Smeltington

One doesn't need a reason to use more green screen! Keep the world green...screen.

This is such a difficult choice. I won't go on a long discussion on the individual merits of these different passages but I have to say that every time I try to choose, some track from another section pops into my head and I want to choose that section of the score instead. The variety and different dynamics of the score are enormous. I would have chosen Prologue if that would have been an option but now I choose Rivendell. Shore combines there antiquity and serenity with lyricism and melancholy beauty. Throughout the score Shore captures the setting and mood so well in his scores and in Rivendell the relief of brief respite is joined by the shadows darkening outside this haven. Dark thematic ideas lurk in the corners of the serene, learned Elven music, regret, horrors and the Ring all weaving in and out of the material. Even the dusky down cast version of Weakness and Redemption motif in Rivendell's theme at Aragorn's moments of inner conflict is a thing of beauty, sweetened by Arwen's optimism and faith in him.
Also the first appearance of Gondor (in Decline) is something I consider one of the finest moments in the score. Shore really captured the long faded glory of the South Kingdom in his theme, which is noble, ancient sounding, simple and direct and planted a seed for its prominence in RotK. The Council of Elrond sequence in its entirety is well scored, accentuating the moods but also constantly juggling thematic ideas to express the plot elements and subtext. And finally there is the first triumphant rendition of the full Fellowship theme that ends the sequence with a resoundingly satisfying dramatic note.
In the end I would choose everything if I could.
Very well put and mirrors what Shore was trying to do with the music scale-wise. The scope of the story widens and the music widens accordingly.

I attended a John Williams concert in Dublin on Thursday. All the old favourites were played with the noticeable exception of Jaws and the Imperial March. I didn't take the programme with me so I can't remember the exact order of the music, but I do remember that the first 3 or 4 pieces were little known scores to the general public. These include the 10 minute overture from The Cowboys (great performance), JFK (wasn't impressed by the opening trumpet solo performance), Memoirs of a Geisha and the 1941 march (again great energetic performance). The next piece was ET which got a great cheer at the end from the audience, presumably because it was the first piece most of them recognised.
Schlinder's List and Close Encounters finished the first half. The second half saw a succession of classics from Superman, Raiders, Jurassic Park and the four movement suite from The Phantom Menace (sans choir for DOTF, but it sounded great). It was also great to hear Lincoln and War Horse live also, but I would have also liked to have heard Tintin. Luke's theme formed the encore. A good evening, but it was a pity David Brophy wasn't conducting. He usually conducts score concerts in Dublin and he always tells little anecdotes or factoids about each score.
My eavesdropping of people's conversations about John Williams was hilarious. I overheard the following gems:
"JW has won 23 Oscars"
"JW is nominated for at least two Oscars every year"
"My favourite JW theme is The Great Escape"
"Spielberg hired JW for Jaws because he was impressed with his music for the shower scene from Psycho"
"I'm surprised he doesn't play his guitar in more of his scores"
and at the end of the concert
"it all sounds the same except for Star Wars"

You need "a typing master's understanding".

A Hobbit Fuckin' Understanding you say. A new motif? Brilliant BB! Good ears!

But every time I hear it I am reminded of the blasphemous Bunny Sled!

I'd pay to see that!

I'd like to hear Williams score a non-Spielberg film.

I love love love this score. The OST remaster is PHEMONENAL. The range and openness of the sound is amazing. Played it the whole way through. When I left after listening, there was a note on the door "please turn down your music, even if it is wonderful". LOL

Unless you count his municipal banned!

Unless you count his municipal banned!

Unless you count his municipal banned!

This is a good way to look at it. The emphasis and angle should be on the scores, and not so much on the various releases (though there's obviously a place for that type of thing as well).
Take some time—no more than 30 minutes, really—and go through the tutorial on Wikipedia to learn how to add new pages and edit existing ones. It's not nearly as hard or intimidating as it seems.
We may have some of those guidelines for you soon . . . if LeBlanc will check his PMs, perhaps. . . ?
- Uni
Ok, nobody move! I'm making a HP:CoS page

I'm certainly very interested in contributing - it just may take some time for those of us who haven't edited a wiki before to get up to speed. Personally I see it as a great way to collect the kind of information that is mainly only available in scattered posts and threads around this forum. It would be fantastic to have a guide for the layperson that is score-oriented, rather than release-oriented, detailing each score as written/recorded and explaining in detail what releases contain which material. Similar to Jason's extremely helpful cue lists and writeups, but with the potential to be updated by anyone who has further information to contribute.
First things first, I've got to figure out how to add a page...

Or you could be like me and just ghost for years...

Oh wow. This thread has boldly gone where no man has ever gone before.

It sounds like you're blowing a simple comment waaay out of proportion.

To me, it seems like the man just wanted to say something nice about a franchise he loved working on to an audience at a concert. There were no intentions of screwing others over (I don't think he expected anyone outside of the audience to even know what he said) or expressing his arrogance. They were simple words on a series he's fond of.