Quintus

It's the juxtaposition of the big, romantic music vs. the tender 'little' story which thrusts E.T. into the upper echelons of potent movie scorcery, particulary during the closing seconds. See, Williams is telling us that it isn't really a little story all; but actually a huge, historic moment for Mankind. It's genius. The closing shot on Elliot is so brilliantly symbolic, it's one of Spielberg's very best and I freakin' love it.

Only a blithering fool would suggest otherwise. For you, yes. For me, no. Prisoner of Azkaban is the definive Potter score, as far as I'm concerned.

Yeah.

Hook is possibly the most overscored movie of Williams' entire career. It's just that he happens to dress his 'filler' up with awesome amounts of ace brass, boom-tish and whatever else he can muster from his orchestration chops repertoire. It's like the best damn filler music on the market, but it's still just filler. I'm not referring to any of the amazing thematic stuff, by the way.

Ebay.

Well then... why not just stop watchin' it?

About a month ago (), I remember KM saying that after having a listen to the extended Avatar album, he remarked that there was quite a bit of 'filler' in the score - generally accepted as being music of only minimal interest, or 'padding'. Which led me to think about instances were JW has created film music of the same nature, where sometimes the music becomes merely a means to an end. Does he even take this approach with his work, or are you of the belief that every single note is lovingly hand crafted by the passionate, hard working maestro? Surely it's fair to suggest that sometimes even John Williams is at a loss for ideas at certain points during his writing process and that perhaps even he switches on a bit of autopilot, in order to meet deadlines, and get paid... And whilst we're on about it, who do you think is undisputed king of filler? I know who I think is: Howard Shore.

Thanks Incanus. @Publicist There is only a vague similarity as far as I'm concerned... the first couple of notes or so; but the form and tone are completely different. I regard it as an original melody, which I'm actually glad I'm able to say for once, about a Horner composition.

I've not had chance to listen to the whole thing yet, but I'm pleased with what I have heard so no complaints from me. Does anyone know if the complete final battle music is there and is it presented in chronological order? Also, exactly which tracks are in mono?

Donner's Metropolis didn't even attempt to disguise the fact that it was really New York. Still worked great though.

I thought the main theme was original to this movie, or are you referring to the tribe theme?

I've not listened to "You Don't Dream in Cryo" yet. What's the difference to the film version?

All I will say is I'm really pleased with my swanky new pair of wellington boots.

I suppose it's no different to the day to day goings on on JWFan. Being here is a state of mind.

I'm all for jokes made in bad taste, but that's just a shit joke.

OMG no. Damn that's sad. He is immortalised forever though, playing a really great part in the best vampire movie ever made. RIP.

Maybe, unless the abridged ost version is the one with the tracking all over it.

He's grown out of it, plus the fact that the prequels have forever tarnished it, for him.

Just had a quick listen before shooting off to work. It has the cue I was after, it's called 'Quaritch Down' and it features the "Eywa's heard you" music, heard near the end of the movie. That's me happy. EDIT, with further observations: I've seen the final battle scene enough times to be pretty sure that the music heard in the track I just mentioned is the EXACT film edit - everything from "Eywa's heard you" right up until the cue finishes matches the movie exactly, I'm pretty certain. It also seems that the "War" cue on the ost uses alternative performances in parts of the track - the 'Quaritch Down' cue from the promo features almost similar performances to those on the ost, but the promo definitely features the 'true' film versions. It's a really great cue.

It's Daniel Day Lewis playing Orson Wells playing Charles Foster Kane! But yeah, John Huston sorta fits too.

Please tell us you're joking and that wasn't really you who won it? I'm stupid, but I'm not THAT stupid.

So what you're trying to say is that I've basically just blown $3,060.

I didn't dislike WTWTA - I thought it was a really warm film and Gandolfini was wonderful in it, but something about it was lacking, can't quite say what though. I think maybe I just had too high expectations from Spike Jonze (Being John Malkovich is a fave of mine).

In Gangs of New York he plays Captain Hook and in There Will Be Blood he plays Orson Wells.

A good screener has been doing the rounds for a while now.