TheUlyssesian

Is there a concert version of the Hook Main theme anywhere? The theme tht plays at o:32 in this cue -> I hope I am currently identifying this theme as the main theme. And is there a concert version of this theme?

The first phrase of the melody starting at 6:14 is a direct lift from Melanie's Theme from Max Steiner's Gone With The Wind.Have a listen -> At 11:19.

I find this melodic phrase to be one of the loveliest Horner has ever written. I think deep and long melodies sound the most "sweeping". The one here at 2:24 to 2:42 just before the main theme clicks in at 2:42 -> I believe this phrase is reprised only once again in the score and that too during the end titles. Here it is at 2:16 to 2:31 again followed by the main theme. -> And yet, in the famous track Theme from Braveheart, this phrase, heard (by my estimation) just twice in the whole score recieves an epic rendition. Here it is at 1:06 to 1:20 once again followed by the main theme. -> Is it supposed to be a part of the main theme or is it supposed to be a variation. And why isn't it played more often in the score? And ain't it lovely?

Southall? I find his reviews so... cursory, like he listened to it in the background while doing some important work and hastily typed something up. He doesn't seem to engage with the scores he is revieiwng, they almost seem like fan reviews in a third grade school mag. Say what about Clemmenson but he atleast seems very knowledgable and his reviews demonstrate considerable insight and seem like an informed eclectic opinion. He can be a bit pedantic but that is hardly to be avoided when you have reviewed film scores for so long. He acknowledges his biases and a bias only lends you more personality rather than coming across as a colorless android. I find his reviews very good. Just wished he reviewed older titles as well.

HUGO roughly earned his budget back and surely never was expected to be a blockbuster like JOHN CARTER, hence it didn't ride on a big marketing budget. Hugo's budget was 175 Million Dollars and earned just 179 Million worldwide. Atleast 80-100 million was spent on marketing. Any film with that huge of a budget is gonna have a big marketing push to get the budget back. And with the fact that only half of the theater gross goes to the makers, Hugo is most definitely a disaster.There are articles online where the producer (it was independently financed outside the studio system) himself claims that he has lost a huge amount of money on the film. But Hugo is very critically acclaimed so people skip over this fact. Review by Christian Clemmensen finally up at filmtracks.com. Its a positive review with 4 stars. But Clemmensen does not seem to have heard the score properly cause he's able to clearly delineate only 2 themes, whereas I was able to identify many more.

Thanks Faleel. I liked this version but it feels slightly scattershot. Regarding the March itself, I believe the Love Theme is a separate theme which has its own concert version so shouldn't be a part of the concert version of the main theme. I do like the March with it but would probably enjoy it moreso if it were just the main theme.

Looking for one for ages. All of the ones I have come across so far have the love theme interlude.

