Yoda Longbottom

Yes, thank goodness. And great job John, you work very quickly! Ray Barnsbury I read the analysis despite not having gotten the score yet, though. And I value John's opinion on the score so much the more. I'm feeling quite relieved people didn't go utterly eye-blinded after both LOTR scores and movies apparently made millions of people coldshoulder every other composers but Howard Shore. Roman.-)

It did, actually. But you have to keep in mind that Europe consists of several independent countries that don't share the playing times at all so with each country it actually IS different. Here where I live (look below my avatar) the movie opens this weekend, and I'm seeing it the week after. Still, 10 days to go or so, so the wait reaůly eats me.

What's Morn, but a second hand emotion? Neil LOL Reminds me I could dust off some of her records and put them back on my playlist. Shame she quit in the biz already, by-the-way.

No "background noisers" for me there...! I have 3 Boston Pops album with JW conducting that I regard as highly as Williams' best scores, and they are "Unforgettable", "It Don' Mean A Thing" and especially "Night And Day Celebrate Sinatra". It might be just a coincidence that he did these around the time of "Schindler's List", my ultimately beloved work by the maestro, but the truth is I listen to the very very often. As "Unforgettable" goes, I love all the songs on it, with a slight exception on "The Way We Were", that I think could have been an inch less passionate. Some tracks remind me of the orchestration on E.T. score, so that's perhaps why I love "Unforgettable" so much. And the "Begin the Beguine" is my ultimate mood-lifter. Well, "Smoke Gets In Your Eyes" really does sound as if arranged in the thirties, that's that plain genuine. "Night And Day", for me, is yet a notch better, but that comes down to attitudinal stance. "It Don't Mean A Thing" is, on the other hand, my most listened-to CD ever. There's something about it that I absolutely love. I did a compilation of this album and Party Sequence from Sabrina that I put at the end. It doesn't work as I thought it would when put together, but that party sequence is still Williams' at his best arranging skills as ever. Roman.-)

Would I be worried only if GL had a son who would have a crush on Rowling's daughter through whom GL's son would insist on the author to allow GL's son's father to put his hands on the prequel project, but that ain't gonna come about, ever....

No plans on the eighth book as a "sequel". Rather, if the author ever considers writing more for the Potter, then go back prior to Harry's birthday, perhaps a book or two about his parents. That death must be a good start point from where to unfold a solid story.

It does make very little sense if it's gonna be the way things will disentangle in the final year. If Harry represents the "good" in the story and Voldermont is the evil, than Rowling has never aimed HP at kids who believe in the fairytales because evil shouldn't beat the good, even though dying alongwith as a result. For me, the books have the only one character representing the good, and that's Harry. And it would be a stupid end to a great story anyway, so cheap (and now even more predictable). I hope Rowling continues writing with open-eyed and open-minded attitude and with a notion of what's rumored. Not that she should be making changes as fans reveal more and more of what might come next, but I hope she'll be original about the ending.

Lucky you! I even bought the same release of Beethoven's fifth twice over 3 years thinking I haven't yet gotten that specific title, though the cover of the CD seemed to ring a bell with me. My collection is not organized, though I try to couple all Star Wars together as well as Sinatra's CDs.

Granted, though people have been mentioning all kinds of woodwinds here, not just flutes. Yes, any woodwinds here. And I even thought of altering the topic's title but I couldn't figure out how does Joe do.

Not anymore, my friend. You can even have the composer score the movie in less than 13 days nowadays, so it's never too late.

LOL Well, at his age, Justin. Good point, though .......

Hmmmmm maybe I should look into this. I hope you have a better luck with this title than I had. I can't find it anywhere for order. I don't even know who did release it. I want one of such CDs, though. Need to be better informed of what instruments I'm hearing. I agree that knowing what "plays" exúpands upon enjoyment.

That "Flute", but even practically anything that sounds like a flute to me. I even confuse whistles and piccolos for flutes, so feel free to post any woodwind instrument solo that laid hold of your heart. I'm chewing it all up.

