on Temple of Doom is a pinacle of the genre

His work on Temple of Doom is a pinacle of the genre

His work on Temple of Doom is a pinacle of the genre

Having now had the time to listen to Master Wintory's latest, it was not so much the music per se that delighted me (it's lovely) but more the fact that his capacities lie not only in elusive soundscapes of considerable refinement: he can write bang-on tunes, too and he did so for 'Strangely in Love'.
 
A 2014 movie but only released now, it joins in for a 'hopeless romantic comedy take on Dostoevsky's White Nights set in modern-day Los Angeles', a task Wintory handles with an eclectic solistic score for guitars, flute, percussions and harmonica.
 
There seems to be a good deal of off-beatedness about it and while the composer rolls with it imaginatively, it's not something overly unexpected about it. But whenever he gets to play with his main theme it's awfully nice - tipping its hat off to maybe Barry's bittersweet 'Midnight Cowboy' or Zimmer's 'Radio Flyer' and the likes. It probably is no contender for any fan favourite either 2014 or 2016 but these days, it's nice to hear that a talent like Wintory could do *that*stuff, too.

It looks like it's all set in a parking lot. I have no doubt they have much more up their sleeves, but the locations shown in the trailer don't look the least interesting to me

I don't think much of that movie, but I remember enjoying Tucci's performance

 
Do it in steampunk style and I'll be interested!

I'm absolutely loving the OST that I bought just a few days ago

 
I'm sorry, Pub, but I have to chime in.
 
I don't hang around in this MB to confirm what I already know or to get pats on the back from other members in our shared loved and apreciation of a musical piece. This still is, no matter what, a great place for one to broaden his musical horizons, to get a new perspective on a familiar piece of music or to be introduced to totally different composers and musical aproaches. You, of all people, have proven to be invaluable in that regard and I greatly apreciate your longer posts reflecting on a given score or piece. 
 
I just don't think that somewhat condescending attitude towards a member who has shown interest in furthering his knowledge of Goldsmith's ouevre does him or this board any favors, just because he has an ET avatar. You speak of two camps, whereas you'll find plenty of people who stand on both (and there are quite few on this very MB) and often one leads to the other
 
We all need our entrie points, our introductions and, why not, some mentoring in broadening our musical horizons.
 
So by all means, please share your suggestions (I am, for one, quite curious about them) and please refrain from using the "this stuff is too good for you anyway" attitude. And this is coming from a member who truly treasures your contributions on this MB.
 
I hope you don't take this the wrong way

I've been listening to Paul Smith's sumptuous 20,000 Leagues Under the Sea.  Magnificent music, highly recommended to all here.  The grandiloquent opening, the lovely horn melody that accompanies the Abraham Lincoln starting its hunt, the underwater funeral, which seems to me one of the finest examples of the "religioso" sound in film scores... grand score all around, every note. 
 

I think it won't. It's the easiest way of distinguishing the anthology movies from the main saga

I reckon they're doing some re-writes on the script, not re-writing it per se.
 
And it should finished by now:
 
 
 

Alan Rickman said it best: roles win awards, not actors

 
 
JOHN WILLIAMS - Born on the Fourth of July
 
Many an eyebrow is raised around here when this score is placed among the composer's very best efforts - sadly, one may say, as per swarm intelligence there seem never to be enough derivative Star Wars, Indiana Jones or Harry Potter sequels to take these high honours.
 
Especially noteworthy as it is one of the select few collaborations with oddball director Oliver Stone, who may not be Robert Altman but whose gripping and polarizing style seems to have rejuvenated the old 70's juices in Williams like the older Altman once did. And just about the right time: in 1989, success already had embalmed the composer in a precious layer of nostalgia-thick vaseline, made of wistful reminiscences of a golden past (all the Lucas and Spielberg blockbusters) and pompous proclamations of an indeed bright american present (literally hundreds of jubilee fanfares for all kind of festive occasions).
 
The academic gusto with which Williams attacks Stone's wistful, pathetic and angry Vietnam recount seen through the eyes of a returning vet, Ron Kovic, makes it abundantly clear that intellectually he was more than up for such task (one wonders how he must have languished in the putrid ponds of, say, 'Always', 'Amazing Stories' and 'Spacecamp').
 
A static trumpet lament opens the score, an eulogy for the dead, and it's one of those classic Williams ideas that sound as if they must have been around forever but also immediately establishes a powerful spell over the whole score, which formal brilliance lies in the treatment of the disparate elements: the solo trumpet, the earthy string orchestra for the yearning look back (another classic theme) and the avantgardist tableaus of the battlefield flashbacks are all rigorously interwoven in aid of Stone's storytelling to which Williams not acts as mere illustrator but indeed a loud musical messenger.
 
And while the thematic material by design doesn't shy away from big pathos, Williams carefully avoids toppling over by juxtaposing the melodramatic moments with either the dreadful stillness of his dirge-like trumpet call or even brutal Ligeti-inspired dissonances (note the ghostly whispers in the latter half of 'Cua Viet River' and the uncompromising atonality of 'The Shooting of Wilson'). This is brilliant stuff and it bears mention that it neither is the norm for the typical end-of-the-year Oscar bait nor indeed for Williams himself.
 
The final apotheosis, the aptly titled credit sequence 'Born on the Fourth of July' dashingly summarizes the whole score and movie in what is one of Williams' most formally ripe cues (he would later expand on the academic air, unusual for film music anyway, and expand it for some of his 90's and 00's scores, mostly in tandem with various solo artists). The MCA crossover album, usually a case for grave concern, is equally conceptually satisfying: there's no dead air, no material simply aiding some movie sequences, the 25 minutes are a perfect summation and while i probably would buy a complete score for archival reasons, this album (or at least all the Williams cues) should have a place in every self-respecting Williams collection.
 

Alan Rickman said it best: roles win awards, not actors

 
Me and a friend snatched this album off the shelf in Dec. 2002 (together with TTT and THE FOUR FEATHERS) and we found it dull till the latter half of 'The Mirror' when the cue launches in the Stravinsky-like action ballet that was, conceptually, a wonderful throwback to the times of 'Hot Water' and so forth.
 
It's just a pity he included so many of his standard effects - or better, a pity that he did too many 3-week jobs where this stuff was beaten to death.
 
 
ELLIOT GOLDENTHAL - Michael Collins
 
Not much to say except it truly is one of the best and intelligent scores of the 90's. The 'collision', as Goldenthal once called it, of elements - the brutal modernistic attack stuff, the typical minimalist figures, the honest romantic interludes and elegiac dread overcome with massive dissonances ('Easter Rebellion'), it wasn't clear back then but is painfully apparent now that this kind of compositional ability, characterized by its insistence on challenging and breaking well-worn clichés, won't come back soon with Goldenthal leaving film scoring for good in 2004.

Blood Moon is one of the all time great JW tracks

Morricone is the clear favorite, but I think JW is next in line

In a way, that makes the nomination more prestigious than the actual win

It makes it the most nominated Star Wars movie since the first

It's worth noting that while Avatar was a worldwide phenomenon not likely to be replicated any time soon, it did benefit from a tremounds 3d share and a much more favorable exchange rate than TFA. The dollar is too strong right now

Morricone is the clear favorite, but I think JW is next in line

Have you guys seen this yet?
 
http://www.halleonard.com/product/viewproduct.action?itemid=4491706&lid=10&keywords=the+force+awakens&subsiteid=1
 
Williams wrote  Jedi Steps concert suite