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Yavar Moradi

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About Yavar Moradi

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  1. I'll join in the chorus of love for this film and score. Neither one was amazing or brilliant or anything, like Holmes stuff can be at its best. But quite a delightful and fun romp. I would happily invite any sequels Netflix wants to fund (I think there are four other books in the series which could be adapted). My quibbles with characterization probably lie more with the source novels than the filmmakers or actors, but I will say that Sherlock was a bit too *nice* in this (while I liked Cavill quite a bit in the role, he just comes off a bit too "normal" and well-adjusted, lacking Sherlock
  2. The Goldsmith I've always had the most trouble with is Extreme Prejudice. Plenty of other people whose opinions I respect seem to really like it, so I'll keep trying and one day maybe it'll grow on me. I just find it a really unpleasant listen. Yavar
  3. I'm guessing "Johnny" was more of his "stage name" which was put out in public on albums (and film credits through the 60s), but on something like studio paperwork about session musicians performing on a score (no doubt the source for this), it makes sense that it would just be his given name. Yavar
  4. At minimum, but some cues are noticeable microedited/truncated in the film, and I wouldn’t be surprised if Williams wrote some cues that went unused both in the film and on album (we know “To Thornfield” which is on the album went unused in the film). Yavar
  5. Here is what I emailed to Jeff Commings when we were prepping for Episode 25 of his show The Baton, on Jane Eyre: Titles not on the album I made up; I’m pretty sure I didn’t have access to any cue sheet/title info. Yavar
  6. A lot. I did a complete breakdown with some notes but didn’t total up the unreleased music. I’ll share them here if you’d like to do the math. One important thing to point out: the album is an E.T. situation where half of it is special concert/album arrangements which do no appear in the film. Pieces recorded for the album only: Love Theme from Jane Eyre (track 1, concert arrangement), To Thornfield (track 4, unused action scherzo), Festivity at Thornfield (track 5, unused original party source music), Meeting (track 7, chamber arrangement of love theme), Restoration (track 10, album/concert a
  7. This, exactly. Well, plus the flying sequence of course! Yavar
  8. There are two other wonderful new Williams-composed themes in the score, plus some absolutely breathtakingly brilliant arrangements of them in Courage’s underscore, with the counterpoint in the United Nations cue being a particular highlight. In fact, I listen to Superman IV all the way through more often than Superman: The Movie (because for the latter I usually stop about halfway through where the film gets dumb and the score resorts more to Mickey-mousy stuff which is so very different from the early powerful Krypton/Smallville/Fortress of Solitude material, which is undeniably
  9. Ever seen this one? I think it's a kinda a musical for people who don't like musicals. Yavar
  10. A beloved film adaptation of a beloved musical, and John Williams's very first Oscar winner (albeit for adaptation)? It would sell like GANGBUSTERS if it got a Mattesino restoration. And I'd be right there in line; it's awesome. Yavar
  11. @Jay nope! You must have missed the latest from Roger in the FSM Inchon thread, less than a month ago... https://filmscoremonthly.com/board/posts.cfm?forumID=1&pageID=3&threadID=142438&archive=0 Yavar
  12. How do you have any idea how much time and trouble this title was for them? And why put "new" in quotation marks like that? It is previously unreleased music, and the disc 2 program is chronological for the first time. Meanwhile the original album program has apparently a huge sonic improvement. And it's back out for people who missed the 30 year old original album. What is there to complain about exactly? Yavar
  13. ...two Cocoons, two Jack Ryans, two 48 Hrs... I wish there had been a Rocketeer trilogy. And Star Trek IV absolutely should have been his, to finish the trilogy there. Yavar
  14. As with Goldsmith's previous feature score City of Fear which Williams also played piano on, the film was released in 1959 but the score was written and recorded in 1958. This was Williams's second out of three known times he worked on a Goldsmith score. Yavar
  15. Here is our crazy Black Saddle podcast (the longest we have ever done, in fact) -- let me know what you think if you ever find time to listen. I'm crazy proud of it and not-so-humbly consider it a significant piece of Goldsmith journalism: https://goldsmithodyssey.buzzsprout.com/159614/8223919-gold-nugget-8-black-saddle-history-of-a-theme-1958-2020 This was, in fact, the first TV series title theme Jerry ever wrote* and the story behind it must be heard to be believed. He gave credit at the time to his brother in law, J. Michael Hennagin (also a composer try
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