WampaRat

Agreed @Edmilson. He’s Professional. But not afraid to call out complete lunacy.
 
sidenote: Watched his remake of 3:10 to Yuma the other night for the first time. What a great film! He has this knack for making these really character centric action films. Just what Dr. Jones final adventure  needs!

lol, Lucasfilm might be out of touch at the best of times (as TROS and half of their Disney+ output exemplifies), but even they're not tone deaf enough to "replace" a character as singularly iconic as Indy. The mere suggestion of it was even the final punchline of KOTCS. How does one "replace" a character like that anyway? If they make future films without Ford and set in this "universe" (god I hate pop culture sometimes) then they won't be Indy movies, they'll just be swashbuckling films with the same aesthetic and maybe a few statements of the Raiders March.

Mangold is very patient when dealing with these trolls on Twitter. I admire him for that.

Yeah, The Verdict really should have made the OST, especially when there was plenty of room. I’m also fond of Discovering The Bible, though I can understand its exclusion given its similarity to the Cinqué’s Theme concert arrangement.
 

I know I’ve said it before, but I’m especially looking forward to an expansion of The Patriot. There are several absolute highlights that didn’t make the OST, like The North Star. And like Amistad, it has a fair amount of music that was composed but dropped from the film.

Just watching this scene of Adam’s Address and Adam’s Summation. It’s a scene with an amazing monologue by the brilliant Sir Anthony Hopkins. It’s also a scene that, without Williams score, could go on a tad too long. Perhaps even a bit awkward despite how wonderfully acted it is. But the music can’t be too prominent as to overshadow what’s being said. Neither can it be so subdued as to fail to underscore how important the scene is. It’s such a tricky tightrope that Williams is walking here. Moments ebb and flow, occasionally quoting his “Long Road To Justice” theme or Cinques theme during the Summation portion of the scene. But I’m realizing how impressive his non-thematic moments are in this scene. It never feels like he’s just marketing time until he can come back in with a big thematic statement. He is so damn good at giving each measure of music a specific reason to be there. To uplift here, reflect there, warn here, council there.  Listen to how Williams shifts the mood with the eerie synths as Adam’s recounts all the Biblical “justifications” for slavery. Does it right under our nose when he could have just continued on doing some nice horn solos. It’s this quilt work of emotions that Williams is so skilled at. He can pull you through so many specific feelings in just a few measures. Lesser composers would be tempted to score the scene as “inspirational” (or lesser directors ask for one blanket emotion).  Sorry for the appreciation ramble. It’s a 10 minute dialogue heavy finale. And Williams is able to play us all like a harp!

When we have The Patriot expanded, we'll be able to compare the three of them and see what was the best Americana score of the late 90s 

I strongly believe in the enlightenment, so censorship and cancel culture are the wrong way per se, at least in my humble opinion. I can really live with and accept harsh criticism towards movies or music that played an important part in my childhood, for example. Just "cancelling" them instead of thoroughly reflecting on their missteps, while also highlighting their merits, has more of an angry medieval mob than a refined and differentiated contemporary society.

If anyone was gonna get canceled for "cultural appropriation" in movie scores (which I'm not sure if it's the right term to use here), I kind of would argue it'd be Hans Zimmer, since anyone else would require people to actively listen to film music like we do. With how upfront he is about using a lot of foreign elements on key projects, he's advertising himself in a way I wouldn't think other composers have in the matter. Besides, he already has a track record of questionable behavior on social media (plus a pretty unfortunate allegation if true), so easy fuel there.

Horner and the Shakuhachi. Horner and the Braveheart pipe of irish origin. So much Twitter outrage! 

