Arpy

Haha, it's just my early days here, disclaimers are for faulty products and faulty JWFAN is not!

I was, but I guess the topics I read didn't really have the banter. I wasn't exactly reading every thread all the time, mainly things concerning score analysis and such. Hey, at the end of the day, I'm not going to cry about it!! I looked upon this place as a resource of sorts.

Yes, I need to learn the ropes still!

Maybe it's just this thread that's got to me!

Great review Karol, I have a similar opinion regarding this score. I picked this up last week after having the bootleg for so long it was nice to hear it mastered slightly better!

I've never seen such betrayal in all my (short-lived) life of Williams and even on his own fan board...

I don't know how to feel about that, or what to think about it...

Surely the Father vs. Son fight in ROTJ is an example of his 'religious sound'. Not so sure about the Emperor's Theme other than it having an air of supernatural feeling about it. That choral piece in The Death of Yoda is another example I can think of. What makes a great John Williams Score for me is if it can pull at those emotional heartstrings at the right moments. It doesn't even have to offer an emotional response we might register as sadness or grief, but one which speaks for many emotions in a universal kind of way. I love moments of his scores such as in ET in 'The Beginning of a Friendship' which offers a moment of whimsy, wonder and a feeling of things coming together. I also like the music for Harry and Dumbledore's conversation in the Mirror of Erised scene wherein the music speaks far beyond what we are told. In many ways for me, it's indescribable to say why this makes it a good score for me, other than to relay what I personally find interesting.

I agree with everything you said! I also like how Capaldi's new theme is a newfangled version of I am The Doctor.

especially if there's 'inserts' or alternates, then we can see where the friggin hell things are meant to be heard. Then when all is ascertained, we can listen to it all. But you'd have had to have listened to it all in the first place anyway in order to order it correctly, eh?

I thought PJ might have had some say somewhere? Do we know if John will be scoring the next film yet?

I think PJ is definitely uncertain about placement and is probably upset that there isn't the type of music Shore provided for the previous trilogy. I wonder if PJ had any problems with Williams for Tintin? Before anyone gets hoity toity about what I just said, I absolutely love the music for the Hobbit films, but I have to say that there isn't that fluidity that the rings trilogy had where the pace was sorted fairly well.

I love the statement of Eowyn's theme in the CR track "Edoras" if I'm not mistaken it appears just after her conversation with Wormtongue (2:43)

If I could vote thrice my choices would be: Jurassic Park, Presumed Innocent and Nixon.

I recently discovered a Canadian show called Continuum. Not only does it have the lovely Rachel Nichols playing the lead, I found it to have an interesting plot for each episode and involving characters that weren't the plod of stereotypes smaller budgeted shows pump out. Granted there is some really rough and sloppy dialogue and maybe some poor acting here and there, but the story shone through and kept me watching. Jeff Danna's score is great too.

I don't know if this counts, but there was a film called "Planet 51" which came out in 2009/10 which centred around an astronaut trying to escape an alien planet. Last year a film with similar looking aliens called "Escape from Planet Earth" which involved the aliens trying to escape from earth came out! Did they think anyone wouldn't notice this obvious laziness in writing?

This was my reaction to hearing people ask for Zimmer to score episode 7... 971734_10201021993684503_637378970_n by Galatius05, on Flickr