BigMacGyver

Well, despite the rumours about faked whips and a pissed ford, Paramount is very straight about the movie and has set the release date according to box office mojo. Read more: http://www.comingsoon.net/news/movienews.php?id=18759

I said late 70's onward which is still post-star wars to me and from that peroid almost everything got released by now. The ones you listed belong to no-deal companies and in the case of sugarland express wiliams himself does not want it to be released.If we would get something like Family Plot this year that would already be an achievement beyond imagination. Good point, and not only does goldsmith have more movies under his belt but his work also spans much more studios. Williams was from the late 70 onwards mainly active for universal. Only occasionally there is a warner title or a columbia/sony one and hardly one from fox or mgm and these are the only open companies so far.

Problem is that these goodies you are refering to (such as Indy) belong to studios that usually don't deal. I think a re-issue of indy is very unrealistic this year, especially now that indy 4 is on the way. The indy scores will receive re-issues by the time the new movie hits theatres at the earliest. And i dont really get what you mean by "unreleased". There is hardly a williams score from the late 70's onwards that hasn't already received a CD release. The only thing that could still be done with these things are (expanded) re-issues but there are no premiere releases anymore. I believe thats what you meant?

I remember Doug said elsewhere that apart from Amazing Stories Anthology 3 they have nothing Williams-related on the plate. As far as I am concerned, my guess is that this second score will be either from Jarre, Barry or Legrand. These three not only won multiple oscars and other awards but are still alive (as the clue suggests) and any of their scores would be perfect stylistic accompaniments to anything from Shire.

If you look at the pictures to be released this year that don't have any composer attached yet you will find out that there is hardly any movie worthy of Williams' talents. I guess he will sign up for whatever he finds worthy to do but right now I just can't find any movie that would fit his high profile needs.

Well, how would we know there is? After all, Varese does not give out hints about the club CDs but I am pretty damn sure that they have something in the works. I don't know anything specific, just call it a hunch. And let's not forget that Intrada is going to release The Mission, a fabulous score that in itself is a celebration of williams talent even though it is only a short tv score. Ford A. Thaxton recently reveiled hints about a 70 score from one of his most favourite composers (note that Williams is in fact Ford's most favourite composer) being released on prometheus records. There is speculation that this score will actually be family plot but nothing is certain at this time. I believe there will be a couple of things coming up. Maybe no big box sets but certainly things a williams fan will treasure.

Yeah whats up with it? Will there be any salt water pool in that film? Will indy drink from it and become immortal?

I am crossing all fingers and toes for the LSO. I guess it will come down to Lucas and Spielberg if they want to have the extra trouble during the post-pro of traveling to London to be around the sessions or setting up some complicated web-communication device. I really hope they will go through that extra trouble because LSO means we would get a complete score release in the distant future.

That is because what you heard in the movie was Brian Tyler's replacement score and not Jerry's rejected one.

My favourite... ...Basil Poledouris score: Conan The Barbarian ...Basil Poledouris theme: Big Waves from Big Wednesday ...Basil Poledouris cue/track: Battle Montage from Farewell to the King ...Basil Poledouris album: Quigley Down Under (expanded) ...Film scored by Basil Poledouris: Hunt For Red October Since there are way too many to choose from, here come some secondary favourites: score: Starship Troopers theme: Robocop Theme (Rock Shop) from Robocop cue/track: The Box from Flesh and Blood album: Lonesome Dove film: Robocop Actually, Poledouris never delivered one single disappointing score as far as I am concerned. It's much easier picking favourites for me than picking things or even scores I don't like from him.

Well, here is my point in a nutshell: Crimson Tide is one of the most rewarding movies bruckheimer and scott ever managed to accomplish, tackling many different issues and raising a lot of questions and working on many different levels. Yet, it received a score that is barely functioning on one level and is furthermore plain simple, not only in terms of composition but also in terms of dramaturgy since its ongoing synth-carpet is bare of any form of development. It does not even make an effort to go into any direction which does even hurt the movie in some crucial moments. It's thus merely a background atmo than a real filmscore.

Congrats to Blumenkohl for completely missing my point.

