Quintus

I'll take grain over overdone DNR.

Rear Window is the weakest of the three IMO.

I tried Peaky Blinders once and it just felt like big budget Eastenders.

There, he said it quite openly, he's possibly interested. So if the showrunners don't even speak to Shore about it and just go in another direction, basically fuck this show. I'm really fearful of a Djawadi style approach with this.

And you are?

Second season of Cobra Kai in the bag. Wtf this is somehow my favourite show now

A lack of concert arrangements on modern scores is another reason why film music sucks these days

I actually lament the passing of the days when that sort of effort was part and parcel of getting into a score.

Romão's was not even a creme de la creme list and it still utterly smashes all new music in movies.

That's another major issue. To think that a now wholly average Alan Silvestri is behind the unremarkable music to what is the biggest grossing blockbuster of all time, and people apparently rave about it... that's where scoring is now, that's the zenith.

This is where differing definitions always come into it.

I remember when I first heard Balfe on Crysis 2 (yet another higher end video game score) and I thought, "hey here's another guy to watch." But then he went to Hollywood and blended in with the rest of the current dirge, took the pay and slotted himself in.

Not at all, Erik. Thanks for the list of names, I would *sincerely* love to see some of your suggestions rise up and be given the opportunity to prove themselves and indeed carry that torch. Fuck, I'd love nothing more. But apparently film scoring work isn't really the right environment at the moment for that kind of thing to happen. Artistry doesn't seem to be nurtured in a way we would like it to be, or at least to an extent where it can make a big splash on the scene. Yet I believe that real talent, the blood n guts god given stuff, does rise up above these challenges. And if it doesn't, it was probably never really good enough to begin with.

This compared to previous decades where there were outstanding scores coming out from every left right and centre of Hollywood and elsewhere, written by absolute virtuosos and downright musical prodigies. It was like that for years and years and years. Even B-movies and lesser had very fine music written for them.

I remember after reading the book and enjoying the Robert Baratheon character, I was like whaaaaa? after learning they'd cast Mark Addy in the TV version. But he did okay really, he wasn't bad. Addy was nowhere near as imposing and larger-than-life than the Martin original, though

Gia fan? Desplat? Or are we talking Powell? I'll be more specific: when JW passes, great film scoring in the neo-romantic style will be dead. None of this watered down substitute from the likes of those guys mentioned above.

The truth hurts!

Of all things, State of Decay 2 is my favourite soundtrack of the past 12 months. I never would have thunk. Composer Jesper Kyd is awesome.

I mostly just stick to video game soundtracks these days, mostly. Prefer what I hear there.

But according to the admin here movie music is in great shape right now and there's plenty to talk about; we don't require more interesting or more controversial topics at JWFan. Little wonder I have all but abandoned what used to be a major hobby and barely ever listen to film music anymore, especially the new stuff. Film music is dead as disco. When Williams does pass, it's all over.

Fried Green Tomatoes.

Everyone.

Whatever you're into.

Yeah Back to the Future is another. I can't find fault in it.

Jaws and Raiders for me. Fellowship gets closest of the trilogy.