GerateWohl

Arrived today!

Far From Heaven - Elmer Bernstein
 
What a gem of a score. I could listen to the main theme for hours

National Film Music Day is what we make it to be.   4/20 and May the 4th had to start somewhere.  It’s up to us nerds to take this thing to the next level. 
 
Fortunately, I have some ideas on how to kick start this holiday, and give it widespread commercial appeal:
 
Try a composer who is new to you. 
  Give an old OST you don’t need anymore to someone you think might play it. 
  Start a composer thread for a composer you think we should pay more attention to. 
  Donate to one of the film music recording Kickstarters.
  Do a random act of Film Score kindness. Buy Andy a CD of his choice. Think how good you’ll feel. 
  Invent a cocktail that embodies your favorite composer or score. 
  Drive through a bad part of town blasting “Cutthroat Island” with your windows down. 
  Change your instant media profile pic to Giorgio Moroder. See if anyone guesses.
  Play some Barry or Delerue during sexy time with that special someone.   
And finally, for the children, invent a mythical “Father Film Score”, “Santa Soundtrack”, “Papa Bande Originale” character. Dress in a turtleneck, beard, glasses, and white ponytail. Carry a conductor’s baton and a sack filled with 1-cent Titanic OST’s you’ve been hoarding.  Visit your local village, community center, or public market to the squeals of delight from the little ones. 
 

 

I read that article, too. I understood, that this was the first published non-musical film score album.

Let's make a non-film-score-day.

I instantly imagined him singing 'Sukiyaki.' 
 
 

"Now, how does this karaoke thing work?"
 

Multiple
 
 
 

http://www.sfgate.com/cgi-bin/article.cgi?file=/c/a/2006/12/10/BAGJGMSURB1.DTL

That I would like to see. If you can really manage to press CD's with large booklets and so on. I doubt you had a factory plant for real pressing discs. So no... no one of us can do that. That's what GerateWohl meant. I assume he wants the real thing.
 
Besides, I am in your camp. I would rather like expanded prequel soundtracks. Maybe this is a bit of selfish thinking, but I do have all of the pressed FYC's albums in my collection (I paid quite a bit for those) and I like it to listen to so I rather want the prequels.

Per Cinema Herald:
 
Legendary composer John Williams has been tapped to score Oliver Stone's upcoming film, "Donald Trump," set for release in 2027. The film will explore the life and presidency of Donald Trump. Stone, known for his provocative and politically charged filmmaking style, is expected to bring his unique perspective to this highly anticipated project.
 
Williams expressed his excitement for the collaboration, stating, "Working with Oliver Stone is always a creatively fulfilling experience, and I am thrilled to be a part of this project."
 
Williams revealed that he has already written the main theme. “Oliver wanted me to write an ambiguous theme that could be played in either a major or minor key, depending on the context. So I wrote a motif that goes up a major second, down a perfect fifth, and then up a perfect fourth. Hopefully, I’ve written something that might contribute in some way to the audience’s listening experience, if only on a subconscious level.”
 
This collaboration is set to deliver a captivating musical narrative, leaving fans eagerly awaiting the film's release.

Both good, but it’s Hook Prologue for me, every time.

And an expanded release session dump of Rogue One!

I would even be happy just with proper expansions of the sequel scores. Even if they just contained a merge of the OSTs and the FYC albums.

They said yes to the Wrong John.

All I have to say is: if people didn't whine and bitch and moan so much back in 2000 when the TPM UE was released, at least we'd have that for the other two prequel movies and maybe for the sequels.
 
Have fun waiting for about 65 years to get them "dOnE rIgHt bY mIkeY mAtEtChInO", and that's if they get done at all.

I would even be happy just with proper expansions of the sequel scores. Even if they just contained a merge of the OSTs and the FYC albums.

He can't stay down with three barrels on him, not with three barrels, he can't.

I have no such easter tradition, but I did watch it for the first time during easter -- mid 80s, in Denmark, on the telly, while visiting some extended family (in that boring period between dinner and coffee & cakes). I vividly remember many scenes, especially Moses on the mountain, but I don't believe I watched the full thing. Saw it up again just a few years ago, and it's still an impressive epic.
 
The score is obviously an early cornerstone in Bernstein's career. Love it. But what's always fascinated me the most is that the exodus music sounds so "British" -- like something out of a Britten or Elgar composition (it's all rather pomp and circumstance). Kinda at odds with the geographic setting, but also interesting. I always wanted to know the reasoning behind that particular style choice.

This was many Halloweens ago.
 
Here's my daughter and her friend.
 
 
 
And with apologies to @Mr. Hooper, here's me:

 
Hey I don't need this working class hero crap.
 

 
And Here's the family dog, with 3 barrels on 'em:

 
Quint gets revenge:
 

 
Aboard the Orca....
 

 
 

 
 
Thanks for indulging me!
 
 
 

I managed to get my hands on this one and, gosh, it shows again, why I prefer the young Goldsmith over the old.
Great score, great album. 

 
Made it immediately into my top five ever Western scores.
 

All the good singers were dead.