Bespin

Interesting article where Denis Villeneuve talk about how his roots in Catholic Quebec influenced the way that he wrote and directed the Dune movies. He calls himself a product of the Quiet Revolution and the new film focuses on danger of mixing politics and religion.
 
https://montrealgazette.com/entertainment/movies/growing-up-catholic-in-quebec-shaped-denis-villeneuves-vision-of-dune#:~:text=Villeneuve talks of how his,Quiet Revolution of the 1960s

I'm not sure if you're aware, but pretty much all OSTs in this century are now heavily edited.

There is really nothing to say here. A masterpiece, in every sense of the word. 
 
 

Very good. I heard a little Basic Instinct in it, and in a twisted way the house is a serial killer like Catherine Tramell, and she also kills people after they sleep “with” her, in her, so it’s a pretty apt analogy that Goldsmith subconsciously incorporates into the score.

I don't know if it's because I'm getting older (I'll be 50 next week), if I feel time speeding up, or if I'm noticing that film music is changing, or all of this at once... but anyway, I just realized that among the most significant works of the 21st century, we have Howard Shore's Lord of the Rings trilogy. I think it's unanimous. Note that to this monumental work, I would also add the first 3 Harry Potter films by John Williams.
 
With this in mind, I'm starting to explore the complete scores of Howard Shore for LOTR, as until now I had only devoted myself to listening to the OSTs.
 
I started with the complete recordings set of The Two Towers.
 
It's a fascinating world!

I tried really hard to connect with this movie, but for some reason I can't quite define, it never clicked for me. As a child of the 80s, this movie belongs to the era of many films I cherished during my childhood, yet this one is absent from my memories.

@Jim Ware put together three PDFs that break down the difference between OST and CR for each score.  Here they are
 
http://www.lyndhursthouse.plus.com/fotr_ost_breakdown.pdf
http://www.lyndhursthouse.plus.com/ttt_ost_breakdown.pdf
http://www.lyndhursthouse.plus.com/rotk_ost_breakdown.pdf

🚨 POLITICAL POST IN DISGUISE!!!! 🚨
 

 
 

Usually I do (especially from both of those and soundtrackcorner.de), but in this case I just jumped on it and ordered straight from Intrada.  Good thing too, as the following message is up on their site:

"(Sorry - our most recent pressing is already out of stock! We will press more, but we don't know how long it will take.)"
 
This expanded version of the soundtrack seems to be rarer than hen's teeth. 

http://www.beatrecords.it/shop.asp?lingua=i&idprodotto=CDX1033&uscita=prox


 
55 years ago, the fourth Western movie directed by Sergio Leone, C’ERA UNA VOLTA IL WEST, was screened for the first time, and in the plans of the director, should have closed the circle of his engagement with this cinematic genre. Compared to the Dollars Trilogy, the movie marks an important stylistic change; it’s an epic full of allegories, with an immensely powerful script. Considered by many to be Ennio Morricone’s masterpiece, it marks an evolution in his music, which often takes over for the images. Exceptional collaborators such as Edda Dell’Orso, Alessandro Alessandroni and Franco De Gemini are the main actors of this score, the director of which is the Maestro. It is to one of them, Franco De Gemini, whom Beat Records in collaboration with Universal Music Publishing wish to dedicate this 50th anniversary edition, in a guise you’ve never experienced before.
 
An accurate remastering by Claudio Fuiano and Daniel Winkler corrected a few formal imprecisions of the wonderful previous editions as well as some minor stereophonic flaws, and now we can finally say we have an album that meets our expectations for such a milestone edition of this score, even correcting some small flaws of the previous edition.
 
But the surprises don’t stop there. Five years after the death of the popular Ferraran harmonica player, the entire recording sessions of the score were discovered, over three hours long, including studio chatter from which we extracted a small recording of Franco’s voice while he is conducting sound tests to find the best sound for his harmonica in a particular scene. We present this gift to you at the end of the album as a memorial to this great harmonica artisan, a sonic cameo as a little witness to his industriousness.
 
The CD comes in a jewel case with a richly-illustrated, 24-page booklet featuring liner notes by Daniele De Gemini, along with 4 collector’s plasticized cards, all gathered in a hard box external case.
 
