Datameister

Soli

I haven't really seen many films of this type. Of the poll options, I've only seen Civil War and it's definitely not my favorite Marvel film.

The POA flute solo came to mind just from the thread title alone. And of course, let's not forget all the crazy stuff in Hedwig's theme. There are some fun soloistic moments for the piano in Snowy's theme. And doesn't The Terminal have some good stuff for clarinet? (It's been a loooooong time since I've heard that one.)

Original BSG albums, I said...Stu Phillips all the way!

I don't know that I have any big regrets. I might have picked up more of the original BSG albums if they'd still been in print; I only got volume 1. But ever since I started following this little niche market, I've pretty much bought every limited release I was interested in. If War of the Worlds sold out right now, it might end up making my list in the future, since I haven't picked that one up. I keep debating it - my enthusiasm for the OST fluctuates and isn't usually very strong.

Giacchino's for me. @Disco Stu nailed it - Tyler's starts off stronger, but I really enjoy the way Giacchino's builds.

Right, but the theme he wrote in TPM was designed as a sort of sweetly twisted offshoot of the Imperial March, as the OP noted. The question was whether he did in fact allow them to morph together in ROTS as one might have expected; the answer is no.

As much as I'd like to believe Williams put a bunch of work into developing Anakin's leitmotif into something darker for ROTS...the reality is he didn't. There's that one unreleased cameo appearance in Scenes and Dreams, and that's it. Otherwise, his writing for Anakin is either non-thematic or based on little one-off motifs. Occasionally there will be bits of phrases that sound like distant relatives of Anakin's theme, but those seem to just be the byproduct of Williams only having 12 notes at his disposal.

CE3K is a weird movie!

The kids' haircuts are more dated than the adults'. Both films still feel very, very 70s to me, but in a way I like.

Jaws for all three. I loved it on first viewing/listening and that's never changed. CE3K has been more of an acquired taste for me, but I'm definitely acquiring it. The LLL release helped. Dunno if it'll ever fully catch up with Jaws for me...we'll see. But both films and scores are iconic for good reason.

That doesn't sound right; four of the movements were included in the album, three of them in complete form.

That's a good review. I agree with much of it and can appreciate the validity of the rest. I'm not a huge Marvel enthusiast, so my perspective is different from many viewers', but I thought the show overall had interesting ideas that it didn't always execute very well. I particularly hated how uncomfortable I was with Sam's big speech - the filmmaking itself was just distractingly awkward for me, even though I loved the writing and the message. (And Mackie was killing it, per usual.)

Well that'll turn everything topsy-turvy...

I've never found R1 to be atrocious. In my opinion, it just doesn't really play to MG's strengths. As instrumental as Star Wars was in his growing to love film scores, his compositional style is just very different. R1 is straight-up pastiche, and it's hard to write really good Williams pastiche. On paper, R1 has what you'd expect from a Star Wars score, whether you know the jargon for it or not: the chromatically planing minor chord triplets, the long-lined romantic melodies starting with upward leaps of a sixth, the militaristic i-bvi chord progressions for the baddies, etc. But it doesn't f