Tallguy

@NL197 don't make me miss Person of Interest more than I already do.

I'm going through old posts. How proud of yourself are you for this piece of insight a year and half before The Mandalorian? Has it already been pointed out that you predicted this?

I'm going through old posts. How proud of yourself are you for this piece of insight a year and half before The Mandalorian? Has it already been pointed out that you predicted this?

I do have to remember to add that to the Halloween queue this year. 

I plan to watch Abbott and Costello Meets Doctor Jeckyl and Mr.Hyde with Boris Karloff. Its in black and white which eliminates 90 of the posters here from ever watching it.
 

1917
 
First: This is why if I really want to see a film I need to see it in the cinema. Watched the first half somewhat undisturbed, took a break for family things, watched more and finally finished it on my phone. I supposed it's a testament to the film that it was as powerful as it was.
 
I hadn't remembered who the director was or the composer (although answering one would have answered the other). It was a sparsely scored film although what score there was seemed surprisingly melodic. Then it got to the scene in the last half with the village at night and Newman just lets go. The restraint of the film prior to this really pays off. I just lost it.
 
I think it was an amazing film. It is both helped and hindered by its "trick" of the uninterrupted shot. I do wonder if I would have noticed it if I hadn't known about it up front. It speaks to how well the film works that I was able to forget about the gimmick and let it pull me into the film.
 
When this came out I wanted to see this and Ford v Ferrari. I regret that I missed them both in the theater.

1917
 
First: This is why if I really want to see a film I need to see it in the cinema. Watched the first half somewhat undisturbed, took a break for family things, watched more and finally finished it on my phone. I supposed it's a testament to the film that it was as powerful as it was.
 
I hadn't remembered who the director was or the composer (although answering one would have answered the other). It was a sparsely scored film although what score there was seemed surprisingly melodic. Then it got to the scene in the last half with the village at night and Newman just lets go. The restraint of the film prior to this really pays off. I just lost it.
 
I think it was an amazing film. It is both helped and hindered by its "trick" of the uninterrupted shot. I do wonder if I would have noticed it if I hadn't known about it up front. It speaks to how well the film works that I was able to forget about the gimmick and let it pull me into the film.
 
When this came out I wanted to see this and Ford v Ferrari. I regret that I missed them both in the theater.

I think you overestimate the amount of action in this movie. ;-)

I'm enjoying the score more than the sketchbook. The tracks are shorter, the ideas more precise. I never expected it to be a "hummable" score. But in the sketchbook some of the more droning tracks go on for forever whereas in the score things don't wear out their welcome so much. Leaving Caladan is a much punchier version of Moon Over Caladan.
 
I need to figure out what my favorite tracks are. I like Stillsuits a lot. It reminds me a bit of John Carter. But that's OK, I loved John Carter. It also sounds a little like Toto's Dune. But that's OK, I loved Toto's Dune.
 
I finally realized that that chattering whispering chanting reminds me of: The Plagues from Prince of Egypt.
 
The score feels a lot less navel-gazing and more like a story. The very least that I want from this score is a good album to read the book to. Mission accomplished.

I got through a lot of this yesterday. Thank you.
 
Forrest Gump is amazing. While it obviously owes a debt to To Kill a Mockingbird it manages to turn the dial a few degrees in another direction somehow. Less wistful and more hopeful.
 
Now I'm off to listen to a Current Score by some German fellow. Seems to about a lot of sand.

No need to; I got home from work, and there it was. Funny how that worked out.

Check your intrada account (if you purchased from them) I did and found a tracking number for my replacement disc. 