Dunno if this list has been seen posted before. Its by American Music Preservation and covers American film scores from the 30's to the 90's. Its a pretty thorough list and is refreshingly not lamely biased in favor of new films. With most lists of these kinds I get the impression that the consciousness of the list maker stretches only as far as 10 years before. Not so here, these guys seem to have a broad eye and have collected a diverse selection. <table border="0" cellpadding="0" cellspacing="0" width="618"> <colgroup> <col /> <col /> <col /> <col /> </colgroup> <tbody> <tr height="20"> <td align="right" height="20" style="height:20px;width:31px;"> 1</td> <td style="width:339px;"> Citizen Kane</td> <td style="width:64px;"> 1941</td> <td style="width:187px;"> Bernard Herrmann</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 2</td> <td> Ben-Hur</td> <td> 1959</td> <td> Miklos Rozsa</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 3</td> <td> Vertigo</td> <td> 1958</td> <td> Bernard Herrmann</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 4</td> <td> To Kill A Mockingbird</td> <td> 1962</td> <td> Elmer Bernstein</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 5</td> <td> King Kong</td> <td> 1933</td> <td> Max Steiner</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 6</td> <td> The Best Years Of Our Lives</td> <td> 1946</td> <td> Hugo Friedhofer</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 7</td> <td> High Noon</td> <td> 1952</td> <td> Dimitri Tiomkin</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 8</td> <td> Spartacus</td> <td> 1960</td> <td> Alex North</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 9</td> <td> Laura</td> <td> 1944</td> <td> David Raksin</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 10</td> <td> The Adventures Of Robin Hood</td> <td> 1938</td> <td> Erich Wolfgang Korngold</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 11</td> <td> Psycho</td> <td> 1960</td> <td> Bernard Herrmann</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 12</td> <td> Gone With The Wind</td> <td> 1939</td> <td> Max Steiner</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 13</td> <td> Close Encounters Of The Third Kind</td> <td> 1977</td> <td> John Williams</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 14</td> <td> Star Wars: The Empire Strikes Back</td> <td> 1980</td> <td> John Williams</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 15</td> <td> The Magnificent Seven</td> <td> 1960</td> <td> Elmer Bernstein</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 16</td> <td> The Alamo</td> <td> 1960</td> <td> Dimitri Tiomkin</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 17</td> <td> North By Northwest</td> <td> 1959</td> <td> Bernard Herrmann</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 18</td> <td> Lawrence Of Arabia</td> <td> 1962</td> <td> Maurice Jarre</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 19</td> <td> How The West Was Won</td> <td> 1963</td> <td> Alfred Newman & Ken Darby</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 20</td> <td> A Place In The Sun</td> <td> 1951</td> <td> Franz Waxman</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 21</td> <td> Patton</td> <td> 1970</td> <td> Jerry Goldsmith</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 22</td> <td> Kings Row</td> <td> 1942</td> <td> Erich Wolfgang Korngold</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 23</td> <td> The Thief Of Bagdad</td> <td> 1940</td> <td> Miklos Rozsa</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 24</td> <td> All That Money Can Buy (The Devil & Daniel Webster)</td> <td> 1941</td> <td> Bernard Herrmann</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 25</td> <td> Star Wars: A New Hope</td> <td> 1977</td> <td> John Williams</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 26</td> <td> King Of Kings</td> <td> 1961</td> <td> Miklos Rozsa</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 27</td> <td> The Big Country</td> <td> 1958</td> <td> Jerome Moross</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 28</td> <td> The Ghost And Mrs. Muir</td> <td> 1946</td> <td> Bernard Herrmann</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 29</td> <td> Schindler'S List</td> <td> 1993</td> <td> John Williams</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 30</td> <td> El Cid</td> <td> 1961</td> <td> Miklos Rozsa</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 31</td> <td> The Man With The Golden Arm</td> <td> 1955</td> <td> Elmer Bernstein</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 32</td> <td> Superman</td> <td> 1978</td> <td> John Williams</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 33</td> <td> The Searchers</td> <td> 1956</td> <td> Max Steiner</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 34</td> <td> Spellbound</td> <td> 1945</td> <td> Miklos Rozsa</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 35</td> <td> The Day The Earth Stood Still</td> <td> 1951</td> <td> Bernard Herrmann</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 36</td> <td> E.T.: The Extra-Terrestrial</td> <td> 1982</td> <td> John Williams</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 37</td> <td> The Wizard Of Oz</td> <td> 1939</td> <td> Herbert Stothart</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 38</td> <td> Islands In The Stream</td> <td> 1976</td> <td> Jerry Goldsmith</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 39</td> <td> Cleopatra</td> <td> 1963</td> <td> Alex North</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 40</td> <td> The Song Of Bernadette</td> <td> 1943</td> <td> Alfred Newman</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 41</td> <td> Planet Of The Apes</td> <td> 1968</td> <td> Jerry Goldsmith</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 42</td> <td> Taras Bulba</td> <td> 1962</td> <td> Franz Waxman</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 43</td> <td> The Fall Of The Roman Empire</td> <td> 1964</td> <td> Dimitri Tiomkin</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 44</td> <td> The Treasure Of The Sierra Madre</td> <td> 1948</td> <td> Max Steiner</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 45</td> <td> Red River</td> <td> 1948</td> <td> Dimitri Tiomkin</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 46</td> <td> The Red Pony</td> <td> 1949</td> <td> Aaron Copland</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 47</td> <td> The Lion In Winter</td> <td> 1968</td> <td> John Barry</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 48</td> <td> Chinatown</td> <td> 1974</td> <td> Jerry Goldsmith</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 49</td> <td> Jaws</td> <td> 1975</td> <td> John