"Mentioned" 3 times by the time you posted. Maybe even four times, suppose the Flying Sequence is from the E.T. That's not that bad, either.

What's a wife? It is when sex stops being a hobby and gets filed alongside usual everyday chores.

You're right, Mark. My list rather stands as my all time favorite tracks. I didn't pay much attention to the "beautiful" adjective at first... So I'm replacing Imperial March with "Love Theme" from Superman and that "Hedwig's Theme" loses its tie-split and becomes my bonus beau track of the list.

The Hologram/Binary Sunset (Star Wars) Imperial March (Empire Strikes Back) Three Million Light Years from Home (E.T.) Born on the Fourth of July (Born on the Fourth of July) Main Titles/Somewhere in my Memory (Home Alone) Welcome to Jurassic Park (Jurassic Park) Remembrances (Schindler's List) Seven Years in Tibet (Seven Years in Tibet) Hymn to the Fallen (Saving Private Ryan) tie between Hedwig's Theme (Harry Potter) and Confrontation with Count Dooku and Finale (Attack of the Clones)

Hmm, I agree that it could be a few degrees more silent than it actually is. In this particular score it sounds as if the soloist wanted to drown out the orchestra. So, a little more subtlety, yes, but I love the poignancy with wich he reads the Ludlows theme particularly. In all scores, particularly in Willow, the shakuhachi is so loud that it even squeaks at parts (as though speakers wouldn't be able to catch up performing).

Slightly inspired by the description of the newest JW's work for "The Terminal" I come up with this topic. I hope it hadn't been posted before as a topic. Would you find any noteworthy flute performances (solos) in film scores? I'm primarily interested in the "poignant" readings of themes or motifs or whatever it's called, something that appears for more than a few bars to play important part in a film score, but anything would help. For the future, I would consider making a compilation of such flute-featured pieces, my first ever comp, suppose you help me pile up a solid number of worthy pieces. It can be any composer's work, even LOTR. I'm not sure whether James Horner's frequent use of shakuhachi (sp???) is practically his substitution for standard flute, but I like what he had it perform on Legends of the Fall. Had it been flute or clarinet, I'd like it even better, though nothing can ever beat English horns as for woodwinds for me. Thanx! Roman.-)

If the purpose of soundtracks is the music on them, then I'd think they adjust the data track's length within the content to the remaining space left by the score. It would be funny if they told Williams to compose a score to consume not more than 600 megabytes of space (who the hell is supposed to tell how much playing time that number represents), because they need to squeeze big JPG and DLL files onto the disc! If this is the trend, indeed, then Williams will be left to compose 5-minute suites for his upcoming scores for the rest of the disc will be multimedia stuff. guys, we should go back to records. Do any vinyl records have multimedia stuff at the end of the track? I'm not certainly sure now.

They could perhaps lose money from the standard album releases sales suppose the "full-blown" sets are complete and definite. They might come one day, though, after the time will prove HP scores worthy of such treatment, which could still take long years to happen.

Ah, Steef, you do see that thing that's part of your signature in every thing that lives in pair of two, correct? I wish I were young and innocent again. I'm missing those years terribly.

Then I'd like to have this clarified: who are HP scores made for/targeted at? For the long-time JW fans? For HP movies/books fans exclusively? For both of the both? Or just for the demands of the movie? Perhaps they're compromise to be as serviceable as possible with 70 minutes as presented on the score to appeal to as wide a community as desireable. I mean, unlike with majority of JW's previous scores, isn't working on HP limited way too more than on any other project he did, even the Hook that HP is being oddly measured by all the time? I think it must be accessible to young HP fans in the first place, so the music perhaps carries the side-effects of for-youngsters-chewable simplicity while remaining as Williams' work as only JW can punch into such demands-constrained task. Who knows. He who listens and hears might know best...

YMCA (feat. Bee Gees on backing vocals)