TheUlyssesian

When the full score is released, even then people won't be able to say which track is from which film when confronted with a random piece of "music" from any of the scores.

I meant in a general sense Brave might not be worthy of a nomination, but if the year is weak it could get in. It is a good score. Also, absolutely love the John Carter score, its comfortably the best so far if my memory serves me right and I am not forgetting anything. Prometheus has a very good main theme but the rest of the score is ordinary.

Caught the movie (it's bad). But the music was one of the better things about it. I could totally see it getting an Academy Award nomination if nothing better turns up.

I am not even joking guys, when the entire hoopla about the gay DC character was going on, me and my friends said it has to be Batman but of course DC wouldn't have the balls to out one of their legendary three. But Nolan's Batman is the poster boy for closet cases. Think about it, consider him gay and it puts his entire personality into context and suddenly everything makes sense. His repression and refusal to acknowledge what he is drives his psychopathic personality. Alfred is in on it and nurtures him through it. And Rachel was nothing more than a beard. Even when Bale's Bruce is around woman, he does not have the easy looseness that a guy who fucks left right and center would have. Its very forced and posed to put up a facade and an image and create a myth. Oh he's a closet case all right. And frankly the Nolan Batman films play better if you keep this in the back of your mind.

Nolan and sex appeal, those are two noted enemies that will never meet. I get the feeling that Nolan's films are populated by characters that are either sexless or virgins or both.

If this is not there in the movie, that means the movie will never reach its true potential.

New Catwoman Pic Released. http://desmond.imageshack.us/Himg843/scaled.php?server=843&filename=4531e6ea.jpg&res=landing I guess my IMAX tickets just got booked.

http://www.youtube.com/watch?v=yAVqhKqqexQ The main theme. Its rather lovely. Though Filmtracks says its used very sparingly in the score and this is its only full performance.

FACT.

Zimmer couldn't write a big grand unforgettable theme even if his life depeneded on it. Soundscape is exactly what we will get. I think soundscape is how lesser composers chicken out of writing themes. They say they are writing soundscapes because that is the only thing they are capable of writing. I wonder if it even takes much effort to "write" such "music". Nothing is synched to the screen, its just general ambience composed and applied to a movie. Highlighting inidividual moments is too much effort for today's composers and they couldn't be bothered it seems.

There is NO WAY Zimmer will write as good a theme as Williams. Nothing in his entire career could come close to that theme. But even besides that, he will probably write a themeless score with relentless electronic pounding and progressions. Zimmer even when he writes themes these days writes shit themes. They probably picked the worst composer for this. What an excellent follow-up, from Williams melodic classicity to ridiculous pounding. They could have atleast picked Powell. Zimmer sounds like a horrible idea. Elfman wrote an excellent theme for Batman and Zimmer wrote nonsense.

IMHO, the answer is nothing. Nothing deserved to win over E.T. in 1982 or in any other year. It is my favorite Williams score and my favroite score of all time. I think it is the greatest score ever written.

1. The Incredibles 2. The Avengers 3. Spider-Man 3 4. Superman The Movie 5. 300 6. History Of Violence 7. Akira 8. Ghost World 9. Spiderman 10.Iron Man

And HOW differently? Came across this random thread on IMDB http://www.imdb.com/.../flat/199195987 asking which was the Best Nominated score of 2011. The responses were such 8 votes for Tinker Tailor Solider Spy 3 votes for The Artist 2 votes for Hugo 2 votes for War Horse 2 votes for Tintin Those who rank, rank the 2 Williams mostly the lowest. If the option was Girl With The Dragon Tattoo, that would be undoubtedly be No. 1 as would Social Network be for a similar poll conducted for 2010. They think Social Network is one of the greatest scores ever written. Other constant favorites are Drive and Black Swan. My response can only be WTF?!?!? Surely people are not deaf? I know for a fact that outside the soundtrack-listening niche, the two Reznor-Fincher scores are considered cutting edge and a brilliant innovation of film music. I personally think judging purely by compositional value, such scores are irredeemable failures. Even cinephiles seem to have no idea what great film music is. Do you think we who listen to film scores are literally removed from the norm and living in another universe, figuratively? Like there are oceans between the way of appreciating things concerning this particular genre of music.

