Edmilson

I've always loved Horner's music in these last scenes of the film. The nobility of the first acts has pretty much evaporated... there are moans and scrapings... it's utter terror and a death knell. 

My favorite performances of My Heart Will Go On is not on any of the romantic moments and especially not the song, but rather during the sinking, when it's accompanied by one of my favorite Hornerisms ever (one that was especially present during the 90s and 2000s): fast snare drums and increasingly dramatic string runs a la Apollo 13.
 
5:28 to 5:58:
 
 
Also, how can I forget the apocalyptic and utterly hopeless passage that starts at 6:50?
 
 

I love this passage! Always enjoyed the horn to trumpet transition as the phrase rises at 5:46.
 
There’s a similarly dramatic section he wrote for the trailer, at 3:36.
 
 
 

It's got everything a Powell fan craves from his scores: exciting action, great themes, wholesome moments...
 
I missed this kind of score from him so badly.

It's got everything a Powell fan craves from his scores: exciting action, great themes, wholesome moments...
 
I missed this kind of score from him so badly.

Just listened to this for the first time…
 
It’s absolutely amazing, and a contender for best score of the year. The quality of the music (orchestration, harmony, melodic invention, memorable themes, distinctive compositional voice, etc) all prove Powell to be one of the most accomplished composers working in film today.
 
No joke, I think this is one of his greatest scores (animated or live action). Is it blasphemy to say that it’s a step up from Solo (one of my favourites of his in recent times)? I had such a blast listening to this music. I was never a Powell super-fan, but this score has me excited to go back and re-evaluate his earlier animated works. I eagerly await his next projects.

Fixed.
 
Inspired by this.

Fixed.
 
Inspired by this.

In conclusion: the Despicable Me/Minions movies could've been way less crappy and stupid had Powell scored them.

They should be in a movie together where they are brothers.
 

 

Because narrative musical genres (like opera, ballet, and stage and film music) have less form - the "classical" version of "listening experience" - than traditional "pure listening" types of compositions like symphonies and concertos. For a classically trained composer like JW, that's probably more relevant than many other factors. It's also one of the key reasons for "classical elitists" for why film music is supposedly inferior and unworthy. And to be perfectly honest, for many "lesser" scores it is a valid reason (at least when it comes to a purely mathematical prioritisation of what music you can focus on in a finite lifetime - comparing the bulk of not first rate film scores to the decades and centuries of classical compositions at your hand). More so today, when films are less reliant on music, therefore more sparsely and abstractly scored, so that even a well crafted score often doesn't stand much of a chance to develop a musical unity. And of course the fact that film composers of Williams's generation were classically trained, while most today are not, is also relevant to this particular topic - because the reason why I believe that Williams's scores (and those of many of his contemporaries and predecessors) warrant a C&C release is because they do have sufficient form (stemming from the formal training of their composers and also the fact that the film narrative provides a structure of its own that - if more than just key scenes are scored - does give not just a narrative, but a narrative form to the resultant score). Whereas today we have many composers who have first rate narrative and dramatic skills, but lack a formal training and, as a result, lack form in their compositions.
 
Which boils down to: I partly understand where Williams (and also critics) are coming from, but I also disagree in many cases and believe that Williams is selling himself short by (presumably) trying to fix the (supposed) lack of form for his album arrangements.
 
One might argue that the scores often already are that. Which is why we not only have great scores for lousy films, but sometimes also scores that make you want to rewatch the film even though you know it's not as good as the score suggests.

You have to wonder why a film composer would go out of his way to pretend his film scores aren't... film scores.

Shhh!!! Don't complain about Williams' OST decisions, or you'll unleash all the wrath of the OST zealots! The Sacred Listening Experience must be preserved at all costs even if they don't make ANY sense and actually make the score worse!

46 years from now there'll be a website called THFan.com. Although theoretically the site is supposed to be about Holkenborg's whole career, in practice everyone will spend most of their time talking about the Rebel Moon saga.
 
There will be threads such as "Rebel Moon is better than everything!" and "Rebel Moon Disenchantment", where people will mostly complain about the state of the saga after Snyder sold it for billions to Disney.

That's because...

Me seeing people ranking KOTCS above any of the 80s Indy films:
 

It's far from HTTYD, but the themes are amazing and the whole thing is so colourful, wholesome and fun. It's like a JP score for Blue Sky from the 2000s and 2010s. Anyone who likes Ice Age 2-4, Robots, Rio, Horton Hears a Who etc. like myself will find a lot to enjoy here.

In conclusion: the Despicable Me/Minions movies could've been way less crappy and stupid had Powell scored them.

I think Bryon Davis mentioned before that Varese at one point was close to releasing the film recording of Brainstorm, but was stopped by Robert Townson. So take that as evidence that the original tracks survive

Done 
 
Weirdly, for me the page loaded normally with all the YouTube videos whether I was on WiFi or 4G. It's honestly a little hard to believe that my Third World country has faster internet than all of your rich and fancy First World countries... 

My Williamsbroom plays The Quidditch Match every time I sit on it. Unfortunately, it doesn't fly, only makes me look ridiculous on it.

Done 
 
Weirdly, for me the page loaded normally with all the YouTube videos whether I was on WiFi or 4G. It's honestly a little hard to believe that my Third World country has faster internet than all of your rich and fancy First World countries... 

LMAO 
 
Zack Snyder Says His R-Rated Director's Cut Of REBEL MOON Is "Almost A Completely Different Movie"
 
Zack the Hack saw the pitiful reviews that his latest crap is getting and now is taking another "Snyder Cut" from his own butt to use as an excuse. He's already setting up excuses and the next grift for his devout cult of imbeciles on Twitter, but will they care now that this is an "original" (lol) project that doesn't have The Punisher Batman and Superman?