Williams</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 50</td> <td> Sunset Boulevard</td> <td> 1950</td> <td> Franz Waxman</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 51</td> <td> Fahrenheit 451</td> <td> 1966</td> <td> Bernard Herrmann</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 52</td> <td> The Bride Of Frankenstein</td> <td> 1935</td> <td> Franz Waxman</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 53</td> <td> Rio Bravo</td> <td> 1959</td> <td> Dimitri Tiomkin</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 54</td> <td> The Mission</td> <td> 1986</td> <td> Ennio Morricone</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 55</td> <td> Captain From Castille</td> <td> 1947</td> <td> Alfred Newman</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 56</td> <td> The Informer</td> <td> 1935</td> <td> Max Steiner</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 57</td> <td> Henry V</td> <td> 1944</td> <td> William Walton</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 58</td> <td> The Ten Commandments</td> <td> 1956</td> <td> Elmer Bernstein</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 59</td> <td> Shane</td> <td> 1953</td> <td> Victor Young</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 60</td> <td> A Streetcar Named Desire</td> <td> 1951</td> <td> Alex North</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 61</td> <td> Breakfast At Tiffany's</td> <td> 1961</td> <td> Henry Mancini</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 62</td> <td> The Bad And The Beautiful</td> <td> 1952</td> <td> David Raksin</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 63</td> <td> It'S A Wonderful Life</td> <td> 1946</td> <td> Dimitri Tiomkin</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 64</td> <td> Now, Voyager</td> <td> 1942</td> <td> Max Steiner</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 65</td> <td> Wuthering Heights</td> <td> 1939</td> <td> Alfred Newman</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 66</td> <td> Casablana</td> <td> 1943</td> <td> Max Steiner</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 67</td> <td> Plymouth Adventure</td> <td> 1952</td> <td> Miklos Rozsa</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 68</td> <td> The Guns Of Navarone</td> <td> 1962</td> <td> Dimitri Tiomkin</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 69</td> <td> Since You Went Away</td> <td> 1944</td> <td> Max Steiner</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 70</td> <td> Summer And Smoke</td> <td> 1961</td> <td> Elmer Bernstein</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 71</td> <td> The Hurricane</td> <td> 1937</td> <td> Alfred Newman</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 72</td> <td> Hatari</td> <td> 1960</td> <td> Henry Mancini</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 73</td> <td> How Green Was My Valley</td> <td> 1940</td> <td> Alfred Newman</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 74</td> <td> Star Trek: The Motion Picture</td> <td> 1979</td> <td> Jerry Goldsmith</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 75</td> <td> Mysterious Island</td> <td> 1961</td> <td> Bernard Herrmann</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 76</td> <td> The Omen</td> <td> 1976</td> <td> Jerry Goldsmith</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 77</td> <td> The Sea Hawk</td> <td> 1941</td> <td> Erich Wolfgang Korngold</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 78</td> <td> Around The World In Eighty Days</td> <td> 1956</td> <td> Victor Young</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 79</td> <td> Hawaii</td> <td> 1966</td> <td> Elmer Bernstein</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 80</td> <td> Lust For Life</td> <td> 1959</td> <td> Miklos Rozsa</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 81</td> <td> The Quiet Man</td> <td> 1952</td> <td> Victor Young</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 82</td> <td> Once Upon A Time In America</td> <td> 1984</td> <td> Ennio Morricone</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 83</td> <td> Our Town</td> <td> 1940</td> <td> Aaron Copland</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 84</td> <td> Out Of Africa</td> <td> 1985</td> <td> John Barry</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 85</td> <td> Julius Caesar</td> <td> 1953</td> <td> Miklos Rozsa</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 86</td> <td> True Grit</td> <td> 1969</td> <td> Elmer Bernstein</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 87</td> <td> The Greatest Story Ever Told</td> <td> 1965</td> <td> Alfred Newman</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 88</td> <td> Double Indemnity</td> <td> 1944</td> <td> Miklos Rozsa</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 89</td> <td> The Uninvited</td> <td> 1944</td> <td> Victor Young</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 90</td> <td> The Robe</td> <td> 1953</td> <td> Alfred Newman</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 91</td> <td> Raintree County</td> <td> 1957</td> <td> Johnny Green</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 92</td> <td> The Sand Pebbles</td> <td> 1966</td> <td> Jerry Goldsmith</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 93</td> <td> The Pink Panther</td> <td> 1964</td> <td> Henry Mancini</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 94</td> <td> The Natural</td> <td> 1984</td> <td> Randy Newman</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 95</td> <td> Taxi Driver</td> <td> 1976</td> <td> Bernard Herrmann</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 96</td> <td> L.A. Confidential</td> <td> 1998</td> <td> Jerry Goldsmith</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 97</td> <td> Goldfinger</td> <td> 1964</td> <td> John Barry</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 98</td> <td> Cocoon</td> <td> 1985</td> <td> James Horner</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 99</td> <td> Batman</td> <td> 1989</td> <td> Danny Elfman</td> </tr> <tr height="20"> <td align="right" height="20" style="height:20px;"> 100</td> <td> Once Upon A Time In The West</td> <td> 1968</td> <td> Ennio Morricone</td> </tr> </tbody></table> The composer with the most mentions is Bernard Herrmann with 10 scores, followed by Miklos Rozsa with 9 and Alfred Newman and Max Steiner tied in third place with 8 apiece. Mr Williams is 4th along with Elmer Bernstein, Jerry Goldsmith and Dmitri Timkin at 7 scores. But interestingly all his 7 scores are also in the Top 50. His highest ranked score is Close Encounters Of The Third Kind and his only noticable omission is Raiders Of The Last Arc. What do you make of this list?

