GerateWohl

The only thing, that annoys me about Jaws is, that it is one of the three scores that Williams gets asked about to date in almost every interview. I would love to hear an interview, in which Williams gets asked about his approach to his score for A.I. or Munich or The Book Thief or his experience with Alan Parker on Angela's Ashes. But everyone wants to talk about Jaws. :-/
 

It's not perfect, but it easily clears the 5 star bar. "Intimately" might be a bit too strong a word for me, but it's a lot closer to that than "so so."
 
The score and the OST both offer unique strengths. The score avoids the weird reverb, includes great additional music, and features a strong performance by the orchestra. The OST fleshes out some moments that feel abbreviated in the score while nicely capturing the whole musical narrative in a tighter presentation.

I know Jaws quite well and I do love it, I think it's worthy of 5 stars yeaahhh.
 
When I first went full-on John Williams fan somewhere around 2000/ 2001, I went to the library and found the Joel McNeely re-recording there and that was my first real listen to the Jaws score. Even in my newby-ness, I knew it wasn't the actual film recording, though it was fun to listen to. 
 
I have a fond memory of my grandparents buying me the Decca Records release when I was on a summer trip to visit them. They said I could go pick out some CDs and so I went to see what they had in the soundtracks section. I got Jaws, the 1998 Close Encounters CD, Jurassic Park OST, Raiders and Last Crusade. 
 
Anyway, that 2000 Decca CD is part of a very special memory for me, and then I ended up listening to it very regularly

It's been a while. I'd say the variations of the imperial motif in Imperial Attack alone are probably beyond the capabilities of 95% of the composers working in soundtracks today.

Hamlet is rather dreary, but that's the point I think. There's still fine stuff in there. The song sung by Doyle himself would be lovely, I'm sure - I always thought Domingo was rather overkill, plus he sounds a bit strained (or perhaps just disinterested).
 
Much Ado is of course Doyle's masterpiece, and a rare case of a modern film score with a proper overture that introduces the major themes and is probably one of Doyle's most formally rounded pieces - and all that (unlike traditional overtures) while accompanying the film, with some of the best spotting & syncing I've seen:
(NSFW warning: Lots of arses)
(Shame it's a truncated version that starts only after Emma Thompson's opening song-poem; there's a full version on YouTube, but it has weird sound issues)
 
The film is a favourite of mine anyway. It's definitely the Doyle score I'd love to get autographed someday. In fact, I do have his autograph in the booklet, graciously sent to me by a friend who attended one of his concerts, in exchange for my un-signed booklet, but it's *inside* the booklet, over the text, so it doesn't really "count" for my brain, and it's not very presentable. If I ever get the change, I'll probably just ask him to sign the Blu-ray - he's in the film after all.

"The complete album, which will be more than four hours long, will be made available digitally on the day itself. The physical version of the album (featuring the entire service and all 12 of the Coronation commissions) will then be available in stores globally from 15 May."
 
Source:
Coronation album will be recorded live and released the same day | Classical Music (classical-music.com)
 
 

Sex?

Paul Verhoeven should direct.

Paul Verhoeven should direct.

Antediluvian sex.

I would add her losing the will to live when you have 2 newborn babies to take care of!!
 
Then again, on second thought...
 
 
 
Am I the only person that didn't realize that was Leia doing that?  I thought Kylo was just hallucinating or something.  I thought she just reached out to him during the lightsaber fight. 
 

I think Kylo’s “redemption” is much more believable than Vader’s, only in the sense that we see his conflict visibly in both of the preceding movies, in his emotion during Han’s last scene and his connection with Rey throughout TLJ.  I didn’t care much for TROS, but his mother reaching out to him through the force is a pretty good way to tip the scales (him having already spared her in the previous movie, shortly before the Mary Poppins scene), and having her use her last strength to manifest a vision of Han was a decent workaround for a crappy real-life situation.

Both characters committed atrocities beyond any true redemption, of course (destroying planets full of people, murdering “heroes” and their own underlings, etc), but in the silly film serial Star Wars world, you just have to buy it on its face.
 
The “redemption” in TROS was almost a foregone conclusion (although I wish Abrams et al had followed Rian Johnson’s lead and continued the path of “he looked tantalizingly close to a face turn but now he’ll never get there”).  I kind of liked the idea I saw floating around online after TLJ of Kylo flipping sides and then surviving the finale, resolved to face the significant consequences of his actions whatever those are - a significant Jedi move, but probably not the pat saga ending that they would have been going for.

Why is Kylo's redemption more moral bankrutcy than Vader 's?

JW can do without glasses.

Sadly your collection is missing the rarest glass of all:

Why is Kylo's redemption more moral bankrutcy than Vader 's?

I think Star Wars would be improved if they explain that what we see in Return of the Jedi is actually the sarlaac’s butt hole.

Yeah, it does seem pretty out of character for her to reassure him that slaughtering a whole village is "nobody's perfect" territory.

Me too. 

3 messages:
Anakin could have healed his mother instantly in episode 2, if he wouldn't have been so lazy.
The reason why Yoda was dressed in rags in all the movies was, that he didn't have a family name.
If you think, it cannot get worse with a franchise, remember, it can always get worse.

The moral of The Rise of Skywalker is that you never pay JJ Abrams to finish things, only to start them.

The message of TROS was that Lucasfilm had no idea what they were doing. 

That Disney can make money without really trying.

Mattris argumentations might be ignorant and annoying and people involved might feel insulted by it, but Mattris never makes personal attacks. On the other hand, he gets attacked more. So I think, rather he could use the report button sometimes.

Disagree. How has he taken the thread off base? Thanks to Mattris I’m more disenchanted with Star Wars than ever.