Datameister

I'm really puzzled. Very curious to learn what the second disc is for. If it's a substantial increase in sound quality over the FSM release, though, I'll fairly likely triple-dip regardless of whether there are any unexpected additional tracks. The FSM release's sound is a gargantuan step up from the OST, but I could imagine further improvement. It'd be a bummer to pay the two-disc price without much new material, but this is a simply fantastic score.

Meh, life's too short to stress over people who judge others' tastes and interests. Pick any given genre, composer, ensemble, or whatever, and there will be thousands of people out there (at least) who will turn up their noses. Doesn't change the enjoyment we get out of the music. Best we can do is decide not to act like that when it comes to art that's outside our own tastes.

I would agree with that, I think. And then Falcon and Winter Soldier is probably tied with the final two episodes of WandaVision for me.

My preferred aspect ratio is 479:380, with six rectangular pixels removed from tasteful locations around the perimeter and another near the middle. This should alternate between landscape and portrait orientations every 13 frames.

Lots of good stuff in the previous posts. To sum up: In the olden days, you'd often see something like Reel 2 Part 3, perhaps abbreviated to something like R2P3 or R 2 Pt 3. This indicates the third cue of the second reel. For cues that spanned two reels, you might see R5/6 Pt 4/1 (so the fourth cue of reel 5 into the first cue of reel 6). Over time, this morphed into the 2M3 format. (Williams switched in the mid-90s; some other composers switched earlier.) You also sometimes see this as M23, especially in earlier scores. I've also seen just M1, M2, M3, etc. for smaller, les

I'm a little confused...is the idea to pick your ten favorite scores by another composer and stack them up against the Williams scores you've picked?

It certainly looks that way, yeah. I just meant that it hurt to see him get pruned at the time, since the mid-credits surprise obviously hadn't happened yet

Quite an episode this week! The folks behind the show are still making good on their promise that each episode would kinda redefine what the show was. Very curious to see where things go in the remaining couple of episodes. I'm gonna be sad to see this one end - sadder than with either of its predecessors, I think. The only real issue I have with this show is the fight scenes...unlike with a lot of Marvel action, the modest scope and lengthier shots allow me to follow what's going on, but the stunt choreography is just not very interesting to me. But yeah, otherwise I'm

I really enjoy most of it. My gut response to the poll question is no, though. Powell's themes don't collectively reach the level of "great" to me, and while I really like his handling of Williams's new themes, I'm less enthusiastic about his handling of previous Williams material. Overall - fun score that fits the film.

Innnnnnteresting!

I'd like this one to ditch the rather dull underscore that causes KOTCS to drag. Those sorts of scenes are scored in more interesting ways in the first three films. Along with that, naturally I'm hoping for fun, fresh themes for the MacGuffin, villains, and new characters. Ultimately, I'd really just like to come away from the film and score with the feeling that these were crucial additions/conclusions to the series.

Best use of leitmotif I've heard in television is LOST. Giacchino developed quite an extensive catalog of themes for characters, ideas, and locations.

I feel like Spidey 2's greatest strength is Doc Ock's theme. The Goblin's theme is a very slithery and appropriate baddie theme, but I really dig the low brass in its successor. Otherwise I somewhat prefer the first score. Batman is interesting. I like the first score in the film but haven't ever acquired it on album; I do have the second score, but I have kind of a love-hate relationship with that one. Lots of good moments but it gets on my nerves after a while.

I have to be in the right mood to listen to Alien, but I've never even bothered with Aliens on album, so I suppose I should vote for Alien. As with many Horner scores, Aliens sounds like...many Horner scores. At least that has been my impression while watching the film. It's effective enough but I've never noticed anything distinctive enough to motivate me to seek out the album. Of course, as Alien handily demonstrates, the music in a film isn't necessarily a good indicator of the whole score as it was recorded, so what do I know?

Episode 2 made a little more sense to me with a second watch. (I also enjoyed it significantly more the second time.) But yeah, time travel stuff can get muddled soooooo easily. My feeling so far is that this show's success as entertainment relies almost entirely on the tremendous charm and chemistry of Hiddleston's and Wilson's performances. Not that that's a bad thing, I suppose.