James

It would be a wonderful way for Snyder to instantly convert all the haters of Man of Steel into worshipers of his films. Better than that, if only Superman came back in the past and prevented Robin's death, so Batman would never have killed so many people in cold blood.

Justifications like "the director did not want action music in his film" are as unsatisfying and unrealistic as "Horner dropped Amazing Spider-Man because Gwen is going to die at the end of the film."

Sad these directors who tie themselves to this fad of no intrusive scores. Not is so surprising. Cruise has always had some decision-making power over the films he produces.And he worked with Beck and Beltrami for the last two films in which he worked as a screenwriter . Maybe it was already a sign that the two were no longer working together.

A gruesome version of the MI: 2 score or MI with Transformers' music.

I've read rumors that Balfe is making the score. These people say he has shared promotional material of the movie on his social networks.

Nah, Across The Stars is a good theme, but there's stuff in those scores that appeal to me more than it does. The Force's theme alone is far superior to it. And yes, you have the freedom to like whatever you want.

Haha! My left ear also been ringing for two years! And I'm not 25 yet! I blame the headphones. Mine sounds like a refrigerator or air conditioner. 24 hours a day. But I forget how I usually forget the noises of the devices I quoted. Sleepy Hollow is a fun movie with a great score, but it's far from being a masterpiece, the same with Wolfman.

Without music, the initial sequence feels so fast and unimportant. And all that motor noise?! Four minutes listening to this incessantly it is the case of the film lose both Oscars that they received for the sound quality!

I comprehend and really detained my comment to the nature of the score outside the movie. Inappropriate judgment, I admit.

The Post is a good score, but it is still median when compared to other Williams works. Even Desplat, Doyle or Newman could achieve a similar result to what he presented.

Financially, there is no safer choice for a hero movie that Zimmer these days. Overexposure is a double-edged knife. He's gotten overrecognized to the point of making a "rockstar" tour through the world, however, I know I have 99% chance of being wrong, but he run the risk of becoming a joke to the same world that embraces him today. So it's good to take two steps back, for caution.

My new favorite.