There is no two ways about it. This is a gargantuan humungous capital D DISASTER. Disney is relying on Avengers to make for this. Giacchino's career is unharmed, he possibly made the finest contribution of all involved to the film and will continue to get good big projects. But a really huge loss for Disney. The marketing was terrible and I still can't believe they dropped "of Mars" from the title. One of the worst decisions in the history of the studio system. But like some one said above, I wonder if this film even had any business being made at all. I liked it well enough, and I love the book, but it has already been indirectly made quite a few times. But ah well, such is film business. But in all this hullabaloo about John Carter, people forget that even Scorsese's Hugo was a massive disaster and lost a ton of money. The case with Hugo was possibly worse because it was financed out of the studio system. The producers of that movie are really losing their shirts on that film. But it won universal critical acclaim, and many critics awards and Oscars so people think it was still a success, maybe so, artistically and critically it was a huge success, but financially a disaster. John Carter seems even more of a disaster because it got panned badly even by critics and will get ZERO awards of any kinds.

After listening to the Tintin album a few more times, I think i must add The Scroll's theme to my list, it is an absolute highlight of the score and might stake the claim to actually being the main theme of the score. It is the one that gets the most play in the score, the most development and the most grand performances and as is the most obvious candidate for a concert arrangement. It was also the theme they played at the Oscars when they were playing snippets from every score. http://www.youtube.com/watch?v=Dwlee5b4C8I The most epic rendition is here at 1:34 -> http://www.youtube.com/watch?v=E9R60N-jlNo when Haddock has his first vision in the desert.

Saw the movie again today and there is indeed a ton of stuff not there on the album. Like someone said, this is wall to wall music, barely 10-15 mins in a 2 hour 10 minute film where the music is not present. I first reckoned I'd a keep a mental not of all the cues missing from the album but gave up after 10 or so as I realized its gonna be a lot. We are easily talking about 40-45 minutes of unreleased material and some of it is very good.

Yeah the Pursuit of The Falcon cue on the album and in the film are clearly different - there are overlays, loops, edits, tempo changes and all sorts of things. But overall its the same. This actually is due to the fact that that cue is so specific (some would call it mickey-mousing), the music follows every jump, every action, every movement on the screen to a T. And it is an EXTREMELY complicated cue, one of the most complex of his entire career. Like literally the various sections of the orchestra are simply swirling with thousands of notes at break neck speed. And this cue was possibly completed a year and a half before the sequence was fully animated as Spielberg says in the Score feature. So if a year later when they have a full render of the sequence and wanna change a few things, the highly specific music will go out of sync even if they elongate a jump by 2 seconds. That is the reason for all the overlays and edits, and loops to keep the music in sync. And they are mostly successful. For me the track on the OST album is a masterpiece, one of the triumphs of Williams' career, the climax with the explosion of Tintin's theme is one for the ages. It also sounds very good in the film but there is so much destruction happening on the screen in that cue that there have to be a lot of sound effects and that is why the volume of the music is slightly low. But still its a fantastic piece in the movie too. I am a fan of that sequence even apart from the music, the one take aspect specially raises it to be one of the best in Spielberg's career.

If this score gets some Academy Awards Consideration (and I am thinking that it might), we might get some Promo FYC CDs with a lot of the unreleased music. But inspite of some pieces missing, I think the music on the OST is well chosen and represented. Most of the major cues are present.

I believe this is the music you are referring to, heard in this scene -http://www.youtube.com/watch?v=9ZJizVwZn04 Yes this cue is not on the OST I believe.

Also KK, can you post the from what second to what second in which track is Sola's theme? I couldn't identify it.