Just watching this scene of Adam’s Address and Adam’s Summation. It’s a scene with an amazing monologue by the brilliant Sir Anthony Hopkins. It’s also a scene that, without Williams score, could go on a tad too long. Perhaps even a bit awkward despite how wonderfully acted it is. But the music can’t be too prominent as to overshadow what’s being said. Neither can it be so subdued as to fail to underscore how important the scene is. It’s such a tricky tightrope that Williams is walking here. Moments ebb and flow, occasionally quoting his “Long Road To Justice” theme or Cinques theme during the Summation portion of the scene. But I’m realizing how impressive his non-thematic moments are in this scene. It never feels like he’s just marketing time until he can come back in with a big thematic statement. He is so damn good at giving each measure of music a specific reason to be there. To uplift here, reflect there, warn here, council there.  Listen to how Williams shifts the mood with the eerie synths as Adam’s recounts all the Biblical “justifications” for slavery. Does it right under our nose when he could have just continued on doing some nice horn solos. It’s this quilt work of emotions that Williams is so skilled at. He can pull you through so many specific feelings in just a few measures. Lesser composers would be tempted to score the scene as “inspirational” (or lesser directors ask for one blanket emotion).  Sorry for the appreciation ramble. It’s a 10 minute dialogue heavy finale. And Williams is able to play us all like a harp!

I’ve always enjoyed this score. It was my go-to when I needed a Bond fix. But with this release, it’s quickly becoming one of my personal favorite top 10 scores of all time. 

I’ve always enjoyed this score. It was my go-to when I needed a Bond fix. But with this release, it’s quickly becoming one of my personal favorite top 10 scores of all time. 

Finally got my copy and I've updated the spreadsheet to reflect the information in the liner notes.

I remember recording the audio of this entire scene just to listen to the entire music. Now, it is released outside the film in the best sound quality ever. Now, I can enjoy both the film and the music by itself. What a gift.
 
On a side note, not only should the Maestro have won his Academy Award nomination; Sir Anthony Hopkins should have won his nomination for Best Supporting Actor.

Just watching this scene of Adam’s Address and Adam’s Summation. It’s a scene with an amazing monologue by the brilliant Sir Anthony Hopkins. It’s also a scene that, without Williams score, could go on a tad too long. Perhaps even a bit awkward despite how wonderfully acted it is. But the music can’t be too prominent as to overshadow what’s being said. Neither can it be so subdued as to fail to underscore how important the scene is. It’s such a tricky tightrope that Williams is walking here. Moments ebb and flow, occasionally quoting his “Long Road To Justice” theme or Cinques theme during the Summation portion of the scene. But I’m realizing how impressive his non-thematic moments are in this scene. It never feels like he’s just marketing time until he can come back in with a big thematic statement. He is so damn good at giving each measure of music a specific reason to be there. To uplift here, reflect there, warn here, council there.  Listen to how Williams shifts the mood with the eerie synths as Adam’s recounts all the Biblical “justifications” for slavery. Does it right under our nose when he could have just continued on doing some nice horn solos. It’s this quilt work of emotions that Williams is so skilled at. He can pull you through so many specific feelings in just a few measures. Lesser composers would be tempted to score the scene as “inspirational” (or lesser directors ask for one blanket emotion).  Sorry for the appreciation ramble. It’s a 10 minute dialogue heavy finale. And Williams is able to play us all like a harp!

Typo fixed on “Temple of Doom.” In my defense, it’s on the original artwork

Another rejected Bernstein score. I adapted the exquisite artwork by 
Krzysztof Domaradzki    https://www.behance.net/gallery/82252421/Gangs-of-New-York

I was recently introduced to this masterpiece by Elmer Bernstein. Didn’t want to include any actual imagery from the awful film. So I opted to use one of the book covers:

JNH acknowledged in several interviews that he was quite an asshole and hard to work with early in his career. He didn't mention exactly when he changed, but i guess when he bedded Babs Streisand and was her choice as John Barry replacement for 'Prince of Tides' he was a different person. Streisand is famously not a person you disagree with. Btw, the score for 'Prince of Tides' is mushy and awful.

Just finished my latest Oil Painting in my series of Composer paintings. Had to do JNH.

Over the last decade or so he pivoted his career to being more of a presenter, starting with hosting panels at conventions before getting his own quiz show that he's taped hundreds of episodes of.  I think maybe spending so much time in that presenter mode might have ruined the unstudied natural-ness of his acting.

I wanted to turn it off when Dove puked on Willow in Ep 2.
 
But then again, that is Elora Danan's superpower. Just ask Burglecutt.