Gustavo Joseph

A Haunting in Venice (Hildur Gudnadottir), a score that is very good in the movie, creepy and moody, with a few instruments and no bombast. Very solid work IMHO. I think her sound would work very well in horror / psychological thrillers. Not a good listening experience outside the movie, but that's another story.

Apparently no room for an original score on this one, but JW was friends with Bernstein, looks like a project he could have said "yes".

These two did a nice work, the movie works as a musical, they wrote 4 new songs and produced the Billie Eilish one; the best one IMHO is the first, the lyrics and vibe reminded of 1980s songs like Tootsie. It was a smart move let them write the score, it's very integrated with the songs. Ronson & Wyatt are good!

Just saw the movie yesterday, a lot of good things, but much more Oliver Stonish than I thought (not a praise), very bad role for Emily Blunt (a collage of Oscar bait sequences). The score is so present and strong in the film, I doubt anyone can get in the way of Goransson's second Oscar.

Pretty surprising Andor nominated as "main title", as the series doesn't have one, it's always a different music, with hints or sometimes the complete 6 notes Andor main theme.

Before watching the movie I thought the theme sounded really anacronic, after all it's a 1960's woman, but she's photographed and dressed up as woman from the 1930's , and I guess Williams reacted to that, and he's right as usual: fits the movie perfectly.

I'm just so curious to listen to the NY piano-heavy chase music, sounded really interesting in the movie.

Just saw the movie yesterday, great IMAX experience, and the score works really well in the movie, with new themes and also a great homage to Horner. IMHO Cameron did the right thing to hire Franglen, and he delivered it. I have yet to heart it on the album, but the family theme is a keeper.

I'm an Elfman fan, but he was so keen on keeping original themes for characters in Justice League, using music composed for other incarnations and timelines, and now uses Doctor Strange's MCU theme only as brief cameos and creates a new theme for him. Inconsistent IMHO (but a good theme, and a good score).

Just saw the movie yesterday, and the music is really one of the highlights. Even people lefting out of the theater were talking enthusiastically about it. The Catwoman theme is really present, and what a great theme it is. The Riddler stuff is really creepy and reminded me a little bit of giallo, with the solo voice. The Bruce Wayne theme is the longer melody we hear at the Batman track, and the cape cruzader music itself is the 3 notes rhythm we hear a lot of it- really - in the movie. A return to form for Giacchino after the more burocratic work in No way home.

"Don't look up." It's funny and smart, but the denial and incompetence of real life far surpasses that of the movie, at least in my loved country of Brazil S2

Works so well in the movie, will dive in the CD now.

No Time To Die - liked the movie, liked all things Bond-related and didn´t care about Blofeld or Remi Malek. My Craig ranking goes: Casino Royale > Skyfall > No Time To Die >>>> Spectre >>>>>>> Quantum of Solace

Great topic! I remember in the 90's / early 2000's most of trailers used music from other movies, like Randy Edelman's scores from Come see the paradise, Dragon: The Bruce Lee Story and Dragonheart featured prominently in a lot of them, or Bishop's countdown from Aliens, a champ on action movies trailers. These days I don't watch a lot of trailers, not a spoiler fan, but my perception is that they use much more original music made specially for the previews. Is there's some cue or score used a lot in trailers these days? And a great original trailer music is Jerry Goldsmith's Extreme Prejudice.

Old (M. Night Shyamalan) I'm a fan, except for Last Airbender, Another Earth and Glass, and found this one OK. Some nice moments in between, but the conclusion, although clever, isn't well executed IMHO

