Trumpeteer

By this argument, the Imperial March drives you nuts. When I watched the "Sorcerer's Stone" trailer for the first time, I didn't know JW wrote music specifically for it. I thought, as usual, the music was used from another film. I thought it was great music and wanted to find out who wrote it. Then I heard the music over the Warner Bros. logo when the movie started, and I fell in love. I'm still in love with that theme, and the concert version is indeed one of the best compositions of the 21st century. Given the way it's been re-orchestrated over each new movie, it shows that it has a life well into the final film.

This ruling takes the focus away from the real problem, which lies inside the Academy's Music Branch and not with the voters. Voters, I think, are smart enough to vote on a score based on the craft and the presentation, even if we all think Vangelis and others didn't write music as beautiful as John Williams in a given year. The ones who nominate the score, as we've seen in many instances, are creating the problem. For instance, the music branch nominates "Babel." If I were an Academy member not really knowledgeable about Santaolalla's previous works, I'd think every note he wrote for the film was made for "Babel," and since I liked every note he wrote, I'll vote for him. If the Academy's music branch was more aware of what they are deeming eligible, the voting process wouldn't be called into question. Remember that they removed Nino Rota's "The Godfather," even though it was a popular pick to win. It was a surefire win because people loved the iconic music, most of which was from another film. In order to keep the category pure, they removed the score. If they had done that with "Fame" and "Babel," we all might be looking at the Oscars in a different light. You probably don't know that the composers have to send in their music sheets and sign an affidavit that what is being turned into the Academy is completely original in early December. That gives them more than a month to look over questionable scores and rule them ineligible. Some scores can be ruled out right away because song use takes over the power of the score (as in most comedies these days), but others are trickier. I'm sure they looked over "Return of the King" and "Prisoner of Azkaban" to make sure they fit their sequel rule, so how did "Babel" pass? Something early in the process broke down. That said, I like the rule because, like 99 percent of people on this board, the voters will hear the music from the film on CD first, make an impression about the music (it's awesome!), then watch the movie and think the music wasn't represented on film as well, so they won't vote for it. Heck, if I had listened to "Prisoner of Azkaban" on CD before seeing the movie, I wouldn't have liked the score after seeing the movie, because the film's mixing and editing of the score at times didn't help a lot of cues ("Saving Buckbeak" and "Quidditch, Third Year," for example.) I don't know how it will affect the song category. Last year, would it have helped the three "Dreamgirls" songs? Probably not, because a voter could ask his or her publicist to go buy the commercial CD so they can hear the songs without having to sit through the whole movie (which they should have done anyway if they wanted to have any knowledge of Eddie Murphy and Jennifer Hudson, as well as the costumes and set design). In the song category, the "bake-off" nominating process is great, because they HAVE to watch the song being performed in the film. I don't think there's any way to make voting in any category fair, but maybe the nominations should be reviewed by the Academy's Board of Governors before they are announced to make sure the nominees are eligible, just in case the earlier process of checking the scores in December lets one slip by. Obviously, it doesn't matter for some categories (acting, directing, cinematography), but for some, like the music categories, they should look at the five scores and five songs and make sure they fit the rules. This would have removed "Babel."

After he attended UCLA, he was drafted into the United States Air Force, where he single handidly won several critical battles (the Rambo films where based on his exploits) ... I knew it! With the release of Star Wars, the world marveled at Williams ability to compose themes that in no way were ever influenced by any other composers, ever. So there!

Given that he didn't score "Phoenix" in a year where he wasn't working on anything, I would say that he's done with Harry Potter. Move along, folks. Get over it. Nicholas Hooper wasn't so bad.

Marian, I have been to many movies based on books that I've read and have spent the whole movie wondering what was being added or removed. I didn't want to do that with Harry Potter. A lot of my friends told me to read the books when I originally wanted to after COS. If I had read "Phoenix," I would have known the prophecy, would have known the outcome of the ending and wouldn't have gotten misty over Trelawney's sacking. I know that Dumbledore dies in "Prince," but I don't know who and if I read the books that shock would be gone. I think when I saw "Phoenix" last night, I was the only one shocked about Sirius' death. I'm very invested in the Harry Potter story, and it would be easy to pick up the books and know everything, instead of waiting until next year and 2010. But it's more fun this way. But hey, I'm one of the few here that can wait until the movie comes out to listen to the score. I guess I'm weird.