I think in 2021 there are a few different ways I might listen to film music
 
An actual, physical, pressed CD An album streamed from Spotify A Spotify playlist of music from different releases, typically created by me, sometimes another person's playlist I come across A CD release turned into files (could be FLAC, ALAC, mp3, whatever) A bootleg or recording session leak (could be any format) My own personal edit / re-jiggering of an album (like my version of The Abyss that swaps in many bonus tracks versions instead of main program versions), always in lossless My own personal expanded version of a score combining an official release with additional music from some other release or a boot or leak, or ripped from the film or something (like a quick "album" I whipped up combining the Force Awakens OST and FYC), always in lossless Another person's edit of a score (IE, a fan edit), hopefully in lossless My own rip of music from a film's audio track for a score that has no release of any kind, like Earth Star Voyager or Locked Down, always lossless Then I guess there's all those times you check out something via samples on a specialty label's website, a composer's soundcloud or bandcamp page, youtube, etc.  
For an actual, physical, pressed CD, there are 2 ways in 2021 I might play it
played in my car.  I went many, many, many years without ever doing this, but lately I've been doing it again as I try to go through my physical collection and listen to everything I've bought at least once via its physical disc through an actual CD player.  The funny thing is we're trading my old car in for a new one sometime in the next year, and the new car surely won't come with a CD player! played in this little CD player/Radio thing I have on my desk in my office room in my house.  I dug this out when I started working from home when lockdowns started last year, and use it as my computer's speakers because I discovered my old computer speakers don't work right any more.  Most of the time though, I have headphones plugged into the player and don't use its speakers, for CD playing. For Spotify albums & playlists, there are 3 ways in 2021 I might play that
while sitting down at my computer, either through headphones plugged directly into my laptop or via the cd/radio's speakers playing through my nice living room sound system (our TV is a Roku one so the Spotify app is right there) playing from my smartphone, either through the phone's speaker (extremely rarely), some form of headphones, or through my car's speaker's thanks to bluetooth For files, there are 3 ways in 2021 I might play those
Using WinAmp, while sitting down at my computer, either through headphones plugged directly into my laptop or via the cd/radio's speakers Using Plex, playing through my nice living room sound system (there is a Plex app for Roku; the files sit on a home server in my basement so my laptop is not involved) Using PowerAmp, playing from my smartphone, either through the phone's speaker (extremely rarely), some form of headphones, or through my car's speaker's thanks to bluetooth  
As for what out of all these options I primarily use?  Hard to say, but probably close to a 3-way tie at this point between the physical CD in my car, files playing off my phone with PowerAmp through my cars speakers, and my own files playing through WinAmp while I work all day.  Spotify is mostly used on Fridays to check out new releases, and occasionally otherwise for scores I like that don't have a physical CD release, like The White Lotus, Tom & Jerry, and Jungle Cruise for recent examples
 
 
Some older methods of listening to film music I no longer do in 2021
 
Burned CDRs of existing albums.  I never had that many, but back in the 90s it was common for somebody to burn you a copy of an album they had that you didn't as a gift.  This was how I had "Robin Hood: Prince of Thieves"'s score until the Intrada edition came out, for example Burned CDRs of some kind of bootleg, or a "best of" compilation, or whatever.  For example I had a burned copy of one of those old ID4 boots back in the day.  Now if I want to listen to that I'd just play the files in my computer An actual pressed CD playing through my living room setup.  I guess I could technically put it in my PS4 to play it, but I just never do that.  I haven't had a dedicated CD player in my living room setup since some time in the 2000s somewhere, and haven't had a dedicated DVD player in there since I got my PS4 in 2017 or whatever it was, when I pulled both it and my Sony BD player out of the setup. Vinyl records.  I never really did this for film scores, but I do technically own the original 1977 and 1980 2-LP release of SW and TESB.  I think I played them on my dad's record player once some time in the 90s or 00s I guess.  I got them each for like, a dollar something.

I got my replacement disc yesterday. Now I just need to find the time to rip it.
 
Thanks, Intrada!

Netflix
Amazon Prime (which we really just get paid for shipping and it comes with a streaming service)
Disney+
Hulu - no ads
 
We just dropped HBO. We get IMDB with ads. I've been watching John Wick on Peacock.
 
I'm sure we'll get Paramount+ when Picard comes out.
 
When we cut the cord I did the math of cable vs. the streamers and included the cost of buying a series or two that I watch that aren't on Hulu. We came out way ahead. I should revisit that.

It'll be in stock by Friday. I had asked MV privately this Monday. So cheer up. 

Perhaps it is a blessing John Williams isn't as outspoken as some other artists and keeps his beliefs and prejudices to himself. One less thing to needlessly divide people. 🙂
 
Karol

@Thor I have no idea how this score got on my RADAR. There are tons of JW scores that I don't know, especially from the 70's. But it did and I have loved the original album ever since. So this was a must buy for me. And I LOVE these CDs!

I never understood the criticism that Skyfall and Spectre don't use or pay homage to the the bond theme. Both scores, and especially Spectre do it arguably more than Arnold did, at least in Casino Royale and Quantum of Solace. Newman doesn't just straight up play the theme as a needle drop, but actually builds his writing in a lot of cues around different parts of the bond theme, both rhythmically and harmonically, where he might take just a few bars of the theme and inverts them or use them as an action motif or as an accompanying line. The use of the theme is just less obvious than in some other bond scores but in my opinion it's just as good. 
 
Just a few of many examples from Spectre would be Los Muertos Vivos Estan, Detonation, Backfire, Safe House, Westminster Bridge. In Spectre the title song is also used once in the score and the same thing is true in Skyfall where the cue Macau Casino is a cue based mostly on the song theme with hints of the bond theme.
 
I love Newman's bond scores and think the criticism that they aren't bond scores in their DNA to be completely wrong.

These demastered versions are the tangible proof of why the world need a guy like Mike Matessino.

I drank stuff and now I'm fucking druuuubk

@Thor I have no idea how this score got on my RADAR. There are tons of JW scores that I don't know, especially from the 70's. But it did and I have loved the original album ever since. So this was a must buy for me. And I LOVE these CDs!

@Thor I have no idea how this score got on my RADAR. There are tons of JW scores that I don't know, especially from the 70's. But it did and I have loved the original album ever since. So this was a must buy for me. And I LOVE these CDs!