Limited to only 500 copies, it’s a meeting with cinema and music history that can’t be missed.
 
 
AAAAAAAAAAAAAAHHHHHHHHHHHHHHHHHH
 
EDIT: nevermind, not interesting, just annoying

And it burns, burns, burns
The reign of fire
The reign of fire
 

Have you considered that the missing music might have been composed by someone who "assisted" Elfman, but they simply didn't want to credit ($$$) that person?

Have you considered that the missing music might have been composed by someone who "assisted" Elfman, but they simply didn't want to credit ($$$) that person?

I finally watched The Queen's Gambit.
 
Great miniseries and great music! 
 

I just learned that the OST of the movie includes some dialogues from the film.
 
Whaaaattt???
 
Including dialogue on a soundtrack is an unforgivable lapse of taste. It may have been a trend in the last century when, after a film's theatrical release, one only had the chance to watch it again when it aired on television. However, this practice should be abolished. Now, if people want to watch the film, it is available on any platform, and if they want to listen to the music, they should be able to do so without the clutter of dialogue.

Back in stock! I was finally able to order.

So I watched the film for the first time yesterday, and while I felt that the first half was a little bit uneven and I didn't fully "get" the tone it was going for, the last half completely redeemed it. And my goodness, while he stays in the shadows for most of the film, Johnny comes out in peak form for that emotional finale: beautifully subtle and restrained, but deeply moving. The scene where David speaks to the Blue Fairy and "What Is Your Wish?" plays with those beautiful low register chords and choir, definitely caused me to well up a bit. Undoubtedly the highlight for me.

One of the few Morricone scores I own!  The movie is one of the funniest Star Wars ripoffs out there. The score is quite cosmic in a lovely way 

🤖🚀 L'Umanoide from the Morricone boxset 🌌🔫
 
"L'Umanoide," released in 1979, is an Italian science fiction film directed by Aldo Lado. The movie falls into the genres of science fiction and adventure. It blends elements of futuristic technology, extraterrestrial encounters, and adventurous storytelling.
 

@Jon Broxton I wonder how many IFMCA voters helped finance the production of Stromberg's album. 

@Jon Broxton I wonder how many IFMCA voters helped finance the production of Stromberg's album. 

First half done! Exactly the same as the first, including Williams greeting the crowd before and after the Schindler’s List encore. Also worth noting that while the Philly concert was confirmed to not have a future broadcast, it was heavily mic’d all the way down to one specifically in front of Yo-Yo Ma. Meanwhile, tonight’s concert only has a single microphone hanging in front of the conductor’s podium and no where else. There are a bunch of cameras at the back of the hall, but I can’t see how a good sound recording could be acquired for this one with the only mic I can see.
 

If you ever wanted to know if Anakin still had his wiener after being burned in Mustafar, don't worry! Just look at his crotch
 

Interesting. I'm usually REALLY good at hearing anomonies, but I'm not 100% sure what I should be on the lookout for when it comes to aural artifacts caused by a notch filter. 

 

That's not what I'm saying at all. What I'm saying is that NO ONE on a John Williams forum is talking about the fact that John Williams won two awards including the main prize, SCORE OF THE YEAR! Instead, all you guys are doing is complaining about what didn't win. BTW, complain away, but man, at least acknowledge the victories as well! And there is no mention of it on the front page on this website. Yeesh!

The point of the two awards is that one is an award for a specific genre, and the other is an award to the best score written from Film, TV and Video Games. 

And just because Indy gets an award for score of the year doesn't mean we hand the award to someone else in the genre categories. That's not how this works. We don't sit around a table and discuss our choices. It's a democratic vote. The score with the most votes wins. Pretty simple. 

When it comes down to voting, we have over 70 members who all vote for who they consider to be the best in each category. We all evaluate music differently. Someone likes Hook, awesome, they vote for it; if someone likes the Herrmann recording, they vote for it. The one with the most votes wins. And who knows, maybe Herrmann won by one vote over Hook. And I'm sure the other titles received votes as well. I'm not part of the voting committee, so I don't know the results. But that's how things go.

And there goes the fragile reputation of the IMFCA.