I agree. Single credit is worth more than anything. When you listen to Symphony No. 9, it is hair-raising and humbling to know it came from a single person's mind. When I hear E.T. I am in awe because one man did what he did with the music. But if an entire conference room full of people chatted and came-up with music of all things, its a much diminished achievement. Look at this Zimmer page over at Filmtracks.com - http://www.filmtracks.com/composers/zimmer.shtml So fucking irritating that everything has co-wrote beside it.

A lot of good mentions, gonna hear everything posted here to see if Zimmer's reputation can be salvaged in my eyes. For those who mentioned Inception, really?? That's really rubbish. But atleast no one mentioned The Dark Knight. I find it absolutely incredulous when Dark Knight fans and Nolan fanboys claim that The Dark Knight should have won the Oscar for Best Score. Even nominating it would be a scandal. His recent work is really poor beyond words. How ironic that he is now at the peak of his popularity, some of the fanboy dust from Nolan gets applied to his collaborators as well and Zimmer is an obvious benefactor. Most people (not soundtrack listners) now even think that Zimmer's Batman work is far better than Elfman's.

Sherlock theme is good, a bit junk-foody. But for such a revered composer, where are the truly great themes? Or rather which are those?

you like garbage but you don't like Greatness???zimmer on his best day while holding the hand of God couldn't compose anything as good as Superman! Agree, agree and agree! William's Superman is a hair-raising classic. And Zimmer is a borderline hack.

I was thinking and came up with a blank. Rainman is a good one perhaps? What others?

5 stars. I share your admiration in thinking that it is one of the very best cues of Williams glorious career, the sense of dazzlingly momentum here is astounding. And as I have said before, this would be monumentally difficult to perform perfectly in a live concert, the level of difficulty here is very high.

Joker was one note and uninteresting. I never got the feeling there was a human being there somewhere. With Landa I could actually see the man who was doing all these 'evil' things.

The most obvious answer is Citizen Kane - it influenced the industry in terms of having complicated chronological structures in the films and auteur driven direction and staging. Metropolis - in how a big scale sci fi fantasy could be brought to the screen. Gone With The Wind - how to make massive epics or stories with a huge historical backdrop. Breathless - practically started the French new wave

Anybody else seen this film? And what did you think of the score by Richard Robbins in the film and on the album? The film itself is a hugely acclaimed Merchant Ivory production of a Booker Prize Winning Novel and was nominated for many Oscars including Best Picture in 1993. I think the film is a masterpiece and this has to be probably the most restrained film ever made. The central romance is so thwarted, so awfully introverted and so British that the film absolutely devastates you by the time it reaches its ending. Inspite of the levels of restraint there is a lot of tension in the film because of clashing wills and personalities and this tension is magnificently scored by Richard Robbins. The score does not have a main theme as such, it does have a primary idea, a rhythmic structure more than a theme that is oft reprised within the score and creates a kind of minimalist propulsive brooding atmosphere that perfectly captures the tone of the film. The score is never dissonant and very listen-able throughout. Infact some of it is very beautiful specially when the orchestra soars in the end credits. I find its quietly anticipatory tone quite addictive. Here are the main titles and the end titles respectively.

If its very very obvious, then someone will point out the similarity. If someone does claim your theme is rip-off, you can respectfully claim to have arrived at the theme of your own accord and say "you got it first so you win" and back off. Themes are like patents. I really do believe it is possible for two people to arrive at exactly the same melody. Because a melody being same is a matter of probability right, we are talking a large but finite no. of combinations and there are certain widely accepted and established patterns and templates. So its okay I guess if you arrive at the same or similar melody from earlier on. Just pass it through in front of knowledgeable people who might be able to point out any intended plagiarism. I happened to me in the case of a book once! I imagined this synopsis for a story or a book, and have it in my mind for years. Randomly watch a French film I have never seen before and the plot is exactly the same. I am like, "Bummer!".

Thanks. I've heard this one before but this is a suite rather than a theme track - that is plays two of the themes along with some other maiterial from the score. And the Flying theme clearly rules this track more than the main theme.