More opinions: 1. Thomas Newman "There was no saying I could ever step in and do what John does," Newman says of taking over for his mentor. "Because it'd be really hard to be John Williams." 2. Carter Burwell "When I was beginning, the bane of my existence was that people were going to put John Williams' [music] in [as] temp scores and want me to do something like that," says Carter Burwell, 61, a first-time nominee for his delicate work on Carol. "The breadth of his compositional palette and his orchestration is just way beyond me and I'm always amazed by it." 3. Johan Johansson "I'm a huge fan of them both [Williams and Morricone] and both had an influence on the Sicario score," says two-time nominee Johannsson — citing in particular Williams' use of the low end of the orchestra, especially the strings, on Jaws. link: https://www.billboard.com/articles/news/6889315/oscars-nominated-composers-john-williams-ennio-morricone 4. Austin Wintory NR: How did you react when you won the Grammy for Journey‘s soundtrack? Wintory: I should point out that I did not win! [Whoops!] I lost to Trent Reznor and Atticus Ross for their film score of The Girl with the Dragon Tattoo. However, the news of being nominated was certainly a shock and profound honor. John Williams, one of my lifelong heroes and without a doubt one of the most influential and important composers of the 20th century, was also among the nominees. And to be able to have that brief glimpse of being a co-nominee with him was a completely staggering moment. But ultimately I think it reflects on how lucky I was to work on such a special game. Because if Journey hadn’t been such a remarkable game, I don’t think that the music would have gotten anywhere near as much attention as it did. link: http://nerdreactor.com/2015/10/06/interview-austin-wintory-composer-for-journey-ac-syndicate/#F5Zz6kJucFtdf5mb.99 5. Joe Paesano "I mean when I was a kid I saw the movie Empire of the Sun with the John Williams score and I knew from the young age of 9, that this was what I wanted to do. I want to be in this world. And it’s one of those things where I never really thought I would even be successful at it. I just did it because I loved doing it." link: https://cbwritingblogblog.wordpress.com/2015/04/28/paesano/ 6. Alexandre Desplat “Oh yes, absolutely! He’s the one who showed me that there was a way of writing contemporary music – the music of my time – that was influenced by the classical work of the 20th century, which is my favourite century for music, and that you could use that in the cinema. I was always surprised when I was with friends, while I was studying music, and they would not be able to listen to Stravinsky, they couldn’t get it. At the same time they would go to cinema and listen to the music of Star Warsor Close Encounters of the Third Kind. They would hear music that was very contemporary, very modern and very challenging. I loved the idea that we could elevate the spirit of people through music and their sense of music through cinema. I must say that was also an important part of my decision to write music for films." http://staticmass.net/exclusive-interviews/exclusive-interview-with-alexandre-desplat/ 7. Clint Mansell I come from more of John Carpenter, David Lynch school of film score appreciation and you know, John Williams, no offense but that’s not really my thing. So I was always interested in stuff like The Parallax View with Michael Small’s music—minimal really but really evocative. https://bbook.com/film/feel-first-intellectualize-later-an-interview-with-legendary-composer-clint-mansell/ 8. Lalo Schifrin What do you think of the current state of cinema, whether in relation to the music or as a whole? LS: Oh, I don’t think there is a current state of cinema – we were talking about chameleons before and cinema is an incredible creature, it has many, many heads. It is like alien, you know? Jerry Goldsmith could score the situation of the movie industry today. Alien, it comes from all over, it has no shape, I don’t think there is a style – some people like Quentin Tarantino, it seems like they’re going to establish a style and they do, for a while. But in general what they’re trying to do is, they are trying to play it for sure. You know, the disaster movies (John Williams is another of my favourites, I forgot to mention) – John Williams, he did EARTHQUAKE and THE TOWERING INFERNO, he’s one of my favourites, definitely. And there was a period in which… film music also has something in common with the fashion industry – wide lapels, narrow lapels… This thing about disaster movies, then they died because they keep doing it and people are tired. Now they came with a new disaster movie. link: http://www.runmovies.eu/lalo-schifrin-mission-accomplished/ 9. Rupert Gregson Williams "And of course when I was a kid, all the early John Williams scores like Star Wars were really exciting. Those are the sort of scores you’d really look forward to. What’s the modern equivalent? Superhero scores, I guess! But in my day, I was always looking out for a John Williams score. They were always the ones that got me excited." 10. Michael Giacchino MG: One of the things that stuck with me, at an early age, from his material was that it always had a theme being worked out. What attracted me most to music was anything that had a memorable melody- something that you could lock onto while you were listening to it. In my writing, I find it hard to do things any other way. I try to do music which is more abstract and about texture, rather than melody, but whenever I complete it, it always ends up having some sort of melody or theme that carries it through. That comes from listening to people like Glen Miller, Louis Armstrong, Bennie Goodman, John Phillip Sousa, and John Williams. Those guys all work with melodies. It was always about doing something that people can zero in on and say, "Ah hah! I get this!" That has always been a huge part of me and is why I write that way. It is always about a theme, a melody, that you mold and shape and do all sorts of things with. That is what I love and what is so much fun for me. So I guess John Williams, along with the others I mentioned, was instrumental in influencing me this way. link: http://www.tracksounds.com/specialfeatures/Interviews/interviewmg.htm