Nicholas Hooper composed a very nice debut score. What a surprise. I expected nothing great from the music. I give a B+. What was completely exciting is how much he tried to stay away from the Harry Potter theme. I think he used it three times. For a composer working on his first feature and taking the reins from Doyle, who took the reins from Williams, he seemed to have had a lot of confidence, and probably a lot of help. The Dolores Umbridge theme is quite charming. Totally appropriate music for the sequence. And the scene with the fireworks sounded very JW. I don't remember a lot of the music in the scene where Sirius dies (a total shock to me, since I am staying away from the books to keep the surprises) but what I do remember was fascinating. I must confess something: I cheated. I never listen to music from a new movie before seeing it for the first time, but they were playing the music on XM Radio Sunday night, and I heard a few minutes of music, specifically "Dolores Umbridge." Oh, and Nicholas Hooper is ineligible for an Oscar this year. From the official Oscar rules: Only the principal composer(s) or songwriter(s) responsible for the conception and execution of the work as a whole shall be eligible for an award. This expressly excludes from eligibility all of the following: a) supervisors b) partial contributors (e.g., any writer not responsible for the overall design of the work) c) contributors working on speculation d) scores diluted by the use of tracked themes or other pre-existing music e) scores diminished in impact by the predominant use of songs f) scores assembled from the music of more than one composer. He used music composed by John Williams. I know the Academy stretched the rules last year for "Babel," but I don't know if they'll let Hooper in the club based on this.

This was the view from my seat.

I can die now. John Williams conducted "The Imperial March" and the last two minutes of "ET" for me. The only thing that could have topped it would have been to get his autograph. I had to get on the shuttle bus right after the show, but I stalked out the exits for about 20 minutes, and a lot of people came out of the VIP room, but not JW. In any case, I had a pretty good seat, but I think the enormousness of the venue took away from my excitement. Not as intimate as Boston Symphony Hall. Of all the performances, besides the two above, I enjoyed "Now, Voyager" and the "Catch Me If You Can" suite. How cool to see Dan Higgins play sax! And the orchestra really does snap during the main titles! I snapped along and the woman next to me, who clapped maybe once during the concert (after humming all of "Gone With the Wind"), asked me if I knew the score to CMIYC by heart. I told her "Not as much as about 10 other scores he's written." She giggled. I was excited to hear cheering during the "ET" and "Indiana Jones" encores before the themes kicked in. A lady who sat next to me on the shuttle bus was not aware he wrote the "Star Wars" music. But she said she's going to rent a lot of his movies, especially "Memoirs of a Geisha."

Thanks! I'm off to the airport now! Full report upon my return!

So.....? How was it? I'm getting on a plane to LA in three hours. Give me a preview.

AOL does have its drawbacks, but I'm loyal to a fault. I got my first e-mail account on AOL in 1997, and I haven't changed it. "Chiyo's Prayer" from "Memoirs of a Geisha" -- awesome

CDs will not have the same collector's value as LPs do, because every piece of music that was on CD has been archived by one or more of these music download sites, so nothing will be out of print. If you have an LP of "Star Wars," for example, someone is probably willing to pay about $500 for it. The two-disc 1997 release, however, won't be worth a penny in 2027.

Right now, I'm listening to "The Tale of Victor Navorski" from "The Terminal" on AOL Radio. You download a player onto your computer (Mac or PC) and it's just like satellite radio, except I don't have to subscribe to anything and pay money to listen to music during the day (I don't own an iPod.). I love "The Terminal." Such cute and whimsical music. Suddenly, I'm humming along to the music instead of cursing the fact that my boss won't let me leave an hour early today. Earlier today, they played "Man vs. Beast" from "Jaws." I was drumming my fingers along to the main theme. They also play some older stuff. Henry Mancini was on heavy rotation this morning. I wish I had known about this before. If you're a part of AOL, get it now. Oh, cool. Now, they're playing "The Sorcerer's Apprentice" from "Fantasia." I'm going to cast a spell and make a whole bunch of brooms finish my work while I head to the gym, which I never like going to but is much better than staring at a computer screen.

Reminds me of the "Independence Day" trailer. All we saw was the Capitol blowing up. That was enough for me.

