Andy

I don't know about Williams but it plays that way to the audience. I know there are people who just think it's Otis' theme. They just notice the goofy bouncy part with Beatty and don't notice the part where Lex pushes someone in front of a train by remote control. (That freaked me out SO bad when I was 11.)

CD release please....

Yea the whole album's tracklist is up on iTunes.  Drops May 17th
 

 
1 Wunderkammer: I
2 Wunderkammer: II
3 Wunderkammer: III
4 Percussion Concerto: I. Triangle
5 Percussion Concerto: II: D.S.C.H.
6 Percussion Concerto: III. Down
7 Percussion Concerto: IV. Syncopate
8 Are You Lost?
 
https://music.apple.com/nz/album/percussion-concerto-wunderkammer/1737254712

That earned you a Rock-a-Facepalm. 

Well, Seth himself supposedly follows that account.  Not that he would jump in to some rando’s thread and confirm or deny it, but still there’s never been hope this strong. 

The second TMP theme (the one used in the film) is mostly an extension of the first. So when it turns up in Ilia's theme or The Enterprise it sounds like a nod to the finished theme rather than "an unfinished theme we don't hear anyplace else".
 
I'm sure there are Jerry scholars who can put this better, but the two themes really feel like a crossing from 60's and 70's Jerry to later day Jerry.
 
As for The Rocketeer's theme that is heard in Jenny's theme, it's also a variation of the main theme rather than a straightforward statement. I love it! I love when two character's themes can play together like that. Like how Short Round's theme harmonizes with both Indy's theme and the Children's Crusade.

National Film Music Day is what we make it to be.   4/20 and May the 4th had to start somewhere.  It’s up to us nerds to take this thing to the next level. 
 
Fortunately, I have some ideas on how to kick start this holiday, and give it widespread commercial appeal:
 
Try a composer who is new to you. 
  Give an old OST you don’t need anymore to someone you think might play it. 
  Start a composer thread for a composer you think we should pay more attention to. 
  Donate to one of the film music recording Kickstarters.
  Do a random act of Film Score kindness. Buy Andy a CD of his choice. Think how good you’ll feel. 
  Invent a cocktail that embodies your favorite composer or score. 
  Drive through a bad part of town blasting “Cutthroat Island” with your windows down. 
  Change your instant media profile pic to Giorgio Moroder. See if anyone guesses.
  Play some Barry or Delerue during sexy time with that special someone.   
And finally, for the children, invent a mythical “Father Film Score”, “Santa Soundtrack”, “Papa Bande Originale” character. Dress in a turtleneck, beard, glasses, and white ponytail. Carry a conductor’s baton and a sack filled with 1-cent Titanic OST’s you’ve been hoarding.  Visit your local village, community center, or public market to the squeals of delight from the little ones. 
 

 

I think so.  It’s more accessible, I’ll put it that way.  I also think it resolves in a more satisfying way.   It’s safer, and stays within the box a little more, but I think that’s to its advantage. 
 
We’ve always had a remnant of the first theme in the final version of The Enterprise, and it always seemed like a nice variation of the final theme (which at the time, we had no knowledge was a re-write). But it never surpassed the BAM of the Enterprise theme kicking in with the money shot of ship. 
 
Anyways, Jenny’s theme from the Rocketeer is melodic, hummable, emotionally satisfying, and thematically practical.  Horner did well. 

Right, it is very hummable.  And it truly is long lined, I wasn't being sarcastic.   It has two repeating phrases, an ascending middle that rises to a crescendo and then comes all the way back down to the beginning.  Then its midsection plays counterpoint with the Rocketeer theme.   It's gorgeous.
 
 
Oh and Robert Wise was wrong about Jerry's first Star Trek theme too.  It's lovely.  I'm glad he rejected it because the second theme is better, and now we have both.  But how could Wise not hear the theme?

