Yavar Moradi

Hooray for the late master of lounge!

My top 10:
 
1. THE ADVENTURES OF THE GREAT MOUSE DETECTIVE
2. Sunflower
3. Me, Natalie
4. Breakfast at Tiffany's
5. Peter Gunn
6. Switch
7. The White Dawn
8. Hatari
9. Who Is Killing the Great Chefs of Europe?
10. The Pink Panther Strikes Again
 
Also loads of great non-film albums, of course, like The Blues and the Beat, The Mancini Touch, Combo! etc., often featuring a young John Williams on piano.

Enrico Nicola Mancini
*16th April 1924 in Cleveland, Ohio
 

Well, Frank Herbert kind of took something of the tropes of Edgar Rice Burroughs (man comes to alien desert planet, befriend the local noble savages and leads them against a technologically-superior but tyrannical foe) and inverted them, and Cameron's films owe a lot of Burroughs.

Doctor Zhivago. The main theme is pretty but it's now kind of an evergreen, and the whole score is built around that. I liked the Main Title theme more but it's only used there lol.
 
Lawrence of Arabia is good and the theme is great... But honestly I would've preferred if Elmer Bernstein's To Kill a Mockingbird had won the Oscar that year.

I created a double playlist with both Delerue and Horner scores back to back. I called it Some Things Wicked This Way Come. 😂
 
Karol

I've never seen it, I meant I like all the films Cameron has directed
 
It is depressing that every single time anyone makes another Terminator movie, they ignore every sequel that came before it and do another direct sequel to T2, and that they are all bad films in different ways.  At least the Sarah Connor Chronicles TV series was decent, and the ending of T3 was kinda cool.  Salvation and Genisys though, yikes.

Fantastic score.
 
Karol

James Cameron past his prime?
 
Avatar and Avatar 2 are the biggest hits of his career!
 
He didn't direct Dark Fate.

Who gives a single shit what some director, who was past his prime 17 years ago, thinks about anything?
DARK FATE, anyone?

I've purchased it now (I really like this score), and look forward to selling all the previous editions and only keeping this one
 
I'll try to comment on sound quality when I open it up and check it out

I've bought this totally blind.  Never seen (never even heard of) the movie, and only watched the trailer above, didn't listen to the samples.  Looking forward to a nice blind first listen.

Woohoo, Ordered!

I LOVE early Elfman, and normally would have ordered this on day one.  But since they had already told us beforehand that The Piper was releasing last night, I waited to order it along with that (and Species).  This will be a title I listen to very soon after receiving.  I avoided the samples (though am familiar with the suite on Music For A Darkened Theater) so can't wait to just go right into the new main program when I get it!

Intrada announces the premiere release of Christopher Young's stunning score for The Piper. Writer/Director Erlingur Thoroddsen sought out the veteran composer not only for the task of scoring The Piper, but to compose the three-movement Concerto for Children, which is rehearsed and performed in several pivotal scenes in the movie and whose motifs haunt the soundtrack of the movie and its characters. The filmmaker tasked Young with creating a work that was sophisticated enough to convince as a concert hall composition, maddening enough to compel characters to stab their ears as it unfolds, dynamic and dramatic enough to work as underscore during some of the film’s most frightening and powerful moments, and so compelling in its unearthly beauty that it seems capable of holding characters—from unscrupulous conductors to innocent children—in its spectral grip.
 
“It turned out to be a 30-minute, three movement concerto that I had to write in advance,” Young says. “Erlingur basically told me that he needed one movement that was going to be crazy, because it was going to be played toward the end of the movie when the whole theater is going to pot. But beyond that, it was pretty open ended." The concerto employs standard flutes with the performer providing more exotic timbres through his playing. “I used piccolos through the lower C flute, alto flute, into the bass flute range, for these lower chords. For the Piper himself, when we see him play, it’s a normal flute that has been completely altered through electronic modification.” As Young notes, all these factors add up to one problem: “My flute concerto can never be performed as written. I’d have to make changes because the performer is required to move from the alto flute to the C flute to piccolo all within a handful of bars. It was easy to punch in and record them, but I’m going to have to make some revisions if I ever want to have this performed live.”
 
The result is a powerful and sophisticated work that would stand up well in the concert hall ... if only it could be performed as written!
 
