Nick Parker

Of the collaborations Sakamoto's done with "ambient" musicians over the last decade or so, his work with Noto is definitely my favorite!

This is probably for an audience of none, but if anyone needs a mental break to re-center or whatever, I cannot recommend this extraordinary video highly enough.
 
This is Ryuichi Sakamoto and Alva Noto live in performance on a rainy afternoon at the famous Glass House.
 
Seeing these masters of ambient exploratory music in this beautiful rural setting, watching them manipulate physical objects to get the sounds they sample and distort and loop, it's so deeply satisfying.
 
About 16 or 17 minutes in, Sakamoto begins to PLAY THE WALLS OF THE GLASS HOUSE AS A MUSICAL INSTRUMENT.  As a performance piece, as a short film, this is one of the best things I've seen in a while.
 
 

Alva Noto and Ryuichi Sakamoto site specific performance at the Glass House from The Glass House on Vimeo.

I think it is time we inform the Moderators our ability to distinguish the Han Solo score threads has diminished.

The documentary cuts shortly after, but the raw footage continued:
 
"Haha, that's a good one, George! It's funny 'cause we know you're gonna completely screw over Johnny's music!"
 
"Ha, yeah, fuck that guy."

What makes those titles worse is that I could see some of them being used on a Giacchino album.

Of course you don't like it. You are the most reliable member here, regarding the evaluation of movies and scores, except this kind of (overly) emotional movies.
Spielberg is not as differentiated as Kubrick, Tarantino or Cronenberg, but his depiction of the Germans is still fair and not only black and white (excluding IJ).

For a score and movie I love as much as Raiders, yes I was excited to have that track available for listening.  I turn it up loud and luxuriate in the sound of it.

I know I'm trudging well-tilled earth, but is the desire for complete releases driven by a fear  of missing something, that idea of knowing there's more than what you have? I'm curious to know. 
 
For example, when "Bad Dates" was added to the Raiders album a decade ago, were people genuinely excited to have that track available for listening? Or is it more the psychological factor of having everything?

I know I'm trudging well-tilled earth, but is the desire for complete releases driven by a fear  of missing something, that idea of knowing there's more than what you have? I'm curious to know. 
 
For example, when "Bad Dates" was added to the Raiders album a decade ago, were people genuinely excited to have that track available for listening? Or is it more the psychological factor of having everything?

Often those different preferences are "make it louder" influenced by tin ears and no taste. I've sought out old, first press CD releases just because it's less likely the sound has been tampered with.

Irrevocably and resoundingly in the negative.

He likes Click, though. 

He likes Click, though. 

The height of the Nolan wave. Especially after The Dark Knight, almost everyone I knew into movies said I was "easy to please" for loving Batman Returns. They said the Burton films were dated, overly cartoony, and completely emtpy.
 
My response? "You flush it, I flaunt it."
 
 

I think it is time we inform the Moderators our ability to distinguish the Han Solo score threads has diminished.

I think it is time we inform the Moderators our ability to distinguish the Han Solo score threads has diminished.

I think it is time we inform the Moderators our ability to distinguish the Han Solo score threads has diminished.

The height of the Nolan wave. Especially after The Dark Knight, almost everyone I knew into movies said I was "easy to please" for loving Batman Returns. They said the Burton films were dated, overly cartoony, and completely emtpy.
 
My response? "You flush it, I flaunt it."
 
 

The whole album is a modern pop classic, but yeah I responded more to “Touch,” a multi-part epic pop suite. Wonderful.

Until the actual threat of the movie kicks in (I turn off when Superman gets the high frequency message), Superman is a beautiful movie. Light-hearted, good-natured, and purely exhilarating in large part due to John Williams' profoundly and genuinely heroic score, it made me finally proud to share a name with the Man of Steel.
 
Batman was the first date, and then Burton stole home base with Batman Returns.

Easily, even though she probably wasn't as pretty as the other Lois Lanes.

He was teased for it ever since he waa a teen: "Hey look, guys, if it ain't good ol' John Tower Williams!"
 
I've briefly considered this topic in the past. As has been mentioned earlier, of course he's gone through suffering, as has every human being. But through it all he's a man very dedicated to his craft, and from an outside perspective seems to wish to live a simple, quietly gratifying life. I'm personally glad that I've had someone like John Williams as a role model since my teens.

Williams is a master of the long con. He wanted to expand his "glossary" to include a theme for Han from the beginning, but he didn't know how he'd get the chance, until Disney took over. Being the shrewd old man he is, he knew Desplat's approach would be at odds with Rogue One; it was HE who suggested Giacchino as a replacement. 
 
All he had to do was wait for his plan to unfold. Giacchino delivered candy-ass pastiche, just as he expected. And just as he expected, he was asked by Kathleen Kennedy of his opinion. "Kathy," he said sweetly, "Michael is a supremely talented young man. But if you'll allow me the arrogance, I have a certain kinship with the Star Wars sound, if you will. Would you give me the humble privelege of selecting the composer for the next film? It's a...Han Solo film, is that right? Which reminds me: whoever I choose, I would like to offer them a slight guiding hand, if you'll allow the suggestion. Perhaps just a small piece of music...."
 
And we know the rest from there....

Ironic that a person who hates The Last Jedi can't see the argument of disliking a new approach beyond the fundamental premise.

Williams is a master of the long con. He wanted to expand his "glossary" to include a theme for Han from the beginning, but he didn't know how he'd get the chance, until Disney took over. Being the shrewd old man he is, he knew Desplat's approach would be at odds with Rogue One; it was HE who suggested Giacchino as a replacement. 
 
All he had to do was wait for his plan to unfold. Giacchino delivered candy-ass pastiche, just as he expected. And just as he expected, he was asked by Kathleen Kennedy of his opinion. "Kathy," he said sweetly, "Michael is a supremely talented young man. But if you'll allow me the arrogance, I have a certain kinship with the Star Wars sound, if you will. Would you give me the humble privelege of selecting the composer for the next film? It's a...Han Solo film, is that right? Which reminds me: whoever I choose, I would like to offer them a slight guiding hand, if you'll allow the suggestion. Perhaps just a small piece of music...."
 
And we know the rest from there....