Taikomochi

Woof those edits with the Biker Hounds cue are rough. I can see why it was cut

Might be my favorite Goldsmith cue, though this melody is very sparsely used in the score

My impression of it after one pass through was that it’s pretty much just the melody and style of the end credits from “The Vanishing” repeated over and over for a whole score (presumably similar to how he reused the rejected Alien Nation cue for The Russia House?). It’s not unpleasant, but also not especially memorable.

I don’t think it’s quite as good/great as the sequel scores, but it’s pretty close. I’d put it a hair below “great”. I would place the HTTYD scores in that category though

Yup. I tuned out when he said TLJ was a disappointment. And I know he couldn’t have known, but it’s pretty hilarious he suggested TROS could be this franchise’s Return of the King

That was a great piece, @TownerFan . Thank you for sharing. Is Tim Greiving well known in the film score community? I thought it was strange he seemed relatively-well versed in Williams’ use of themes and classical references in the film until I noticed he was listed as a film score journalist. There must not be many of those, but I haven’t heard of him.

Images is probably the most capital-A Art film Williams ever scored. Even in Altman’s filmography, it’s a pretty strange entry. Recommended for that aspect alone.

Airbender is his best collaboration with Shyamalan. You should really make time for it. It’s JNH in full fantasy mode, and it rocks. After Earth is a snooze though.

“The Meeting with Mao” has always stuck with me as one of the best uses of Williams’ music ever. Kind of throws water on any discussions that Williams only knows brassy bombast and can’t do dramatic scoring.

Most of us share the viewpoint that Hans Zimmer is an asshole and have found plenty to talk about.

@mstrox Ay, that’s a pretty good thumb drawing.

I can’t believe he apologized. I mean, it’s a good thing, but this is so weird Actually, yeah, nah, fuck him still for what is basically, “sorry but I was justified”

Is Gary Dalkin also a person that writes articles on film music? Seems like Hans was pretty specific on that point

Lick that boot harder, my dude. Zimmer was acting like an asshole. You can still like his music without excusing him acting like a cunt. Unless Southall has made other comments in that thread than the “exactly”, which I haven’t seen anyone else say otherwise.

Imagine being one of the most popular musicians on earth and still being such a fucking loser.