Thoroddsen’s supernatural horror film follows Melanie Walker (Charlotte Hope), an ambitious young flautist, composer and single mom working under the auspices of imperious conductor Gustafson (Julian Sands), who leads the orchestra at the fabled but financially troubled Virgil Hall. Struggling to maintain her first-chair position in the orchestra, Melanie hopes to impress Gustafson with a flute concerto she’s composed, but she’s being undercut by the equally ambitious flautist and composer Franklin (Philipp Christopher), who has his own concerto in front of the demanding conductor. Gustafson also has a connection to another troubled composer—the late Katherine Fleischer, whose Concerto for Children No. 1 was given but a single, disastrous performance in 1975. That uncompleted rendition resulted in the Virgil Hall Tragedy, a fire that killed over 100 children. Katherine had been Melanie’s mentor before the elder composer took her own life by burning herself to death—after Gustafson tried to browbeat her into another performance of the concerto. Struggling to maintain her position with the conductor, Melanie Walker insists that she can find Katherine Fleischer’s written music so that Gustafson can conduct it at a crucial upcoming fundraiser for the hall and orchestra.
 
FLUTE CONCERTO: A Concerto for Flute, Children's Choir and Orchestra
01. Movement 1 (11:12)
02. Movement 2 (07:33)
03. Movement 3 (11:24)
Concerto Time : 30:11
 
THE SCORE
04. Suite (21:11)
CD Total Time: 51:13
 
THE PIPER (intrada.com)

Yeah, I like bits and pieces of the first two synth scores by Brad Fiedel, and they generally work okay in the films themselves... but (for me anyways) Marco Beltrami was a huge improvement.
 
Yavar

I LOVED the ending. But the film wasn't quite worth the payoff. Oh, and that truck chase! OK, two things I loved about the film.

T3 would be fantastic. I really love that score. The film: eh.

Actually if we are talking Beltrami sequel scores controlled by Varese which they could expand, Terminator 3 interests me more than Blade II.
 
Yavar

I too hope that they've managed to get things arranged with Disney as The 13th Warrior would be a notable expansion for my nostalgic side.
 
I don't think 'scary' needs to mean straight up horror though - just some character or element of it.
 
Unfortunately I don't think Ice Age or I, Robot qualify. Sphere would of course, but that would take a miracle. What about Evolution, if Powell is continuing his expansion quest?

What horror scores does Varese have in perpetuity?  That would be a good start.  I also wouldn’t put it past them to start issuing individual “complete editions”/“deluxe editions” of the Scream movies based on what was released in the box a few years ago.

Probably not a "scary" score, although it scared me when I was a kid, but I would love an expanded Terminator 3 release.
 
OST was released by Varese, hopefully they can finally do a deluxe edition someday.

I don't see where any ideas come from about this not being a "blockbuster release" or a big name composer. Goldsmith's Love Field arrived after precisely zero fanfare back in 2021, as did Williams' Presumed Innocent. Similar with the complete Matrix a while back - they all just use the standard clue game.
 
If they do the emoticon thing again it's probably going to take us 20 minutes to guess them. Oh, and just in time for HTTYD 3 to finally grace us with its presence on streaming (everyone has their CD, right? Otherwise Powell will be mad...  )

I doubt it. Had it been such an antecipated score by a big name composer there would be... I dunno... A bit more of oomph in their release? Which is why I think it's just two direct-to-VHS horror movies by less famous composers.

It's probably another forgotten 80s/90s horror stuff by Richard Band or someone similar.

Trailer
 
 
The trailer makes it look like Powell's music will be mostly something for in between the songs.
The video description has a link the pre-order the soundtrack with songs performed by Brittany Howard.
Nothing on the score.
 
 
Edit..
In this Instagram post Powell is talking about 40 minutes of score!
 
https://www.instagram.com/p/C5yYUirR9kJ/?igsh=MTNqdmM0cm13N2ZtZA==
 
"Coming soon: Thelma the Unicorn🦄
On @Netflix May 17th.
Just wait till you hear Brittany Howard’s songs and about 40 minutes of underscore for this amazingly heartfelt film!"

That IS the takeaway here. The film score suite is okay, but nothing on that level.