Right, it is very hummable.  And it truly is long lined, I wasn't being sarcastic.   It has two repeating phrases, an ascending middle that rises to a crescendo and then comes all the way back down to the beginning.  Then its midsection plays counterpoint with the Rocketeer theme.   It's gorgeous.
 
 
Oh and Robert Wise was wrong about Jerry's first Star Trek theme too.  It's lovely.  I'm glad he rejected it because the second theme is better, and now we have both.  But how could Wise not hear the theme?

Well, Seth himself supposedly follows that account.  Not that he would jump in to some rando’s thread and confirm or deny it, but still there’s never been hope this strong. 

No way! The concert piece is amazing, especially when the Rocketeer theme plays counterpoint.  It’s also a strong enough theme on which Horner hangs a lot of the dramatic scoring of the climactic Zeppelin sequence.  It’s sweeping and appropriately romantic for the material. I mean, it is a love letter to stuff like Commando Cody / King of the Rocket Men.  

Seems hard to believe, with no other news sources saying anything yet, but lets hope this is real!
 
 
 
 
 
 

Well that's wonderful news indeed! Hopefully we can get Legend of Zorro as a companion release for Black Friday this year then
 
Then hopefully the AFM will start granting waivers for 2005 scores anyway, because it's nearly two decades ago for crying out loud!

Maybe it appeared a lot in those authomatic playlists generated by Spotify's algorithm?

Custom cover artists raferjanders at the Film Score Monthly board has provided some amazing new custom art for this exciting Oliver Nelson twofer!
 

 

 

Oh yes, these will look nice in my iTunes...
 
Yavar

The Superman movie that made me realise one about him could be all the things you describe wasn't Returns, it was Man Of Steel. Hated that film, to the extent that I still haven't seen any subsequent movie with Cavill's Superman. 

To me, a certain amount of 'darkness' is fine and indeed makes sense when it comes to Batman. But not when it comes to ol' Supes. 

The Flying Circus is jut an all-time great film cue

@Holko Maybe you try "Casper". That's in my top 5 Horner scores.

Most of those are in my Horner top 10!
 
I'd say The Rocketeer, Apollo 13, and Glory should be the ones you check out next!

So, since I bought Zorro, which is now the latest Horner score I own, and I was planning on relistening to a few of his scores anyway, I decided to just make it an all-out Horner marathon, going through all his scores I own!
 
Wrath of Khan (+ my Search for Spock suite) - It really already has it all, doesn't it? Gentle emotional stuff, TOS-esque underscore, Danger Motif and experimentation for Khan, and awesome action that really draws you in with its consistent tempo but changing emphasised beats, kickass theme usage, back and forth good guy/bad guy music, satisfyingly timed hits...
 
Krull - and here of course he just turns it all up to 11. "I have pretty much free reign and the LSO? Cool. Let's see how good they really are. I will break them." Thankfully they can keep up with the insane barrage of high-octane action, lush love theme and long-lined Korngoldian fanfares thrown out left and right! Man, I can't imagine what it must've been like to see this wunderkind come out of nowhere and immediately come to such career peaks in only a handful of years!
 
Cocoon - I adore the arc of this score, how all the hinted at themes come into their own and the sound grows from gentle beginnings to a tragic midpoint, a resolved heroic third act and a bittersweet farewell finale.
 
Aliens - It's Aliens. What else is there to say?
 
Willow - Again I love the arc of the score, the orchestral writing and also all the weird other sounds it incorporates.
 
Sneakers - Holy shit why am I not listening to this more? Wonderful minimalistic texturework, breezy fun and just enough tension.
 
Jumanji - Again I just love his creativity with textures and ability to create flow and tension even while somewhat restraindely underplaying the mayhem onscreen.
 
Titanic - What stood out to me this time was how much I now like all the deliberately used synth textures!

I have that box set now and I really love it. It provides a cronological walk through Sarde's career from 1969 until 2021 on six CDs with exactly one track per film. For me it's like a miniature of these Ecoutez le Cinemà boxsets. Wish that would exist for Sarde, too.
That's me!

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