Kevin

You guys are bigger jerks than Zimmer fans.

This is not school. If you don't like it, don't participate. And we don't always know the answer. Jerry kicked Johnny's butt several times.... with Total Recall, Alien, etc. Minority Report is not the strongest Williams score to compared to Total Recall.

I just think it's rather silly to ask 'do you like this Williams score or ------ score better' to a group of rabid (a few more than rabid) Williams fans. Why ask when you know what the answer is goin g to be.

I don't understand the need to make a poll where a Williams score is put against anyone else's score. It's like asking a room full of Democrats if they like John McCain.

Now, I'm debating getting rid of the Animal Farm and the Chairman's Waltz, and just putting The Patriot concert suite from the album on the CD. What do you guys think?

Are we surprised that the ONLY JW cue he has on his list is the one he calls the weakest. TROLL!!! Play nice, you two. But MOM, he started it!

I've watched a couple of dozen episodes over the the last 10 years, and I can safely say that it never appealed to me in a large way. It's just not my taste I guess. I acknowledge that the story lines can reflect our daily lives/problems (ex Caleb the little kid being the bully on Hank). But, some of the characters are rather bland/shallow/annoying like Dale/Grandpa Hill/Khan. Most of the characters aren't really likable or unrelatable to me. A few of the story lines blend together after a while (ie Hank/Peggie/Bobby or someone being indirectly involved with trouble, like the episode with Tom 'sticker price' Hammond).

Seinfeld's overrated. It's a show about nothing and in its later years, got increasingly more about nothing. Nah, it's a show about anything. The characters don't have really anything redeeming about them/aren't likeable. Would you really want to hang out with these people in real life if they existed?

Why? They were going to use Holst anyway. So, they were going to use Holst and give Holst credit, and then they changed their minds and hired somebody who was told to use Holst but not give him any credit...? It's not an homage, it's a theft. Why wouldn't that bother me? (Even though the music is good, and thematically appropriate for the movie?) The difference for homage and theft for me at least is that in theft, you use some of the actual phrases in the suggested score into your score without much change. Homage is when you take the style of the suggested piece and work it in some of your material. Aren't all brassy, mildly-threatening pieces for the last 50 years been accused of copying Holst?

Seinfeld's overrated. It's a show about nothing and in its later years, got increasingly more about nothing.

I've seen the original version. But I've seen a 'novel cut' by someone on youtube.

You don't know how wrong you are. Edit: Yes we've all ready had a thread about this before. So? To be redundant is human.

What are the interesting ones? You mock me, but have I done anything to mock Williams specifically, except say, in my opinion, that his one cue on my album is the weakest of the strong pieces on my CD? I have also created some useful threads, like the Star Trek, Job, and Hockey threads. Is this the mark of a troll?

At least with South Park (the older ones at least), you actually learned something. Like the Harbucks episode, where Harbucks is only big because it made excellent coffee and should be allowed to set up coffee shops wherever it wants.

Are we surprised that the ONLY JW cue he has on his list is the one he calls the weakest. TROLL!!! It's just I don't have alot of good Williams cues, 2.5 to 3 minutes long on my computer. Actually, I retract what I said. The Waltz brings a breather after all the cues before, especially the flurry of Tombstone and The Enterprise. What do you think is the weakest cue, oh noble one?

Do you have something personal against me?

The special effects were terrible, the acting's laughable, the story was slow, Sting's in it for no apparent reason (suddenly, I was like oh my god, that's Sting with orange hair!, and later the uncomfortably low speedo), Toto did the music (who recently broke up), the ending was weird with the thunderstorm and new age soft rock over the end credits. It was a stinking pile of crap. Man, I loved that movie. I really did. I absolutely think it was far too ambitious a project to adapt to film, but the result was so wildly bizarre and wonderful that I can't imagine if it had never been made. It's an incredible piece of art. Heavily flawed, beautiful, ugly, desperate, expertly-paced, etc. It's become one of my top ten favorite science-fiction films of all time. They just don't craft films like it anymore. For some reason, the 80's-ness of it seemed right somehow. Looking back on the 80's is actually not dissimilar from a surreal science fiction universe, anyway. Lynch may have left out a lot of plot elements, including a basic tenet of the book wherein Paul Atreides is trying desperately to avoid engaging in a messianic jihad. In a way, though, I think Lynch's Dune captured the soul of the book far better than the tepid Sci-fi channel remake. That was painful. Soulless. Like a painting-by-numbers... technically correct, and completely devoid of art. The film is problematic on several levels. I mean, look at it and compare it to all the other Sci-Fi-Pictures of that time and today: No such movie was made before or since, its unique and and an cult-movie... and you wonder how it could be made in the first place. Studios didn't think that a live action Lord of the Rings movie was possible to make. Kudos to the Crew for managing to make it nevertheless, although ultimately Lynch was unable to finish it as he wanted. That's why he should be allowed to make an 'Special Edition'. What I also liked: a) The music. It was Toto's first scoring attempt, and as they tried to combine their native electronic sounds with those of the Vienna Symphony Orchestra/Vienna Volksoper Choir in Austria, they were quickly overwhelmed, even with musical help from Marty Paich, father of David Paich, and also teacher of popular film composer James Newton Howard. Several different themes and genres of music were thrown together to form a crazed mess of grandiose electronically hip orchestral nonsense. And, in strangely a perfect ending, the mess of a movie and mess of a score went remarkably well together. b ) The absolutely excellent production design, evident in the costumes and the gorgeous sets. It is really like the filmmakers attempted to create an complete universe with its own forms of art, architecture and design. What I like is, that the machines look so primitive and antiquated, although the story is set many thousand years in the future. The animatronics, matte paintings and miniatures (foreground models too) are VERY special. The visual effects were passable. c) The casting (Kyle McLachlan (a bit stiff at times), Sting (wonderfully over the top), Kenneth McMillan (one of the most bizarre villains in movie history, McMillan clearly had fun), Brad Dourif (Ditto), Jose Ferrer (dependable), Jürgen Prochnow (probably the best acting job other than Das Boot), Max von Sydow, Patrick Stewart, Sean Young) d) David Lynch's Visual Style e) And of course the uniqueness of it all.