QUOTES: 1. "In the music department at Universal Television in 1963 I was in one office, John Williams was in another, Quincy Jones, Dave Grusin, and Lalo Schifrin were all there. We'd try to out do each other. It was a very creative time that doesn't exist now." Jerry Goldsmith (May 8, 2002) link: http://www.emmytvlegends.org/interviews/people/jerry-goldsmith 2. “Maybe I should have done the John Williams thing and stuck to changing my name from ‘Jerry’ to ‘Jerrald.’ He changed his name from ‘Johnny’ to ‘John’.” Jery Goldsmith (http://www.jerrygoldsmithonline.com/spotlight_biography_preview.htm) 3. RED CARPET: Who are your contemporaries? ELMER BERNSTEIN: I don’t have any! They’re all younger. John Williams, Jerry Goldsmith. But they’re my gang. John Barry is also younger than I am. link: http://elmerbernstein.com/interviews/knowing-the-score-the-wise-man-of-movie-music-composition-elmer-bernstein-celebrates-50-years-in-hollywood/ 4. FSM: It is probably fair to say that your first score to make a broad impact was the soundtrack for Big Wednesday. What do you remember about the process of creating this piece? Did you listen to music while writing it?Basil Poledouris: I remember everything (laughs). It is kind of a fluky thing. You go back over the piece for re-release and you think, 'Oh yeah, I remember what I was thinking that day.' It is kind of terrifying. Big Wednesday was the first one where I had an orchestra. In those days, we didn't have access to synthesizers, or at least quality synthesizers so there wasn't really such a thing as a 'mock up' -- it all had to be done on the piano. If you had to show a director or producer your idea you couldn't go out and hire an orchestra if you were just starting out, you had to play it on the piano and hope they had an imagination. Now I had studied to be a pianist, so it would be kind of scary if you hadn't. Of course, the result of this is that most of the composers were pianists. John Williams was for instance, a great pianist, and Henry Mancini was accomplished as well. So a lot of the guys of my generation had to rely on that (July 14, 2004). link: http://conancompletist.forumactif.com/t1089-basil-poledouris-interviews 5. James Horner Film Music (JHFM) : If one has the melodic gift you have or like John Williams and Ennio Morricone, they were able to write great music, melodic music, music that touches people, and people can remember their melodies. But it's difficult for some composers to find something that is really memorable and touches you. It's rarer today. JAMES HORNER: Well John is such an icon, he comes from the golden age of film scoring but nobody is asking for John's style of writing. I meanGeorge Lucas does and Steven Spielberg does. That's a very unique world and most filmmakers find that to be something that works against the film, yet it's such beautiful writing. At its heart, one has to be able to write like that, and also still somehow translate to the tastes of what filmmakers now are asking for. John really just works for Steven Spielberg and George Lucas, and he does concert music, but he's really such a brilliant composer. link: http://jameshorner-filmmusic.com/conversation-james-horner/

They did not even touch each other's hands. This girl in the middle messed up the mission of Giacchino!

I don't know, but...

I know. I just wanted to point out that this is a situation similar to Tarzan live action and Face/Off

Maybe it's one more of those projects he takes for him first and then passes on to some protégé. It's not the first time one of them gets their hands on the franchise, like Jackman, Powell and Gregson Williams in the past.

1. The Last Jedi 2. The Shape of Water 3. The Phantom Thread 4. Three Billboards Outside Ebbing 5. Dunkirk In my view you've gone too far. Dunkirk is not all that.

We can not deny that it is a half truth.

These headlines are so satisfying. John Williams Just Broke His Own Oscar Nomination Record—Again https://www.vanityfair.com/hollywood/2018/01/john-williams-oscar-nomination-record

A lot of Danny Elfman... Batman Returns (1982) Darkman (1990) Hulk (2003) Justice League - Yeah, again (2017) More Horner... Bopha! (1993) Braveheart (1995) And a little of Greenwood (finally!)... Phantom Thread (2017)

Some noise rhythmically directed: 48 Hrs (James Horner) Another 48 Hrs (James Horner) Black Hawk Down (Hans Zimmer)

Both Morricone and Vangelis prioritize their careers in Europe even though they are aware that they are very popular and have the potential to make a lot more money working in the United States.

This is the title! They talked so much in spark during the movie. There is no way to be another. Or following this line of thinking: The First Order Reigns The Resistance Fighters