Quintus

Ha ha ha what a load of shit
I love it when trips to the cinema are purposely made less cinematic, it's great.

Abrams is hugely overrated as a director and I think the expectation surrounding him is overblown and unfair (on him). He should be making Final Destination movies or something, Jeepers Creepers 3, that sort of thing. Instead he's been given these massive budgets and the keys to the city to make these thunderous blockbusters off the back of a bloated but successful tv show. He's being asked to be the new Spielberg, when he's yet to make his Jaws.

If we're going way back...
https://www.youtube.com/watch?v=zKjFgdgp7yY

It's a sweet theme with a lush melody.

LOVE the Starman theme, although I normally listen to the orchestral recording.

I love Vangelis' The Bounty

I have no idea either

That's obviously an error - Nolan doesn't care for good music in his films.

I'm sorry if I digress for a moment, but sometimes I think I'm either too dumb or too smart to understand things. And the connection between a movie soundtrack and shiny stickers or postcards is a big mystery to me.
Who buys a soundtrack for postcards?
If I bought a CD with stickers, I would only think "great, where shall I put this crap?"

As long as is not used when thorin goes nuts...

Laughing my bottom off!

Probably old, but it amused me.

Probably old, but it amused me.

Hang on a minute! Whenever Superman is seen saving people from danger, Joey stops POSTING ON THE BOARD!!!

The laconic simplicity of Eastwood's work is deeply underrated and a perfect match for his pictures. Williams's extravagantly ornate style would be decidedly out of place.

Heh, Best action music writer in history. His action music in TOD and Return of the Jedi is the best ever in the history of music.

I most certainly do not think that he promised anything! I think that he has been in discussion with Disney, Giacchino, and Williams, and - as he said - right now, at this early stage, he believes Williams will be scoring it. That doesn't mean there's a contract signed, it means that Abrams believes Williams will score it - like he said.

This just in for Thor: humour isn't restricted to YOUR personal perception of it.
Yes, and it was was very funny for it!
Oh shut up!

This just in for Thor: humour isn't restricted to YOUR personal perception of it.
Yes, and it was was very funny for it!
Oh shut up!

Oh it was funny because it was so true.

Oh, boy.
That cue is new, I think. It's from the current season. So it'll be unrealased for a while. I don't expect them to leave that off the CD...
His work is pretty awesome, some cool cues here and there. Fairy tale twinkling music, big epic melodies, "slapstick" music, weird effects for different characters and ideas, some RC stuff as well, even Bond like music at times... a fun melting pot.
I started doing a cue by cue analysis on his work on the last two episodes of season 5 but I accidentally deleted it halfway through when my big hard drive catastrophe.
Some tracks from the CDs (I haven't heard everything):

Little Amy

The Silurians



A River of Tears

Day of the Moon
The Pandorica
Words Win Wars
Amy's Theme




The Life and Death of Amy Pond
The Sad Man with a Box
Abigail's Song

Victory of the Daleks





etc etc
This from the top of my head, naturally his work is more extensive and is diminished by being relases of one or two CDs for entire seasons.

Really?

Disclaimer: Hans and I are friends (well, friendly), and we have both said many nice things about the other's work, so there'll be no bashing here, but he did say something to me once that I thought was interesting. He said he felt that today's movies "reject" themes; something about the nature of the way they're conceived and cut. The context of the discussion was my sort of "John Williams" approach to scoring, structurally/thematically, which he felt was, "not in vogue."
It was one of our earlier meetings, so I didn't argue the point, but I was tempted to say that I didn't really agree we have a whole host of young composers with the decades-of-training long-form chops to even be able to pull off that sort of approach, which makes the whole thing a self-selecting set. That is, they do not want what they cannot get. But there are some of us who were trained old-school, yet fully embrace and appreciate modern sounds and palettes, and believe that the structural essence of the golden era of film scoring needn't have been thrown out with the bathwater. Still, with 90% of work passing through Remote Control productions one way or another, we are unquestionably in the throes of an era unto itself. Hans is a nice guy; he didn't ask to be the template for every other film's score, he's absolutely clear about his priorities, and they're apparent in the work.
I guess all of this is to say that the current Alpha Dog in filmscoring isn't inclined towards thematic, traditionally-developed film music on a lot of levels and for many reasons, which sort of guarantees that those of us heavily influenced by the original Williams score are going to be really, really unhappy. But in the end, there's no question that the entire Williams approach has been consciously discarded, so you can't really compare the two. This Superman has little in common with the Donner film in any case, at its core.
_Mike