Kevin

Maybe the word 'score' threw them off. If you say 'soundtrack' then maybe there will be slightly more recognition.

Here's a performance of Star Wars: Revenge of the Sith that my former high-school did a few years ago. Hope you enjoy it. http://www.youtube.com/watch?v=sWv2pXLLzaM I was actually in this one, playing the euphonium (baby tuba).

Women usually ask that (not being sexist, it's the truth!), then usually say "Oh" when you tell them no.

Here are some WW2 themed events (these are not the names of the possible movies): -Life and the Death of The Bismarck Great German battleship that was supposed to be the biggest and best that the Germans could offered in the naval war against the British. (Yes I know, Sink the Bismarck IS a good movie, but I was talking about a more modern version (maybe scored by Randy Newman...) ---------------------------------------------------------------------------------------------------------- -The Sinking of the U.S.S Indianapolis and its aftermath (horribly depressing though) This was the ship that delivered Little Boy (the first atomic bomb) to the airfield in the Pacific Ocean, before it was dropped on Japan. After that, the Indianapolis was sunk by a Japanese submarine, and its crew were not rescued for five days (due to the U.S Navy messing up), a lot of the crew were eaten by sharks. Quint's monologue was powerful though. (Yes I know, there was a 1990s TV movie about it, but the story demands better treatment).

Few years old though... http://www.beyondhogwarts.com/story.20050829.html British director Terry Gilliam was J.K. Rowling's original pick to direct the first Harry Potter movie in 2000. "I was the perfect guy to do Harry Potter. I remember leaving the meeting, getting in my car, and driving for about two hours along Mulholland Drive just so angry. I mean, Chris Columbus' versions are terrible. Just dull. Pedestrian."

1/2 Hungarian 1/4 Austrian 1/4 English All Canadian though (English speaking Canadian).

James Horner kinda looks like Spielberg with the cap on.

Over the last few days: -Prince of Persia - Harry Gregson Williams The first 30 minutes are promising enough, but then after that the score becomes unfocused. -The Last Airbender - James Newton Howard Contrary to popular opinion, the lack of thematic memorability in this score is what kills it for me. -A View to A Kill - John Barry One of his best James Bond scores, with electric guitar rips. -Love Actually - Craig Armstrong (Promo) Lovely romantic comedy score with less than 30 minutes of material but has a 6 minute orchestral blitz cue.

I missed A Bridge Too Far, a shame really.

My one idiom is that I feel that talking about film scores in person feels weirder than talking about the internet, even with other film music fans. Granted I've only talked to a handful of people about film music in person, but the feeling I got was an different feeling to me at least. When there was a difference of person in the Skype chat, it was definitely a change because you would have to think on the spot for your reply. It is not like you can think about your response for 30 minutes or 3 hours and post back later. And especially when the people are not generally a film music fan and they talk about a score or a score that you have not heard lately or before ever, it's just rather awkward. My other idiom is that that the dynamic between people who post on this and various other film music message boards would be totally different in the real life (especially for something like FSM). The people who seem very opinionated would probably be less opinionated in real life. You would be able to gauge people's expressions and the intent in their voice when they talk which is difficult to do online. A friend of mine and I once had a 4 hour conversation over Skype, and it was great to actually talk to him. I sometimes have had the notoriety of my posting style (being short and un-explanatory criticized by people but he said that they were unfounded when he conversed with me. Here, it probably wouldn't be too different.

Film Scores: How to Train your Dragon (Powell) Inception (Zimmer) Tron: Legacy (Daft Punk) Alice in Wonderland (Elfman) Space Battleship Yamato (Sato)

Sounds a lot like this place. That's pretty much how I think of JWFan, anyway. Here there's a small number of regulars and each has their own style and quirks, everyone knows what each person is into and there's a nice little camaraderie which keeps the place ticking over. Being a once prolific poster on a very large, busy forum (Empire Online), I must say that I much prefer the smaller, more personal atmosphere of this little board. I know you got off to a bad start here for some reason, but now that that has blown over (I think), how do you rank this place, Listener? It's like a North American (or American specifically) Main Titles.

Hasn't every major or minor composer sounded like Herrmann in one score or another at one point in their career?

Copernicus' Star - Abel Korzeniowski Speed 2 - Mark Mancina (two copies, one for a birthday gift for a friend) An American Tail: Fievel Goes West - James Horner Nate & Hayes - Trevor Jones

Underrated score really...

In Harm's Way - The Sinking of the U.S.S Indianapolis and the Extraordinary story of its survivors. Heart-breaking story, only really known from the fictional monologue in Jaws.

The places I go: Filmtracks - While people may bash Film Score Monthly for the low quality of discussion, I really think that Filmtracks is the ghetto of film music discussion in the online world. I can justify it through, the lack of discipline or monitoring by Christian Clemmensen (site operator). Simply put, he just allows anything to be put on the forum; religious trolls, picture of male genitals, political rants, anything. There's probably a reason why businesses can less willing to put advertisements on Filmtracks, with the recession as a convenient excuse. Plus, the film score topics on the board sort of repeat themselves after a while. Some of the poster there just take CC's opinions and make them their own, rather than thinking for themselves (an example is the flaming of The Social Network score). (Warning: I may be biased because I was banned from Filmtracks, because a few elitist influential people, who did not like me, and had Christian's ear). Film Score Monthly - While people have had their fun over the years poking fun at FSM and its users, there are a few decent things about it. First is the quantity of users that visit Film Score Monthly every day. Another is that there is a dedicated moderator that keeps people [relatively] in line with the forum rules and such. If you don't flame anyone or start a controversial thread, Film Score Monthly is not a bad place to talk about film music. That being said, it's nostalgic station number one (alot of older people on there), where sweeping generalizations are made about modern film music everyday and the prejudice of the only way to score a movie is with a 100 piece orchestra and not electronics is always present and visible. And that they want every score released, no matter how mediocre, and will act like children if it isn't released. MainTitles - Small and lesser known than the two mentioned above. Its nature is very European (with a few North Americans, like myself). It's very intimate (like a pub) with a clique of users already there, so if you're a bit of an outsider, you probably would be there too. Movie Music UK - Dead.

The music industry's solution to fighting downloading.

House of Sand and Fog - James Horner It's a very subtle score for a 70 minute album.

No, his enormous success has nothing to do with it. I just dislike Inception or any other movie that fails to bring something other to the screen than just the story. IMO, Nolan's crowning achievement remains The Prestige. Did you see The Illusionist?

Me too. I'm listening to a solo piano album of Philip Glass scores done by long time Glass collaborator Michael Riesman.

They're keeping that for Pirates 5 & 6. And then the Klingons, in Pirates 12: So Very Tired...

Speed 2 Twister Return to Paradise All good stuff.

Robocop 2 Good score, but unfairly mocked by the film score community for its tongue in cheek humour.