LSH

I hate pedantics, don't get me wrong, but I assumed the OG meant films that could only be described as drama in their Wikipedia description. Where even the slightest element of action/thriller/sci-fi/western/etc would deem it unqualified. I don't know; like I said, I don't particularly care for such scrutiny.

Given the supernatural element I wouldn't consider this straight-forward drama. I'm having trouble deciding. I could come up with five now and they'd be different in 30 minutes time. I'm not good at lists; top five within a given composer's catalogue is easier but broader categories such as this are impossible.

Dune wins Best Original Music at the BAFTAS.

Precisely why I'm against doing another run-through. I won't get anything done!

I'm getting massive Windows 95 vibes from this image. I'm not prepared for nostalgia... I haven't even had breakfast yet.

Haha, this just reminds me of that scene in Extras with Ross Kemp.

Oh good Lord. I'm not one to get too excited about stuff these days. But crikey. This gave me shivers.

Hillary Hahn is packing her bags for L.A. as we speak.

I'm swaying more and more toward William Ross. I've been re-visiting a lot of his work recently and I think it would be great to finally hear him on something high-profile again.

Great. Wonderful. Now announce the damn composer!

Love both composers dearly but if we're talking about the present day, I'd go JNH. His music has been very good the past few years whereas Newman is going through a -hopefully brief- dull period.

Very exciting! I'd like to think that when a composer as talented and successful as Howard reaches this point in his/her career, where money could not possibly be a motivation anymore, they will choose projects that appeal to them purely for musical opportunity. I mean, I would. I have a feeling James is exercising this privilege now.

I never really got into this one, though I still enjoy the other two you mention, particularly Speed (and its sequel come to think of it). The 90s really was the best decade for the action/thriller score. Perhaps I should give it another go.

James Newton Howard was the first composer I really connected with and subsequently latched onto when I first got into scores. His Disney scores in the early 00s were what got my initial attention and then I worked my way back through the major hits in his back-catalogue. He was my favourite for many years. He's still up there but he was very soon joined by the likes of Goldsmith, Williams, Horner, Newman, Silvestri, and then the MV/RC graduates with merit. My favourite JNH scores, in no particular order: - WYATT EARP - DINOSAUR - SIGNS - WATERWORLD - ATLANTIS: THE LOST EMPIRE - GRAND CANYON - THE MAN IN THE MOON - VERTICAL LIMIT

Crikey, was that his main writing studio?!

Not technically a film score though portions of it were used in Spike Lee's 2006 documentary When The Levees Broke: A Requiem In Four Acts. Thirteen stand-alone pieces of very dramatic and moving jazz movements co-written and co-performed by Blanchard and his band, with orchestral backing in most. Highlights for me are the exquisite and cathartic Ashé (written by the band's pianist Aaron Parks), the saxophone-led In Time Of Need (written by saxophonist Brice Winston) and Blanchard's own Funeral Dirge which, incidentally, re-uses a melody from his score for Inside Man (the cue Nazis Pay Too Well) but is completely re-invented here instrumentally and contextually. Recommended.

I forgot to mention... I went to see DOG last week, ostensibly for date night, actually to hear Newman's score (since it's not getting a release). I'm sad (but glad - given the no release thing) to report that the score is incredibly sparse and subtle. Given that it's a comedy/road movie, I was expecting a lot of the rhythmic side of Newman, montages with quirky plucked instruments and percussion... but these moments are covered with popular songs. From what I could hear (and trust me, I was listening), there are literally around five or six short cues and they are all pedal note synth with the occasional warm string wash. Think I heard a piano chord at one point. So, definitely not worthy of a release even though I'd still like it, being a completist and all.

I enjoyed the cinema experience of Avatar back in 2009 but discovered that it had zero re-watch value afterward. I will definitely go to see the new one, primarily because I'm genuinely interested in seeing how good it will look. I'm not expecting to be blown away by the story... or Franglen's score (but I'm willing to keep my mind way more open on that particular front).

Yaaayyy!!

Fair enough. We friends?

I wasn't underwhelmed by your choice of composer (of whom I admire greatly). I was referring to your initial response to my thread. This is getting too much.

I'm not offended, crikey. Yes it is a silly, hypothetical question. I was just seeking some interesting answers from the rich smorgasbord of music fans we have here. I'm not offended by your response. Perhaps somewhat underwhelmed. /s

At least we got someone with a sense of humour.

I'm glad that this entirely innocuous exploration of people's tastes is going well.

I am fucking ZEN pal.