So why does Family Guy survive and Futurama does not? In Futurama, you're given this place (more specifically Earth a thousand years from now) where almost anything is possible. That, in and of itself, is the comedic setup. And I like Futurama for many reasons. You can have some of the most absurd, pointless inventions pop out of nowhere like an exaggerated version of Batman's Utility Belt. You can come up with any race of being at any to suit the plot, no matter how strange or out there they may seem. That's probably why it was a huge letdown when Futurama got the can, because in all honesty the show could have lasted as long as the Simpsons. And yet this is the show that's still on the IV - the show that could have been a great long-running show.

Mine is Star Trek VI because: A) the overture, nuff said. It's the musical definition of a space opera. B) the end credits, again nuff said. I think that although the Goldsmith theme might have been more correct, that Eidelman's effort has more emotion to it, and the suite format much more rewarding than Goldsmith's title-middle-title. C) first use of choir in Trek, and by far the most effective use D) first use of ethnic instruments E) Eidelman's top notch action writing, much more in the style of a thriler than Horner's swashbuckling and Goldsmith's identifable action style. ------------------------------------------------------------------------------------------------------------------------------------ What do you think Star Trek would have sounded like if Williams scored any of the movies.

Actually I think the weakest cue is probably the Chairman's Waltz.

REFERENCES - of course, it's no untypical thing to use references for comedy purposes, but Seth MacFarlane decides to make most jokes be references from the 80s or something. Who cares if it's a bad joke, it's a reference, right? LONG TALK - Make a long conversation where there's a lot of talk and it's dull, that's funny right? Of course it doesnt end with someone getting hurt or anything unexpected happening. After all, isn't a long pointless conversation funny enough already? POLITICALLY INCORRECT - And of course the king class of comedy, jokes which are not funny, but they are so perverted or other stuff that it's hilarious! Oh yeah, in the old days episodes of "the Simpsons" had scenes cut out because they were not funny enough, but Family Guy has scenes cut out because they contain racism or something. Wow Mr. MacFarlane, a joke about children with diseases which cannot be cured, I bet you sat all night on a joke like that, shame you didn't take your time trying to make a funny joke, instead you try to break tabus, that's pathetic. Let's also not forget that the first three seasons of Family Guy were actually funny. Then Seth started putting his political views into Brian's mouth. Yeah, I know, Brian was ALWAYS Seth's mouthpiece but after the revival it just started getting REALLY bad. The straw that broke the camel's back was the plotline where he gets a HUMAN girlfriend who he has a sexual relationship with and yet nobody on the show thought it was a little weird. It COULD have worked if it was played that what's-her-face was stupid (something they were already making jokes about on the show) and that she was so dumb she was oblivious that she was sleeping with a dog. But they don't. What pisses me off about this is that IT'S GREAT JOKE FODDER. So let me get this straight. Southerners are stupid hicks and Republicans are evil, but bestiality is a virtue? Seth McFarlane has some messed up values. All you need to do to make a joke in Family Guy is do something unexpected. That's what Family Guy's pony trick is - if you can do something that the audience is not expecting to happen, whether it be a sudden sexual joke, a pop culture reference or what have you, there's a huge chance that someone's going to smirk out of sheer surprise. This is probably why so many high school students/college students find it funny - because it's a show that always bound to make them chuckle. Not in the right way, nor the correct 'intelligent' Monty Python way. Not even the sudden, perfect delivery that is MST3K's claim to fame. No, Family Guy's job is to shock you so much that it makes you think that it's whitty.

Prelude - John Barry - Raise the Titanic It's Only Gold/End Credits - John Debney - Cutthroat Island Man Title - Basil Poledouris - Quigley Down Under End Titles - Richard Harvey - Animal Farm Looking at Heaven - Bruce Broughton - Tombstone The Enterprise - Jerry Goldsmith - Star Trek: The Motion Picture The Chairman's Waltz - John Williams - Memoirs of a Geisha Star Trek VI suite - Cliff Eidelman - Star Trek VI: The Undiscovered Country The Burning Bush - Hans Zimmer - Prince of Egypt Harry in Winter - Patrick Doyle - Harry Potter and the Goblet of Fire Reunion with Gurney - Toto - Dune The Darkside of the Moon - James Horner - Apollo 13 End Title - Ennio Morricone - The Untouchables Finale - Georges Delerue - The Black Stallion Returns Finale - Trevor Jones - The Dark Crystal Comments and suggestions are welcome as always.

As I said they're both adapted from Mahler.

I don't have a favourite, but I like alot of them. A Beautiful Mind Aliens Battle Beyond the Stars Back to Titanic Field of Dreams Glory The Grinch Krull The Spitfire Grill Both Star Treks The Perfect Storm The Rocketeer Troy Willow We're Back: A Dinosaur's Story Both Zorros The Land Before Time An American Tail and An American Tail: Fievel Goes West The New World Titanic Braveheart Apollo 13 The Four Feathers

What are your favourite Horner scores?