Indianagirl

I feel like we might get an overture with the hateful 8

How do you detect "unnatural processed sound"? I have that score on iTunes. What makes it sound unnaturally processed? I own that set. What is so wrong with it? What am I missing?

Theme from Basic Instinct. Could that be categorized as a love theme of sorts? Really? That's news to me. I always thought Bridge was to be a spy thriller/drama a la Munich...By the way, who is the artist? Try to remember. I've spent the past hour searching for where I saw that. I can't find it anywhere. I am very sure I didn't dream it up but now I'm second guessing myself.

I liked Claire...but I would have kicked those heels to the curb.

As Steef said, why do you think Bridge Of Spies will be anything like Skyfall? Newman has been composing for decades, so why latch on to one score? Hopefully Williams' The BFG will be better than John Goldfarb, Please Come Home... Didn't Speilberg allude to wanting to work with Newman because he had been so impressed by Skyfall? I thought I read that somewhere. Also I believe Spielberg wrote lyrics to a bondlike opening title sequence for Bridge of Spies which will be performed by an english artist whose name escapes me. This of course doesn't mean Bridge of Spies will sound like Skyfall but it does give credence to the implication.

This is slightly off topic and maybe a bit too girly for the room...but when I think achingly romantic one thing that comes to mind is Once Upon A December from the animated movie Anastasia. Both the lyrical and orchestrated version.

This is off the top of my head, so somebody might show an example that disproves this, but I think Horner's scores were probably more romantic in nature. When I think of the Willow score it's easy to get swept up in the romance of it. Legends of the Fall and even Zorro come to mind. Or even still his score for Troy. There is a romance to Horner's work that I absolutely adore. Yes, but that's probably got to do with the fact that he scored more romantic movies... You wouldn't expect a sweeping, romantic score for Rambo, Poltergeist, Total Recall, or Omen. I do agree Goldsmith wrote beautiful and romantic pieces as pointed out by Pilgrim with star trek reference. I just meant that romance seemed to be in Horner's blood. I got the sense that it was a part of him. It was the reason he scored movies. I don't know that. It's just the impression I got.

I really do feel like Speilberg has a special talent for getting the best work out of those he works with. I do think this will be one of Newman's best scores. Time will tell i guess.

Boys, fret not. I had a good laugh at the reverse sexism charge

Thank you

I have just very recently discovered that these wonderful sites exist. I have bought Empire of the Sun and A.I. from them. There are sooo many more complete scores that I want. How do they decide what to release? I would love to see the entire recordings for Schindler's List to be released. Is there even a chance of that happening?

boys

This is off the top of my head, so somebody might show an example that disproves this, but I think Horner's scores were probably more romantic in nature. When I think of the Willow score it's easy to get swept up in the romance of it. Legends of the Fall and even Zorro come to mind. Or even still his score for Troy. There is a romance to Horner's work that I absolutely adore. Exactly! Like I said, polls only create strife where there need not be any. it must be a guy thing. I loved them both. I was very sad when Horner died a couple weeks ago.

I don't understand why this is an issue. Both Horner and Goldsmith were great film composers. I probably like Goldsmith's work a little more but that's not a knock on how great Horner was.

That is because you are awesome. It's the only score I can think of, maybe there are others, that actually makes me a little scared while listening to it in the dark. At certain sections I can hear that little woman's voice telling me to close my mind and not to give it any help for IT knows what scares me.

I could listen to the original Poltergeist any time.

Only with Quincy Jones, Billy Goldenberg and John Williams! I wasn't referring to just composers but Quincy Jones Color Purple score is one of my faves.

I am curious to see Thomas Newman's Bridge of Spies score. I suspect it may turn out to one of his best works. Speilberg has that effect on people.

Who is Coolman? I am unfamiliar

What about Bernard Hermann? Ennio Morricone? Max Steiner? Maurice Jarre? John Barry? Elmer Bernstein? Are they not on that level?

This is difficult. They're both in my top ten. Goldsmith is probably in my Top 5 so I'll give a slight edge to him. Even though I own more of Horner's scores. Very difficult.

If the Force Awakens turns out to be good then I hope for this.

Themes are melodies associated with certain characters, situations, etc. whereas motifs are just any melodies. That's what I would have said. A motif VS theme is an old division which can be a bit artificial depending on what you are after my labeling something a theme or a motif. A motif can certainly have a leitmotific and hence thematic relevance as well. E.g. the 2-note motif for the shark in Jaws is a theme for the shark (and Williams does heavily expand upon it in the score) but it is not a long musical phrase most people would call a theme. So did John Williams redefine the line between motif and theme with Jaws?