Gnome in Plaid

Dunkirk, and Dunkirk, because why isn't Ghost in the Shell an option?

Google informs me it's this: which is definitely something I need to check out further.

The CR's were originally, what, $75 each? Factor in inflation and $250 for all 9 SW scores wouldn't really be a bad deal if they were done right.

That would be awesome, and I can see it happening, but my prediction remains that Disney holds off on a project of that scale until after Episode IX, when they can release a massive three-trilogy box set.

Requiem for a Dream (Mansell) - Excellent. Willow (Horner) - Excellent. Carol (Burwell) - Excellent. Revenge of the Sith (Williams) - Excellent beyond any words that can do it justice.

Yaphet Kotto's only 77... I figured he was a lot older than that.

A true master of his craft. I still don't think I could make it through The Elephant Man without crying. Nope... Bolaji Badejo died 25 years ago.

I maintain that there is a connection between the Witch-King and Faramir/Denethor themes! Wooland Realm Elves and Spiders: What Do They Know? Do They Know Things? Let's Find Out!

If Shore had that much say in them, we would've gotten better Hobbit films, or at least more faithful adaptations.

I doubt it was consciously. You have to look at the context - per Doug, it's one phrase in the longer melody of the re-working of the Shire theme in E minor.

(Edit: This didn't post initially?) Goodbye Solo, too. Some of the best-scored films have been very minimally spotted (Patton has about 30 minutes of score for a 3-hour movie) and others (LOTR, for example) have almost no moments without music. Shutter Island was very effective with the music it used, but I think it would have been equally strong (or perhaps better) with a dedicated score from Shore written in the same vein (which he's done numerous times). I think the musical element of Silence was a key weak point of the film, and I would have loved to hear how Shore (or Sakamoto!) would have addressed it. Oh, and by the way:

As far as score nominees, this is hands-down the weakest group of my lifetime (although I haven't listened to Passengers yet). La La Land is decent, but the selling point there is the song material, not the score itself. Jackie is, again, decent, but not really all that remarkable. As others have said, Lion is just a pastiche of the much better Prisoners (with some of Young's lighter scores thrown in), and Moonlight was just dreadful and served the film terribly. The frustrating thing is that there are some excellent scores this year that got completely ignored. And then there are the other categories. One nomination each for Sully and Silence and nothing for A United Kingdom, but Lion somehow got 6? What? Except La La Land is much better than The Artist.

Not a single one of those I'd disagree with, except for the fact that there were too many deserving "nominees" to fit the slate. I quite enjoyed Chi-Raq, and as far as derivative horror movies go, The Other Side of the Door was better than most. But Sieranevada and Legend of Tarzan, yes, a thousand times yes.

The flute(s) technique from 0:11-0:25? I know this has been discussed elsewhere here, but I can't seem to find the thread, so... might this be an accurate transcription? 4 Flutes (1 C, 2 Alto, 1 Bass) with the 2 higher flutes maintaining vocal drones on C and the 2 lower flutes flutter-tonguing?

Hunh. I have to say this interests me more than a Martinez score would have.

LOTR 1. The Journey There 2. Gondor (esp. in Decline) 3. The Shire 4. The Grey Havens 5. A Hobbit's Understanding 6. Sauron/Evil of the Ring 7. Seduction of the Ring 8. What I call "The Waning of the Stewards"* 9. Nature's Reclamation/"Hope Unlooked For"** 10. The Pity of Gollum 1A. My two favorite musical moments in any of the Middle-Earth films are both one-offs: 3:53-4:37 of "The Breaking of the Fellowship" and the fall of Osgiliath (7:53-8:26 of "Osgiliath Invaded.") Hobbit 1. Goblintown 2. The Nine 3. Tauriel 4. Radagast 5. Laketown 6. Beorn 7. Mirkwood 8. Bard the Hero/Spotlight 9. Bilbo's Fussy Theme 10. The High Fells *Before the Annotated Scores and Doug's book, I considered the Faramir & Denethor Theme, The Witch-King, and the "miscellaneous Mordor music" in "The Tomb of the Stewards" all variations on the same basic idea. **I still prefer Marilyn's name for it.

"A Knife in the Dark" did that a decade and a half ago.

Check this out:

Best I can tell they're a company that rips music stems from DVDs that are public domain in the EU and then sells them on Amazon-manufactured CD-Rs. Oh, it's definitely a bootleg version. The "sold by Amazon itself" thing is because it's often cheaper for a label (particularly the more unscrupulous ones, but it happens with some major soundtracks as well, like Elfman's Girl on the Train) to use Amazon's CreateSpace CD-R service instead of actually pressing albums when it comes to low-volume releases.

Happy twelfty-fifth birthday to Professor Tolkien!

"Best movie scores of the 21st century" and the names Shore, Mansell, and Young appear nowhere in the body of the article and the only honorable mention John Williams gets is Catch Me If You Can? Really? That's not even displaying poor taste or a lack of knowledge; it's contrarianism for its own sake. I don't think the second quote in my sig has ever been more appropriate.

Jed Kurzel to Score Ridley Scott's 'Alien: Covenant'

And the weird thing about that is that often the ones most frequently dismissed as produced by Zimmer sound infinitely better with a live orchestra. Dead Man's Chest live to projection was one of the best concerts I've ever attended.

She was also an inspiration to anyone dealing with mental health issues, particularly in places where there's still a considerable stigma.

Speaking as a human being, the fact that that can be done is rather horrifying, but speaking as someone who's worked in computer graphics, the technology behind it is fascinating, and whatever ethical concerns it raises (and there are many), I think the execution was remarkable.