TheUlyssesian

Maybe sacrilegious - as much as I love HTTYD, I could never get into any of the sequels - either the scores or the movies. I am going with Grand Budapest - a score which works wonders in the movie to give it its kooky jaunty tone as well as an expected doze of heart. This cue, since I first saw the movie, has been etched in my memory forever. And this one too - even though it is not from Desplat - Sometimes beyond technical virtuosity, you do prefer music that moves you and the music of Grand Budapest certainly

Tintin is one of Williams' masterpieces - a score so ambitious, so overflowing with themes, at such extraordinary tempi and nimbleness, such complexity. For sheer virtuoso technical accomplishment, very scores of the past decade match it - certainly not at this scale. Williams just totally went all out for this one. War Horse is absolutely amazing too - though a little bit fractured into sections.

Powell is most accomplished. A score like How to train your dragon puts almost anything Gia has written to dust. But Gia has a good pick of projects, better than Powell. So I have listened to more of his score and enjoyed them.

I picked John Carter. Lincoln is the best music of the bunch. But I retain my belief it is not a great score. The score does not make its presence felt in the movie at all. If you just watched the movie, you might not come away thinking it has a great score. A good score, but not great. On album, Lincoln’s music is masterpiece level. John Carter is a magnificent score. It is Gia’s chance to write a big old fashioned balls out thematic score and he delivers in spades. His score is also brilliant IN THE FILM.

The Wind Rises is beautiful beyond words.

I think it boils down to the hectic process and compressed timelines. Academy members are all regular film industry workers. All members vote for Best Picture regardless of Branch. So I think what happens is - say for example in the Composers branch - they have to watch the 15-20 films in contention for best picture anyways to vote for the best picture category. That itself is a huge commitment. So when you have already seen those 15-20 films, you just vote for those films in the best score category too without having to watch another set of 15-20 films to vote for th

I absolutely hate the co-relation between the Best Picture category and the Best Score category. It is totally ludicrous that 4 of the 5 nominees come from best picture nominees. This is simply not plausible. There as an unconscionable bias towards the "films of the year" so that every branch tries to throw nominations at them. For example Moonlight is a good movie, but did it really have to be nominated for score. Brokeback Mountain? Babel? Seriously, someone listened to those things and said this is a great example of the art of film scoring compared to everything e

I was randomly listening to this score today. I think it is magnificent. The strident ostinato underlying the main theme has such a sense of drama and drive. The cue you linked is I think the best in score and quite superb. It is begging to be used in more trailers. Ozon (the director of Dans La Maison) himself used it in a trailer for his own film - Frantz and you can see how amazing it is.

Seem's slightly sacrilegious but I have pondered this. I think for the sequel trilogy there are actually 2 candidates - a full on bells and whistles military version of Rey's Theme or the Resistance March. Both could EASILY be turned into great main titles. I don't know what'd be a candidate from the prequel trilogy. It would necessarily have to be a theme from the first movie since the scores are not conceptualized together but per movie. I feel there is no obvious candidate hence they went with Luke's theme again. Even so, the opening note so iconic that

The other music they used throughout the day was the garbage shit free youtube corporate music. And some terrible songs (I am not that familiar with music with lyrics).

So in a terrible corporate conference in my company today (zoom only), I nearly spit out my coffee when one of the pieces of music used between sessions was this - They played a middle portion for about a minute and I was like holy shit that's random. So I had to listen to the full cue again and it is of course absolutely glorious. Gotta track down the intern that put it on. They sure have great taste.

Certainly one of Barry's immortal themes. It was played at the 2014 Oscars Oscars 2014 - In Memoriam segment.

So he kills Nazis by fisting?

With Schindler as a vigilante this time who secretly kills Nazis!

My preferred aspect ratio for movies would be a hexagon where the image is projected upside down.