MikeH

It's crazy how hard this film and score hit me. I went into it liking the first film, but mainly I was interested in the technology and seeing how amazing it would look. I was overwhelmed by it. The film and score are very high on my all-time lists. 
 
The theatre experience of the film and the power of the score were perfect, but I can easily watch it at home and have just as meaningful experience. And not a week goes by where I don't listen to pieces of the score.

I agree with Mangold that Helena's theme isn't the right fit for her character - she's more of asshole than a heroine - but the theme is so gorgeous and Williams' ability to adapt it and use it in different modes is what makes it work. 

Williams recorded an entire score, but who's to say Mangold and the editors didn't use any of Ross' material?
 
Of course I'm being devil's advocate. It's too much fun watching you guys panic over whether you're hearing Williams or not.

Who cares, The Airport is one of the best Williams action cues in years

Some other cool stuff up there, I'd appreciate a like and or subscribe
 
 
 
 

This is really gorgeous stuff. Lovely interpretions of what is already fantastic material.

I’d love to find his signature wind-chimes sample/patch (think Southampton and The Launch). Any ideas?

John Barry and Max Steiner wrote a fair share.

New video
 
 

Two of those had directors who seem to really respect the scoring process. I don't think it's a coincidence that he was able to write much better scores for TLJ and DoD than for TFA and TROS.

The Digital Bits is the Internet's leading source for DVD, Blu-ray Disc, and 4K Ultra HD industry news, reviews, analysis, and expertise!

SCORE ONLY VERSION!!!
https://thedigitalbits.com/columns/my-two-cents/101023-0700

I bet there are things about scoring bad movies that are more fun than good ones. And it's probably not that different to some degree. Like, the moment in "The Great Eatlon" when Giamatti realizes the guy with one buff arm is The Guardian, that's just a great setup for music whether you think it's actually a good scene or not. And on the flipside great art probably just feels like footage after awhile. 

'Alternative rock' artists provided 2 of the best - YKMN, and Garbage's The World Is Not Enough.  

https://www.facebook.com/reel/1446267599252618
 
https://open.spotify.com/album/2DWJtnvhMCL49fvWBfyt27?si=lXLmNeerS0aGaN-LvaxEjg
 
 
 
Physical CD:
 

1     Signs: The Cornfield
2     Signs: After You Were Born
3     Signs: Hand of Fate
4     The Village: Morning - James Newton Howard, Hilary Hahn, Jean-Yves Thibaudet
5     The Village: Noah Visits - James Newton Howard, Hilary Hahn, Jean-Yves Thibaudet
6     The Village: Ivy Saves Lucius - James Newton Howard, Hilary Hahn, Jean-Yves Thibaudet
7     The Sixth Sense: Lonely Boy
8     The Sixth Sense: Ghost in the House
9     The Sixth Sense: Acceptance
10     Lady in the Water: Prologue
11     Lady in the Water: Charades
12     Lady in the Water: Story
13     Lady in the Water: Return to the Blue World
14     Unbreakable: Survivor
15     Unbreakable: Destiny
16     The Last Airbender
17     The Happening: An Event - James Newton Howard, Maya Beiser, Jean-Yves Thibaudet
18     The Happening: Harbinger - James Newton Howard, Maya Beiser, Jean-Yves Thibaudet
19     The Happening: Aftermath - James Newton Howard, Maya Beiser, Jean-Yves Thibaudet
20     After Earth
21     Flow Like Water
 
https://www.amazon.com/dp/B0CG1XXMM2

Very cool
 
Now do another one together

JNH is apparently releasing an album featuring his music from Shyamalan movies. He posted this on his Facebook:
 

 
And this was his lastest release on Spotify:
 
 

I’d love to find his signature wind-chimes sample/patch (think Southampton and The Launch). Any ideas?

My favorite synthesized effect Horner used was the 'air' effect, like a faint whistle in a huge amount of his scores, notably in "To Gillian on her 37th Birthday", "Deep Impact", "Braveheart", "The Forgotten" and many, many others. 

NEW EPISODE Soundtrack Producer Mike Matessino talks the expanded reissues of two impressive #JohnWilliams scores from 1997, THE LOST WORLD and AMISTAD, recently released by @LaLaLandRecords
LISTEN http://tinyurl.com/ysabbudp
 
https://twitter.com/TheLegacyofJW/status/1697639770518614300
 
 
 
🔴 NEW EPISODE!🎙
 
GRIPPING JOURNEYS: THE MUSIC OF 'THE LOST WORLD AND 'AMISTAD'
 
Archival Soundtrack Producer Mike Matessino returns on The Legacy of John Williams podcast to discuss the remastered and expanded editions of two impressive scores from the Steven Spielberg/John Williams collaboration, recently released by La-La Land Records: THE LOST WORLD and AMISTAD.
 
Mike Matessino sheds light on his restoration work on these seminal scores, both composed in the same year (1997), also offering his insightful comments on how they sits within John Williams' filmography. Project assistant Jason LeBlanc joins the episode as a special guest to further illuminate on the process of restoring these two releases and explaining his role assisting Matessino during their production.
 
Hosted by Maurizio Caschetto and Tim Burden
 
🎧 LISTEN 👉 tinyurl.com/ysabbudp
 
Available on all major podcasting platforms!
 
https://www.facebook.com/story.php?story_fbid=pfbid0UVnm8YfsbeLeLhtAkuxUuSbSvVD2MkXoBj7ZBNbF1bS3rbsbk4guz7weGaCxcY1xl&id=100054793129036&mibextid=CDWPTG

I personally can't understand how this is so mystifying, really. Many scores have multiple ensembles for different types of scene (orchestra, soloists, etc) and it sounds like the number of active recording studios in L.A. is shrinking. The idea of having to go across town a few times to different places, depending on where's available and what they need on that particular occasion, doesn't seem even remotely strange to me. And that's without considering any pick-ups if they decided later in the process that they needed an additional bit of score for something.

5m3 and 7m1  🎺 📯  
 
 
 
 

Listening to the set.  OK, there is indeed a lot of new stuff on here. I really liked the old album already, which had some good action music, but it is really surprising to experience this material in the context of the entire score. Some of the new stuff is way more aggressive than what we've heard before. Let's put it this way: the old CD felt like one of those anguished Horner drama scores, the new expanded set pushes it more into the action territory. It almost feels like something you would hear in a Medal of Honor video game. I think a lot of people will be really surprised by this shift. If anything, definitely a significant upgrade.
 
Karol