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I'm sure Falkouner and Tyler will do the job; the point with the original Beltrami was that no one had heard a score like that before - melodic and atonal simultaneously (and Thor - shut it, Manfredini scores are not that). I liked Scream 5 and continue to endorse the franchise. And before you fuckers tell me off about Christopher Young etc. about melody and horror - try doing gothic with a harmonica

The O2 live Nightmare Before Xmas was like a rock star concert where Elfman was treated like royalty. It was amazing. Full orchestra and choir but then Elfman performing as Jack Skellington. He really performed and got everyone into it. Total rock star charisma. 200k were clapping to What's this. But they also performed all the 'incidental score' - Mark McKenzie orchestrated - which is awesome. Best concert ever - saw him in Glasgow with Mauceri for a Tim Burton night. This one is totally off the hinges - Elfman's vocal performance and the BBC Concert Orchestra hitting every note - totally the best performance ever and if any of you get the opportunity to see Elfman live - you go for it, he is a truly godlike when you get him to do a show.....which is why they cost so much.

It does not get better than BP rocking it:

Karelm - I'm trying to get your perspective here. So, from a business perspective, if I was to contact a certain JH, I might get work done by a certain DD. Fine. What's the point? Oh, karelm, you are trying to say that it does not matter who composes, as long as you deliver the package. Fair enough. I am still interested in WHO composes as we fans hear that stuff. Look at Horner and Davis on Clear and Present Danger..... Karelm - do come back to us with some wisdow as we need to know how the industry works - your comments make as much sense as Bakshi's Cool World.

What, after spending 20 odd years orchestrating and ghosting for everyone, he bows out because he does not like it? And to do what? Goldenthal had the same response but he is a recognised classical legend....Davis is not

Fair enough Doug but give my best to Shore for this track (it's an obsessive one - both beautiful and typically disturbing)

Never really got this. Davis disappeared after Matrix Revolutions to do his opera, resurfaced to do a dodgy Renny Harlin - John Cena film (way before Cena was cool) and disappeared again. My reckoning, based on absolute guess work, is that he got black listed for not playing the Hollywood game and following the Matrix trilogy with a set of similar films (still don't know WHY he did not do this - he'd been doing much worse films with awesome music for decades (Seaquest; Warriors of Virtue) so it does not make much sense to pull out right at the total peak of success). And he'd been ghosting for everyone in Hollywood for decades as well, composing some of the best music coming out of the factory..... Why let go when you are finally at the peak? Weird.

Everyone needs to go on Burwell's website and read his absolutely to-the-point comments on his projects (there are no punches pulled here) https://www.carterburwell.com/projects/Conspiracy_Theory.shtml I remember talking with Mel Gibson before the New York premiere of the film, and he said he wanted to make a Bible movie. He was quite serious about it. Years later, after he’d shot The Passion Of The Christ, he called me to ask if I’d like to work on it. I was in the middle of a big project at the time, The Alamo, and couldn’t find the time so I didn’t really have to face the question of how I’d write such a score or how I’d work with Mel. I appreciated the seriousness with which he approached the subject, but by the time we spoke about the project he was already making extreme comments about whether the Mossad would let him live to finish the film (at least that's what he said to me). These hopefully were jokes, and his politicization of the film certainly made for good PR, but I’m sure it would have been a strange ride if I’d taken it. There's some fantastic detail about the perennial Don Davis involvement in 90s films: https://www.carterburwell.com/projects/A_Goofy_Movie.shtml I spoke with Don (whom I've never met) very cordially about a potentially difficult situation. I told him I understood his assignment and just hoped that my themes would survive in some form. The music as you hear it now is mostly my thematic material, but honestly some sections sound much more like Don Davis than Carter Burwell.

One of Shore's absolute melodic beauties before he got LOTR - or maybe one of the reasons he got LOTR, lots of overlaps with Evenstar:

This is brilliant - Talgorn's been a favourite ever since I was introduced to his music through YIJ and then The Temp, and of all things Delta Force 2. He has a very idiosyncratic orchestrational style that I can't describe but you know his music when you hear it against Chuck Norris throwing someone off a plane or Christopher Lambert kicking people in the face. It is sad that there are not more prestigious occasions to hear that sound - Heavy Metal 2000 is probably the most high profile, and what a score that is! His Delta Force 2 score is amazing. It's got that amazing flighty flute/strings style he uses in The Temp as well. Unfortunately, half the score is synclavier recreations of orchestral music but he managed to get sufficient cash to do full orchestra for key parts See below - but PLEASE IGNORE the first 2 minutes - skip to 2:55:

Probably the weakest list of nominees.... ever? Williams is probably the lead there Burwell's score is great in the film but is the definition of incidental music (30 second tracks to accompany someone walking from one place to next). Son Lux stuff made no impression in the film. I love Hurwitz' First Man but know that I will hate this score - until I see the film, which is when I probably will love it. Bertelmann's - Hauschka! - nonsense is best left unsaid here.