You basically answered you question yourself. A good submarine-score, other than just re-creating atmosphere, also has to support the story which is mostly very detailed and intelligent and also involving political issues. Especially in crimson tide this aspect is very important since there is never really an enemy contact but all hostility is found among the crew members themselves. Hans Zimmer does not acknowledge any of the many plot points but instead scores the entire movie with exchangeable synth-carpets that might create a basic atmosphere but fail to achieve anything else and they are doing so in such an intrusive way that even some other good aspects of the film are sunk by it. That's just one side of a two-sided coin. A good sub-score has to achieve much more than just plain atmospheric re-interpretation through music. See above for the explanation.

Well, it's his right do disagree even though he is wrong. Hardly any sub score of the 90's can beat Hunt for Red October in terms of effectivity. In fact, I would say that Crimson Tide is the weakest sub-score of the 90's.

It sucks in the film. I have seen the movie some time ago and these undramatic synth-loops and sound carpets for some really dramatic moments terribly steal the impact of some really great scenes full of tension between Washington and Hackman. It's one of those scores that is so terribly obvious in every way that it really takes you out of an otherwise great cinematic experience. The only thing that kind of works, despite being completely into-your-face is the power anthem for the boarding-the-sub beginning. I can't really see why people always claim that this stuff works so well or fits so well when the score is as dramatically manipulative as a large sledge hammer beating a metal rod... for a intelligent film that requires subtle tension and dramatic development through well thought-out and careful constructed detail. However, I can understand why some people like it that much outside of the movie. Nothing wrong if one loves to listen to this stuff but please don't pretend that this is something that actually works in the film's context when it clearly doesn't work.

Well, this is what Russell has to say about it on his myspace page: http://blog.myspace.com/index.cfm?fuseacti...c5-7db8ed0f7764

According to James Newton Howard expert Emile Brinkman, Howard was hired just recently by director Jay Russell to score the fantasy adventure The Waterhorse which will open mid September 2007. This is what emile had to say about it: Plot: A lonely boy discovers a mysterious egg that hatches a sea creature of Scottish legend. http://www.imdb.com/title/tt0760329/

Indiana Jones and the Revenge of the Signoras? Maybe they could sneak Alison Doody in there too as a zombie. She won't even need any make-up for that part.

I hope they will use the ark theme at the beginning of the trailers. Cool would be ark trek with that little bit of the indy theme coming up before the tension is rising - cut to the raiders march. Could be neat. Ford said repeatedly that he won't let it happen that anyone other than him will play indy.

I agree. I can fully understand the reservations against this project (although I hope these people will be proofen wrong) but who cares what this film is all about as long as it means more williams? And... most importantly... it could mean that Lucasfilm will be finally licencing the complete indy scores for full releases to finally cash-in on them. If that film can help to make this happen, I warmly welcome it.

Not sure if this was mentioned already, but they plan to start filming in june with a screenplay from david koepp. Spielberg has put his lincoln pic on hold to make indy his absolute priority. There was no casting yet but I guess that will begin soon: http://www.comingsoon.net/news/movienews.php?id=18208 Looks like they are serious about it this time.

1. Apocalypto (James Horner) 2. X-Men 3: The Last Stand (John Powell) 3. Blood Diamond (James Newton Howard) 4. Night At The Museum (Alan Silvestri) 5. The Wild (Alan Silvestri)

Well, of course the orchestration is similar but that's because everyone connects certain cliches with christmassy music that just can't be avoided anymore if you write that kind of score. People literally expect you to do these kind of things. As for the theme sounding like edward scissorhands, lots of themes for christmas themed films are sharing this kind of chord procession. I would say this is rather a matter of cleverly playing with expectations than copying someone or remodelling a score after john williams. If you interpret it that way, you can also say that the theme is similar to the jurassic park journey to the island fanfare.

I was surprised two times about horner's Apocalypto. The first surprise came when I listened to the CD for the first time. Who would have expected that the most inventive and subtlely effective score of recent years had to come from the composer most criticized by lots of film music fans for self-rip-offs and a general lack of inventiveness? The second surprise came when I watched the movie last sunday. I must say that Horner delivered. The music adapts perfectly to the film. On album alone it might be confusing, but watching the film will be a real eye/ear-opener and you will suddenly embrace this one as a treasure among Horner's recent output. It's damn good film scoring that I would like to hear more often these days (not necessarily from horner alone).

Well, good to know. That should leave me plenty of time to save up some money for it.