Thanks, Eric. I'll give that a try. And yes, I got my time frame wrong. As I write this, it's five days away!

The concert is two weeks away. I've got my ticket! Who else is going? Should we have a JWFan meeting? Does the Hollywood Bowl have a place for drooling fanboys, er, fanmen, to hound the conductor for an auotgraph and a picture? The program suggests these JW pieces will be performed: "Can You Read My Mind" (instrumental) "Catch Me If You Can" suite, including the opening titles! Harry Potter: "Chamber of Secrets," "Aunt Marge's Waltz" and "Harry's Wondrous World" (I'd prefer "Hedwig's Theme" but I won't complain!) "Throne Room and Finale" from "Star Wars" (duh) Expecting an encore or two, and "Indiana Jones" is a sure bet, as is "ET." I'm seriously getting verklempt at the thought. Talk amongst yourselves. I'll give you a topic. "The Prince of Tides" was neither about princes nor tides. Discuss.

I don't know where I was when this thread started, but I'll stand up for all of Alan Menken's music pre-"Hercules." I agree that "Hunchback" is his most daring and ambitious work ever, but that doesn't dilute everything that came before it. Yes, "Mermaid" was his first score, and for a first-timer, it's remarkable what he did. If you think about it, it was the only instrumental work that relied very little on the song score. Most of the underscore he wrote for future films leaned hevaily on the songs, which worked splendidly, but reeked a little of laziness. That said, Alan Menken deserved all eight of his Oscars. "Mermaid," "Beast" and "Aladdin" likely won for the same reason "Fame won: the song score. But even if you ignore the song score of each film, the underscore in each is stupendous: "Storm" and the finale in "Mermaid" "The Wolf Attack" and "Transformation" in "Beast" "The Cave of Wonders" in "Aladdin" It is indeed a shame that he suffered the year of "Hunchback." I am certain the score would have won if the voters really took the time to listen to it. Some people here may know of the letter Alan Menken wrote to me shortly after his loss in 1997. It's framed with my John Williams autographs. I can't wait to hear what Alan Menken and Stephen Schwartz cooked up for "Enchanted."

Because it's four notes, I always thought it was a take on the "Dies Irae" that was used in "Close Encounters." Kinda makes sense.

That interesting. At least you'd be able to speak her language!

Even with "Bugler's Fanfare" taken out, the 1984 theme is perfection. The button at the end knocks me out every time.

All-time favorites: "Main Title" from Star Wars "Escape/Chase/Saying Goodbye" from ET "Clash of the Lightsabers" from The Empire Strikes Back

In 14 years, I've gotten four autographed pieces from JW. They all took between three and six months to get to me from the time I sent the letter. If I can remember how, I'll post a picture of them.

"The Asteroid Field" Instrumentals of famous JW songs: "Somewhere in My Memory" "When You're Alone" "Nice To Be Around" "Can You Read My Mind" "Duel of the Fates" (Intermission) "The Quidditch Match" (with visuals) (To celebrate the making of Indy 4) Music for Harrison Ford "Nocturnal Activities" "No Ticket" "Presumed Innocent" "Moonlight" (instrumental) "Chase/Saying Goodbye" (with visuals) (Encore) "The Imperial March"

And a lot of tips of the hat to "Star Wars." Watch it again. Then tell it had no plot. Steef, I remember being 12 years old watching "Transformers" in the theater. I wasn't the only kid crying when Optimus Prime Look, I'm not bashing the new movie, since I haven't seen it. It just isn't appealing to the kid in me.

There's a plot in the 1986 film. I still get emotional watching it. And there's a plot in the cartoon episodes that probably inspired this movie. Having seen just about every Michael Bay movie made, I don't expect a plot, unless it's about some stupid male hunk who gets his nose broken and gets the girl, right before things get blown up and he's mistaken for dead, at which point the lead female will get it on with his best friend before more stuff gets blown up while the only black guy in the film gets two lines. Look, I'm such a big Transformers fan that I want this to be good. But whenever I sit my ass down to watch this, I won't be expecting much more than loud noises. I mean, in the commercial, Bumblebee has a depp rumbling voice. What happened to the Bumblebee that was essentially the kid in the Autobot clan? Oh well.