An amazing treasure trove of unfiltered insights into Hollywood, www.carterburwell.com For example, https://www.carterburwell.com/projects/A_Goofy_Movie.shtml First real acknowledgment on the range of Davis’ work - I thought Davis composed most of this, there you have it now, it was Davis as confirmed by Burwell. The man does not mince his words......It's lovely to read through all his notes.

Totally amazing> that hook,,,, And if Don Davis was here, he would be astonished by this cue:

Shore's here is AMAZING The orchestration by Shore is astonishing. What he gets out of an orchestra......

Well, the only thing worth a fly's arse here is Whirwind (I look forward to Balfe telling us how he did that):

No. I love Shore's work. What is your problem? It's clearly all original as I made explicit in my original post. There are hints of SOTL, Score and other scores. It's still clearly a very idiosyncratic Shore composition. That is what all composers do. They have a style. A Goldsmith Rambo theme may end up resembling something from Rudy. I rank this as probably my top 2 composition of all time for its unrelenting bleakness and the unusual gestures Shore does with orchestra: Where do you place it in yours? TolkienSS - where do you place this Shore score in your lineage of music (this one is wholly original so no need to suggest I am accusing Shore of plagiarism, no one has done music like this before):

Loved the score in the film - I thought it had great presence. The orchestral colours shine through magnificently. From the opening credits to the final despair, wonderful Shoreian bleakness. As Doug Adams has suggested the film uses some of the rejected King Kong score, I wonder if this piece was the love theme for the Jackson epic. It would not sound out of place (and most of the other material is familiar - but still suitably dissimilar - from Silence of the Lambs, Smaug, The Score - however, I cannot place this theme elsewhere in Shore's catalogue):

I used to love this track as a kid but still can't get over that Chattaway sound - it is so ridiculously cheap sounding, perhaps it's to do with the orchestra size or mixing. I have the same problems with all Brian May scores. They sound like Golan and Globus ordered them to sound like Goldsmith and Williams and gave them a basement with 10 players to record a score:

Agree so much here - from the opening moments of the film the score sets an amazing tone. Can't remember the last time I literally got goosebumbs from a combination of image and music as the first five minutes of the film (that is, for a new film, plenty of classics do this). I also have my problems with Gia but this one is totally out of the park. Brilliant music for a great scene: Innerspace is brilliant - JG's score is amazing - a combination of The Light music from Poltergeist and Total Recall. Dante on top mischievous form with an amazing cast including Quaid, Ryan, Short and Wells but also Picard as The Cowboy:

Fair enough - City Hall is very much a trial run for LA Confidential, especially the timpani mayhem in The Meet vs Bloody Christmas, including the Leonard Bernstein 'homages':

Totally need an expanded Mom and Dad Save the World - if there is more music in the film. I tried to watch it but found it too painful to sit through even with Jerry's score. But the score is full on amazing stuff - yes, like a missing Dante score with all the zaniness and melodies to boot, including a lot of that amazing 90s synthesiser material from Total Recall etc. Medicine Man and 13th Warrior too but neither are missing anything major - can't bear City Hall. Just a total misfire of a film and score. Strange as Malice by Becker and Jerry is great......

The Brittell score is what it is - Gilroy made JNH detonalise...... This is what an unbridled Brittell might have done: Jesus, this is good: Amazing command of orchestra and melodic subterfuge - just fucking brilliant!

Jesus, this sucks - Edelman's crowning glory sounds like Kevin Sorbo music (unadventurous and very conservative): But this is where it's at! Richard Stone and the Graunke Symphony - Stone should have had Edelman's career:

The most amazing thing Menken composed, ironically not winning an oscar....: Jesus, this track is so frigging good.

The anvil exceeds in Aliens (it is amazing to hear Horner's use of percussion in this track, the snare drums, timpanis and anvil 'speaking' to one another):