Smeltington

I had to look it up... Best Makeup and Hairstyling. If that movie deserved any Oscar, it would be that one, so I guess I can't be mad.

Good! He's already won the Oscar in my heart.

Yeah, I was not a fan of the trailer, so I'm ok for Giacchino to be relegated to this project. Although he might go into Pixar mode and come up with one of his better efforts.

Love it! A fitting tribute. Nice quotes from Williams in the article. Now we just need a Fanfare for the Dedication of John Williams Music Building!

I hope he's achieved Star Wars collector enlightenment by now. At least he's willing to share!

I'm going to save up my entire life and buy one. I'll press the button to fire the little plastic missile, shed a single nostalgic tear, and whisper "it was all worth it." Then I'll finally pass away, at peace with myself and content with my life, knowing I was one of the few to experience the true Boba Fett toy, the one that held the key to all the secrets of the universe.

By this metric, Rise of Skywalker is the BEST Star Wars movie!

I liked the movie, I don't ever mention that because I don't want to argue about it, but I guess I can say it here. It had a lot of fun elements of adventure, I liked that Rey developed an altruistic Jedi-like attitude (helping children and animals), I liked Palpy even though he had no reason to be there, Exegol was cool, and not to mention John Williams was in it. I LOVE the score, I feel like Williams was inspired. The new themes are cool, and the sound world of the score has lots of great nuances to it that give it a little more personality than the TLJ score for example. I almost lost my shit the first time I heard the Anthem of Evil track on the OST with the wonderfully understated vocals - a new angle for the Sith, quietly menacing, with the one big outburst to remind you that they'll still fuck you up. I like the uplifting themes in the title track, highlighting some of the more noble ideals our heroes have been fighting for as the fight comes to an(other) end. In the film I liked how much the Knights of Ren theme asserted itself, and always in a little bit different guise. Speeder Chase and A New Home are highlights as well.

It's kinda hard to picture Williams choosing the Batman theme, and for some reason Back to the Future also feels like a stretch. 1917 must be in there as a token modern selection. The rest seem on point. Also... this concert looks fucking awesome!!

Where can we find the metadata? Is he referring to CD text?

Wow they really are the same!

That had already been done before the modern "AI" era, with computer software written for this specific purpose. That's gonna be so boring! Ultimately we're going to need AI to tell us what's AI-generated and what's real, right? And I love George Carlin, and if the AI can do a good enough George Carlin then I'll listen and laugh. But I guess I'll feel the same way about it that I feel about biopics... it's disingenuous in that it gives you a false impression of a real person by presenting an "interpretation" rather than their reality, even if it manages to be good art and/or entertainment in and of itself.

I love @Chewy and @crumbs! That's a really nice cue. Great find guys!

Don't you mean the Man with the Golden Smith?

That'll be something to look forward to one day. Good, I don't want NO danger motif, it just wouldn't be right!

Sure, what's there is fantastic. It just feels a lot different from what another composer might have done. Or even from what Horner himself might have done earlier in his career.

Yeah, Braveheart does kind of the same thing, it's full of epic battles and violence but the music doesn't always sound like "battle" music when you hear it on its own. That score has a much softer approach than you would expect given its subject matter.

Having never seen the movie or heard the score, I gave this a first listen recently. From what I know about the film I expected Spanish sounds, and lots of swashbuckling. Well, the first thing you hear is a very Spanish-sounding chord to open the whole score, then a brief pause, and we continue with... surprise... SHAKUHACHI!!! I mean, it's Horner, duh, but still, lol. The rest of the score had a lot less of an action/adventure feel than I was expecting, and the amount of danger motifs in the climax were a bit much for me. Overall I was a bit disappointed. But I'm still excited to listen again and hopefully discover everything there is to like about the score vs. my expectations. I did enjoy the Flamenco percussion (if that's the right term) quite a bit, and of course the smooth, silky Horner-ness of it all.

And baseball is covered with Fanfare for Fenway!

Re: Azkaban, I always felt like after so much of the HP1 score was repeated in HP2, he probably felt obligated to give us something completely new. Of course Cuaron's input must have been a factor too, and I also think the film itself felt fresh and different and JW got inspired. As for the eras of his work, it can be divided into BL (Before Ludlow) and AL (After Ludlow). That was the pivotal moment, and things would never be the same!

Woww that pic is traumatic to look at, lol.

Dude, great work! That's adorable. Are the whiskers edible??

I don't feel like Close Encounters has reached across generations in the same way as Jaws, ET, and Indy, regardless of its reception at the time, or its status among film buffs. Of course we can argue about what a "classic" is, but that's my perception. And the movie relies on the music in a very direct way, with the line blurring between score and diegetic music, so the success of the film owes even more to the success of the music than most films do. This is a great point. The movie is probably too campy to have endured this long if it weren't for certain memorable elements like Williams' theme, and Reeve in the title role.

There are probably going to be some controversial opinions in this thread, and mine is that Close Encounters wouldn't really have enough going for it if it didn't have Williams' score. You mean one of the problems is the amount of rehashed material?