Great review KK. Just one question. Why do you call 2:11 – 2:30 in “The Fight for Helium” the B phrase of John Carter's theme. That is the main John Carter theme, its not the B Phrase.If anything, there is a heroic variation of that theme or the second John Carter theme (of the B theme as I would call it) heard in the track Sab Than Pursues the Princess. http://www.youtube.com/watch?v=wT_CihVKFKc Its heard here from 3:22 to 3:33 and again from 3:47 to 3: 57. Its briefly quoted again during the ape scene. I think this is a terrific heroic motif and should have been used more often whenever John Carter did something heroic. So long story short, what you are calling the B phrase is actually the A phrase and the above motif might be called the B phrase (or a variation of the main theme). PS: I really loved this score. It works magnificently in the movie as well. I am gonna watch the movie again just for the score.

I noticed this too. It just seemed utterly random to me. I guess they pulled out chits from a hat.

Giacchino's score is extra-ordinary. Really great work from him. The music almost salvages the film, there are numerous sequences where the music comes to the fore and gives emotion and weight and force to the scene which the scene inherently lacks. The film is good though. Go and catch it guys, its an above average piece of fantasy. But its worth watching simply for the score. I'd watch it again and the score would be a major reason for that.

I am in fucking awe of this score! And the maestro for writing this. I seriously think this is one of the most brilliant scores of the past few years and a solid gold Williams classic, I might even put in my list of Top 5 favorite works by him. I more than love it. On a side note what is extremely intersting is the realization that even the main title sequence was actually scored. Like it wasn't that Williams just wrote some two minute jazz accompaniment to the titles, the music is suspenseful or exciting or heroic in sync with the title sequence. This is one of the reasons I believe that none of the other versions of the main title music is a concert suite of the Tintin theme. A concert version of the heroic Tintin theme wouldn't fit the main title sequence at all. So it is definitely not it. But I do hope that Williams records concert versions of some of the themes from Tintin. The Tintin theme specially. Its one of the best themes he has ever done.

I could easily imagine it taking 9-10 months to write. Its is a score extra-ordinary dexterity and monumental articulation. Not to mention how diffiuclt to perform the entire score is. It must have taken quite a few trials to perfect these recordings. The rest of the time must have been spent in fine-tuning. I think the fine-tuning of this score might have over-lapped with the writing of War Horse's score.

And what is your source of this 16 months figure? This article -> http://www.variety.com/article/VR1118049792/ And the figure might be legit because it has actual quotes from Williams. It says he recorded it over a 16 month period. Also I read this interview with Kathleen Kennedy, the producer of Tintin and War Horse and she said that they began recording the music of Tintin even before War Horse had been green-lit.

God! It is an extremely complicated score, but is such a long time normal? I think it might be because they were constantly fidling with synchronization or something and re-orchestrating material. Compared to this Desplat writes his score is 3-4 weeks (and it shows, or rather sounds). Among contempraries I think Howard Shore (LOTR films) and Horner (Avatar) are the only ones who have taken so long to write a score. Is this Williams longest development period for a score?

No way is it happening, The Artist has as good as already won. IFCMA have much better taste than the Academy, in recent years scores like Social Network, Babel, Slumdog, Brokeback Mountain have won the Academy Award. But I really think that Tintin should and win will here. Williams has a chance to upset at the Oscars but it would be War Horse that would upset at the Oscars (if at all) and not Tintin.

I don't understand why people keep hailing Giacchino as such. Personally, I don't think Williams will have an heir. After all the great A-list composers are gone (Horner, Elfman, Williams, etc.), the new generation will be filled with talented composers but none of them reaching the level of dominance in the industry as Williams did (or the other A-list composers of our time). Of course. Williams is peerless and will always will be. Giacchino is his heir in the sense in this move towards the trash "scores" of Trent Reznor and the likes, Giacchino will hold the baton for large orchestral scores filled with melodic grace. He's not Williams' equal, but will continue in the same tradition but at a lesser plane of achievement. When did Giacchino say he liked Tintin? WQXR? Yep, he said it on WQXR when asked something like what was his most recent favorite score. I would say in today's times its actually a gift. Scores today lack a lightness of touch, an innate cleverness, they all go for serious angst droning or pounding.

Tintin has been out since in October (in Europe) and these guys travel a lot so...And he definitely scored John Carter after the release of Tintin, Dec-Jan is when he scored it. His other themes from John Carter are very good so no beef. He is an ace composer and very probably Williams' heir.