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  1. I listened to this release the other day, and it's wonderful. One of the best, crisp-sounding sounding Horner expansions I've heard.
  2. I would recommend the fantastic 2009 film The Last Vampire on Earth, directed by the esteemed Vitaliy Versace.
  3. '"Kirk in Space Shuttle," "The Genesis Cave," and an alternate take of "Kirk Takes Command" were prepared but ultimately dropped from the final album master.' - p.22 of the La-La Land booklet Does anybody have information about the sequence of the original program? I'd like to recreate it if I can, but I don't know where these 3 tracks would have originally been placed.
  4. I honestly wish John Williams had never written a single score! There are literally hundreds of other composers out there better suited to every kind of film and genre. His music is often too complicated and not emotionally engaging (too highly constructed for my ears). And what's worse, he's so overrated, especially on this John Williams fan site where people unceasingly praise each of his works and bring up musical reasons (irrelevant!) to justify why his music is so good. I don't like or listen to any of John Williams' scores, and I want everybody to know this!
  5. Sorry if this has been answered before, but could someone provide a list of the episodes where a real orchestra was used?
  6. 1. Hook 2. E.T. the Extra-Terrestrial 3. Star Wars: Episode III - Revenge of the Sith 4. A.I. Artificial Intelligence 5. Harry Potter and the Prisoner of Azkaban Other scores that frequently enter my top 5: - The Lost World: Jurassic Park - Star Wars - The Empire Strikes Back - Raiders of the Lost Ark - Indiana Jones and the Temple of Doom - Catch Me If You Can - The Terminal - Lincoln
  7. From a cursory skim, it sounds like Hans does Schindler's List.
  8. What's the deal with the difference in track titles between the OST and the Intrada? 06 Returning to the Sea (OST) vs. 12 Returning to Sea (Intrada) 10 Sad Goodbyes (OST) vs. 13 Sad Goodbye (Intrada)
  9. I discovered this OST recently and it is a really excellent score. I especially love the track "The Wedding of Officer Torres" (sounds like an extension of the rhythmic material in Catch Me If You Can). I would buy an expansion of The Terminal and Catch Me If You Can instantly. 2001-2005 has slowly become one of my favourite JW periods, and I love hearing all the little connections between the works from this time.
  10. This most recent update may not be completely finished yet - For a few days, the site read "maintenance mode is on" and nothing could be accessed.
  11. The new website looks amazing! http://jameshorner-filmmusic.com
  12. I still haven't seen the film, and whilst I don't think I would call the score a "masterpiece" by JW's standards, it is extremely beautiful in parts and contains some of Williams' best melancholy/reflective Americana writing. The Last Battle (5:07-end) is absolutely gorgeous. I adore the contrapuntal trumpet writing, and those woodwind chords at 7:19 are wonderful.
  13. This I agree with. Everything else, I don’t, and that’s okay!
  14. IMO The Thin Red Line is a lovely ambient and reflective work which is a nice stylistic contrast to the over-the-top 90s action music Zimmer was pumping out at the time. If you're jumping into the score for the first time, I would echo the sentiment of listening to the OST first - It's very well put together, and touches on every major theme/style from the complete score (and some music not on the 2CD LLL main program). If you enjoy that, then you will be able to better appreciate the complete score. Some people find that the main program can drag at times, given most of the music is quite static (rhythmically and harmonically). But for me personally, the calmness and stillness is what I love about the score, and when I'm in the right mood, there's nothing quite like listening to it and being enveloped by its peaceful tones. Also, any time woodwinds, harps and counterpoint appear in a Zimmer score, it's something to be celebrated. "Airfield - Bell Flashback" (aka "Light" on the OST) is one of the most beautiful and tender pieces Hans has written. And I say all this as someone who still hasn't seen the film.
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