Disco Stu

I hope Villeneuve marvelizes the fuck out of Dune just to annoy the snobs

Sorry!

I will happily go see West Side Story in a movie theater and either enjoy it or not enjoy it based solely on what Spielberg actually produced. But the cultural and political perception of it I think will make it kryptonite both critically and commercially, and probably have little to do with the movie itself. I will be surprised if that movie gets a single major awards nomination.

Yep that's the one! Personally, I prefer Angela Morley's arrangement that she recorded herself in the 50s (under her birth name) and that John Wilson later recorded for his Morley tribute album. I've always wondered why Williams commissioned a new one when he worked with Morley as an arranger/orchestrator frequently in the 80s. Here's that Morley arrangement:

Thornhill is this fascinating mixture of serious progressive jazz and a sort of pop classical easy listening sound; WIlliams' continued interest in him makes all the sense in the world given the interesting contradictions of Williams' own career! Williams commissioned a Dick Hyman arrangement of "Snowfall" in the early 80s that has stayed in the Boston Pops Christmas repertoire ever since.

There's no way anyone could watch all of Villeneuve's films up to now and reasonably expect anything other than a "soundscape" style score. I very much enjoyed that type of score when it was Jóhannsson scoring them and very much did not enjoy BR2049 nor any of the released cues for Dune so far.

I am still waiting on SAE to ship this

For the past 6-9 months my listening has more and more been dominated by jazz of the 20s-50s, so it's gratifying to see that Williams still keeps that music of his formative years in his mind. Thornhill is interesting because so much of his output is nakedly commercial but for the attentive listener (as I'm sure Williams was in his teen years) the Thornhill arrangements often have ear-tingling features of harmony and orchestration. By the end of the 40s Thornhill was also using Gil Evans as an arranger and started recording some less frivolous tunes by bebop pioneers like Charlie Parker, Diz

SWEET LORD YES EDIT: I posted my above reaction before seeing this

I believe Holko was being sarcastic with the "standard and completely serious name" comment, trying to indicate that that part of the liner notes is Powell & co. being silly.

If I was pickin' the winners I'd have given it to Hisaishi for his Ponyo score (which was a 2009 release in the USA). I don't especially love any of the scores on the poll list (although I enjoy a few of them) so I didn't vote.

Not the kind of sci-fi that attracts me. Couldn't be less interested.

Anyone else think that Lucas doesn't get enough credit for how demented Return of the Jedi is? Dude had a whole sequence set around a giant butthole in the middle of the desert and as a kid I was just like "Obviously."

There was always the camp that never vibed with the Berman era and that's fine. I've also seen people that love Discovery and never really got into Trek before. Trekkies should be content that there's always been more peaceable relations among their camps than between Star Wars factions

I can't say I'm excited for a new movie in the Chris Pine universe, but it doesn't give me a sinking feeling of dread like any announcement about the Paramount+ shows does. Like, Beyond is a decent silly sci-fi action movie if you just make yourself forget it's Star Trek. Whereas the current TV shows have no redeeming qualities in any way.