John Williams is probably the composer most associated with the Olympic Games, with three themes comissioned for the 1984, 1996 e 2002 events, plus a great piece made for NBC in 1988. However, many other composers had works comissioned for the Olympics. I'm going to list here the ones I'm aware of, and I would very much like your contribution to make this list as complete as possible. 1896 - Athens Spyridon Samaras - Olympic Anthem (declared the official Olympics Anthem since 1958) 1964 - Innsbruck Bugler's dream (Leo Arnaud for the album Charge! in 1958) - not composed for Olympics, featured in telecasts since 1964 1968 - Grenoble (Winter) - Chant Olympique - Francis Lai (link?) 1980 - Moscou - Moscow Fanfare - A. Golovin - Waltz from the movie A Hunting Accident (Eugen Doga) - used at the opening cerimony (also at 2004 Sochi Winter Games) 1981 - Leonard Bernstein - Olympic Hymn (for the COI Congress) 1984 - Los Angeles - Olympic Fanfare - John Williams - Power (music for the weightlifters) - Bill Conti - Reach out (music for track athletes) - Giorgio Moroder and Paul Engelmann) - Grace (gymnastics theme) - Quincy Jones - Junku (field theme) - Herbie Hancock - The Olympian (closing theme) - Philip Glass 1988 - Calgary (Winter) - Winter Games - David Foster 1988 - Seul - Hand in hand (official theme song) - Giorgio Moroder , Kim Moon-hwan (korean lyrics) and Tom Whitlock (english lyrics) - The Olympic spirit (for NBC) - John Williams 1992 - Barcelona - The Torch Theme (The Flaming Arrow) - Opening Olympic Fanfare - Angelo Badalamenti - Ryuichi Sakamoto - music director of opening cerimony - Canto olympico - Mikis Theodorakis - Amigos para siempre (song) - Andrew lloyd Webber and Don Black - Barcelona (song) - Freddie Mercury and Mark Moran 1996 - Atlanta - Summon the heroes - John Williams - The tradition of the games - Basil Poledouris - The power of the dream (song) - David Foster - Reach (song) - Diane Warren and Gloria Estefan - On wings of victory (with parts of Mr Holland's Opus's score) - Michael Kamen - Javelin (Michael Torke) - premiered in 1994 2000 - Sidney - The Flame - John Foreman - The man from Snowy River - olympic version based on the 1982 score (Bruce Rowland) - Eternity - David Hirschfelder 2002 - Salt Lake City (Winter) - Call of the champions (John Williams) 2004 - Athenas - musical director - John Psathas 2008 - Pequim - You and me (official song) - Chen Qigang - Closing cerimony composer- Klaus Badelt 2012 - London - Survival (official theme) - Muse - And I will kiss, Caliban's Dream (songs) - Rick Smith (from Underworld) - Parade of the athletes, Medal Ceremony and Spirit of the flame (David Arnold) 2016 - Rio de Janeiro - Alma e coração (official theme) - Leo da Baixada, Victor Reis and Rodrigo Marques - Brazilian fantasy, Countdown, Medal victory song and Vinicius o mascote - Alexandre de Faria - Opening ceremony featured Bachianas n.5 (Villa-lobos), Construção (Chico Buarque) and Antonio Pinto's score from Central Station 2021 - Toquio ???? Looking forward for your additions and corrections!

Usually not a Marvel fan, but enjoying the series, and the score by Natalie Holt is very Dr. Whoesque, love it. One of the better Marvel scores, so far, IMHO. Hope she gets to the big MCU movies, they sure could use a little more personality in the scores. (exceptions are the Ant-man music by Beck and Giacchino's Doctor Strange).

Thanks for mentioning the podcast, we really appreciate it.

I think there's a lot of score, even some mickeymousing in the funny scenes. The main theme is very charming indeed, but i prefer the theme for Lucas's friend, Alberto, like in the second half of Take me gravity. This theme in particular is similar in style to his main Wendy and Beasts theme, for past scores.

I listened to the score a few times, very good use of electric guitars and female voice in a few tracks, must be great with the movie, set in 1970's London, but not a very enjoyable listening experience isolated. Of course this can change after actually watch the movie.

I understand that Prince Philip visited Boston in 1992 and Williams was commissioned to write this piece.

Great idea for a thread! Besides the great Godzilla theme by Ifukube, the main titles for the 1960s Toho Godzilla vs King Kong is a favorite. The requiem Ifukube composed for his last score, Godzilla vs Destoroyah is beautiful. The new Honkelborg score is so-so, but found it a little better than his usual output, which I tend to dislike. There's a few electronics in the lenghty Tasman Sea that sounded cool, but that's it. Godzilla's new theme is hammered down in the same format all the time, Kong's theme is very unmemorable to me, and couldn't find any really good material. We could only dream how awesome McCreary's score would have been.

I liked both movie and score, it's a very smart approach to slowly reveal the Captain theme through the movie, and not overplay it. In the album, JNH altered the order of some tracks, probably to have this theme spread through it. I very much prefer to hear There is no time for stories in front of Kidd visits Maria. Hope he gets an Oscar nod for this.

The movie is very weak, and Clooney insists on trying to create false actions scenes, and poor Desplat tries to make dream sequences and alarm beeps sound exciting and dangerous. The main theme is pretty good and sounds like a requiem, and the child theme is beautiful. The cues The Midnight Sky and Iris in the Stars represent them very well.

I liked the score a lot too, finally Zimmer delivered a great upbeat superhero soundtrack. The truth theme is amazing. His music for Batman and Superman certainly fitted the vision of Nolan and Snyder, but his work for the Spiderman / Electro film was so bland.