MikeH

Hi Blondheim. To put it very generally, I would say pre mid-70’s Barry was much more jazzy and unique (in regards to orchestration). Late 70’s through the end of his life he really settled on a very definite orchestration that fit his style. Violins would play the theme, horns and trombones played the chords, and celli and harp played a counter melody. Again, that’s a very general way of categorizing it as there are outliers in both of his different style periods. I think above all, Barry was very focused on melody and harmony. Apart from the Bond films, he disliked “Mickey mousing”

This might help!

Ah yes, “Bad Ape, Good Ape”.

Hmmm... 1. Confrontation with Count Dukoo and Finale (Attack of the Clones) 2. An Architect’s Dream (The Towering Inferno) 3. Star of Bethlehem Instrumental (Home Alone) 4. Reunion (Jane Eyre) 5. End Titles (Dracula)

Ooohh gotta have this cue from Scream 2:

I wonder if he was even asked? Too bad he couldn't continue with the series, but maybe his heart wasn’t in it anymore with Craven gone.

Just found it.

@ocelot might have some details on this. I can’t find the thread but a year or so ago there was a big discussion about the whole Gia/Williams Rogue One situation.

I must’ve listened to Departing Coruscant continuously on loop when the score first came out. The climax of that track is so soaring and magical.

My favorite has always been this moment between Palapatine and Anakin. At 3:04 you can hear what (I believe) are the first four notes of Shmi’s theme on trumpet. For me, Shmi’s theme in the prequel trilogy has always been more of a tragic motif used to highlight Anakin’s attachment, loss, and regret rather that just a character theme. The fact that it’s used right as Palpatine is offering to save him from further loss is such a haunting moment. Now someone on here has said that that’s not even the music Williams originally wrote for the scene (?). I’m not sure if that’s true or not.

I’m looking forward to whenever they put the Bond films on 4K discs, but only if they correct the majority of the audio issues that plagued the previous Blu Rays. Most of the pre-stereo Bond films have lots of issues. Why is it so difficult for studios to include the original mono or stereo tracks without messing them up? They often include heavy noise reduction, compression, and low bitrates. And the 5.1 remixes are a mess for the most part. I was watching the Man with the Golden Gun the other day, switching between the mono track and the “new” 5.1. It was very sloppy. Yes

Honestly I wonder what JW thinks when he hears new “cues” that consist of compiled 3-10 second micro edits of other cues.