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Nothing's wrong, eh? ;-)

I've been meaning to go through some of the scores I have and look at how they are constructed. There must be somewhat of a common bond between them.

Fawkes the Phoenix....

I realize the reference... It just makes me laugh a lot, ironically...

Why would you bring the ST TMP CD to a Horner signing? http://www.youtube.com/watch?v=yWihpHCVXug I can't stop laughing!

Well when you put it that way...... What's with Steef? Hehe...

This is just an awesome (and also underrated) track, I dunno why we so rarely talk about it. The version found on the WIlliams on Williams album is just as great, although I still prefer the original. Sweet, sentimental, warm-hearted, soothing, and also slightly funny toward the end. In its tone and atmosphere, slightly reminiscent of "The Arrival Of Tink" from Hook, IMO. Word... absolutely one of his best! Being new here, I just assumed that it had already been talked about to the point of exhaustion, being such a great track. I guess that's not necessarily the case. Perhaps a new thread is in order...

Exactly... you said better what I couldn't quite specifically nail down. Nick66 and I agree on something! How 'bout that?

That seems all the more reason for me to NOT be listed, wouldn't you say?

Personally, I think Giaccino is up for the task, but I don't think his style is appropriate. I do hope that if Williams doesn't do it, that JJ will realize this and get John Powell. But politics in Hollywood are an even stronger force than the Force these days. Either way, they're gonna need to get Mark Hamill to a f#ckin' gym....

I don't even know why I'm listed, honestly...

I am really enjoying reading this thread, but have been waiting to contribute. There are a lot of very good thoughts here. I think I have to side with the notion that John Williams is about as innovative as a film composer is allowed to be, and even then he does push on the walls. Why do we all gather here? We gather here for this reason. How is it that someone can push the boundaries of film composing, and somehow still make it listenable? I think a lot of this discussion has to do with the word "innovative" itself. However, I don't know if what is meant by being musically "innovative" would be appropriate for whichever hypothetical film. Also, as said before, innovation does seem to be a young man's game. Independent films seem to be "innovating" all the time in both the films themselves, and the scores. But are they any good? I always harken back to "The Social Network". That score is extremely innovative, even if in just one way: utilizing the Swarmatron... but is it appropriate? Maybe... Is it good? Absolutely not. Would we hire John Williams to write a concerto for swarmatron and electronic orchestra? Probably not. Could he write one? Probably... would it be good? Most likely. Would that make him innovative? To some people perhaps, but I still believe that one has to be true to oneself. To me, the truly innovative nature of John Williams has not to do with pushing the musical limits of the world. It has more to do with how well he can paint a picture with music, many many DIFFERENT pictures in fact, but still remain true to his signature sound. That nuance is one of the most difficult concepts to get, and it shows his finely aged experience. You can see this in scores like Lincoln, Stepmom, and especially The Terminal. He has always been pushing the limits of film music, not just pushing, but redefining what it will be for the next decade, and all the other composers will be trying to keep up. He defined what the scoring style in the 1980s was going to be back in the 70s with Jaws, Star Wars, etc... The 80s were full of epic scores. That tradition continued even into the 90s. In the 80s he defined what the 90s was going to be with scores like The Accidental Tourist and Born on the Fourth of July. The 90s were full of scores that had a more subdued quality. But at the same time, John didn't allow himself to be defined by any of this. He wrote scores like Jurassic Park, and many others that went against this subdued approach. If you look at his scores from 1993-2000, most of them are more subdued, but he was redefining the approach the whole way, all somehow within the confines of film. He obviously didn't feel that just because a score is subdued, it should be void of cerebral allure. (James Horner fell into that trap, unfortunately.) And honestly, right now I think we are seeing the effects that A.I. and Minority Report have had on the film score industry. Those scores are over 10 years old already. I feel like I could go on, but I don't feel the need to do so. I think that if you are looking for musically innovative of the world, then film music is not necessarily the place for it. However, John Williams is definitely the most innovative inside the confines of film music as one could possibly be. It is true that artists plateau, and he cannot escape that either. I think that he may be on one right now, but it also may be due to the projects for which he is writing. I hope that we see one more surge from him soon. Perhaps if he lives long enough to score the next Star Wars film, perhaps he can completely redefine the huge staple that he established long ago and that has lasted for so many years. We will see. I know it's in there somewhere.

KK, you have a tendency to say this a lot, and it always makes me laugh out loud.

hmmm... I didn't know jokes weren't allowed on this forum...

Wow. This has to be one of the most unique lists I've seen yet. Very interesting. . . . - Uni Taste... sheer taste... She's just not fooled by fireworks like the rest of us.

That made me I think it is pretty clear that Horner could really write some amazing music in his earlier days. I find that as it gets into the mid to late 90s, not so much. Does anyone have any speculation on why that may be. It's like his style completely changed, but not necessarily for the better. Or perhaps he was becoming more mature by looking to be more simple. I look at Wrath of Khan and Willow.... and then I look at Titanic... it's like it's two different people. Braveheart was good, though. Anyone have any thoughts on that? How old is he now anyway? I DO think that if he appears as a guest, they should show Captain EO as a tribute...

That was a deliberate artistic decision by the conductor maybe to make it even more triumphant... The orchestra is one of the top 5 in the world and certainly has no problems to keep up. It's always the conductors decision how to interpret the music. By the way i was one of the 100000 people in the audience That's fantastic!! Vienna Symphony is no doubt one of my absolute favorites in the world. They have always had the best french horn section anywhere, in my opinion. I have to say that I'm not really a fan of the interpretation to slow down. Ritardandos and rallentandos are fine, but I believe the piece needs to move. When I heard the San Diego Symphony do it last month, Williams was conducting, and unfortunately the brass kind of had their own idea of how to pace things. Some of those trombone figures are really difficult, so I can imagine it being hard to keep up at times. It happens, even to the greatest players in the world. It only takes one for everything to start to drag. That Hollywood Sound recording is really quite good... I think it is definitely superior to Gerhardt. I've always found the Gerhardt a bit too "classical" if that makes sense. It is reserved, which is part of what makes it great and unique. The original still wins for me, though. It seems to be the only one that has the maximum amount of emotional impact at the opening note, and also is still the most edgy. Edginess in the engineering really wins for me when it comes to Star Wars. Ride that gain baby!

Since I reset my play counts Christmas at Hogwarts - HP1 Buckbeak's Flight - HP3 Navy Planes - CE3K Gilderoy Lockhart - HP2 The Knight Bus - HP3 A Window to the Past - HP3 Fawkes the Phoenix - HP2 Moaning Myrtle - HP2 Dobby the House Elf - HP2 Aunt Marge's Waltz - HP3 Yes... I know there's a lot of Harry Potter.... I'm kind of preparing for something. Funny how Navy Planes ended up in there somehow...

Hath spake... past tense...

I don't believe I have been on here long enough to even be on the list actually.... But thank you for including me...

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Yes..! It's like hearing the piece for the first time and seeing over 100,000 people attending on that location is stunning in itself. Interesting, the orchestra seems to have trouble keeping pace... it's slowed down about 20 clicks by the time they get to the bridge.... odd for Vienna....

Very well put.

1. Death of Topthorn 2. Dartmoor, 1912 3. The Reunion 4. I Dreamed a Dream (Les Misérables) 5. The Adventure Continues 6. With Malice Toward None 7. Capturing Mr. Silk 8. Fate and Destiny (Brave) 9. Cowboy! (Toy Story 3) 10. Waltz for Peppy (The Artist)