Naïve Old Fart

Has this ejit completely forgotten about Rachel Portman, and Anne Dudley?!

I'm quite fond of Snow Falling on Cedars

It's interesting I guess.  But I tend to agree with this article that the approach is as bad as when people used to "colorize" black and white films.  The motion smoothing and cropping of the image to be widescreen are annoying.  The second one you posted (which is itself a painstakingly restored version) is much preferable.
 
You can restore and upscale in a way that also preserves the historical context.
 
https://silentlondon.co.uk/2020/02/05/train-in-vain/
 

I know they say you should never judge a book by its cover and that, but if ever a cover was to put me off watching a movie it's something as blandly sure of itself as that. 

Get it back, JS; it's actually pretty good.

Never listened to this version.
I love the way Don Davis orchestrates brass, so energetic! I recently gave the JP3 soundtrack a shot, and I quite enjoyed it!

Well yes, he was indeed. He was also very fond of the ol' booze, which led to him departing this mortal coil in his early 50s. 

Not expecting to see that in Who any time soon  .

 

I'm not great at articulating these things, but here's a go.  His output is consistently good.  I've seen Prisoners, Enemy, Blade Runner 2049, Arrival.  Blade Runner 2049 has been the best of the revivals, along with Twin Peaks and Mad Max -- if you ask me.  I haven't caught Sicaro or his works prior to Prisoners but I've been meaning to. 
 
What attracts me to his work is his visual style, the work he gets out of the artists he surrounds himself with, and am engaged by the themes he likes to tackle -- especially Enemy, which deals with the shadow self of the main character taking control of his life, and Blade Runner, which deals with a man caught between the world of the artificial and the world of the natural.  He's able to create effectice visceral moments, like the scene in Prisoners where Jake Gylenhaal is driving through rain in traffic while disoriented or the scene in Arrival where Amy Adams & crew first encounter the extraterrestrial.  Perhaps most importantly his movies respect the audience and their intelligence.

Hee-hee. Sweep, I have that problem with the ending of the THE IMPOSSIBLE ASTRONAUT story.
 
Oh, dear. I've just thought. Remember what the nanogenes did to people, in THE EMPTY CHILD? Perhaps they do that to Jack?

Richard my friend, I'll go to my grave still not 100% sure of what unfolded in Let's Kill Hitler. 

That modulation, at 1:02, is beautiful.

The Day Of The Jackal - this classic thriller still manages to be tense and exciting despite the fact that of course we know from history that President DeGaulle was never assassinated. Suave, handsome, very English, a bit posh and playing a killer ... I found myself pondering what sort of Bond Edward Fox might have been, possibly Moore-esque with a bit more 'edge'. This less said about the 90s Bruce Willis/Richard Gere remake, the better.

I bet he pays a few dollars more, for his Viagra.
So, if I'm "good", and you're "bad", does that make him "ugly"?

"I won the 2016 Oscar for Best Original Score, and you didn't, and I've got an honorary Oscar, jerk"
"Yeah? That's still 3 less than I've got, asshole" 

But you don't hear Vangelis' Ballad which he almost directly quotes in the arrangement and the synth sounds, right? It's why he also named it Ballad. It could have been an unreleased track of Spiral. 
 
Apparently, besides Vangelis, the other big influence is Jerry Goldsmith but I didn't really notice that. In fact, the initial idea was to write a hybrid orchetral/synth score a la Jerry Goldsmith but it eventually turned into another direction.
 

I bet nobody there knows his true beliefs.

Post-BREXIT sugar rush I assume. It will fade once Richard realises he's still just living in fucking Scotland.

Excuse me?! Has the 1st of Februari gave you some extra audacity, Richard? You might be pounding on your chest now but soon you'll be wailing for the good old times. 

Wasn't T3 "woke", before "woke" was even thought of?
 
 
Mrs. Kensington is 

GENISYS allowed, is not!

GENISYS allowed, is not!

I bet he pays a few dollars more, for his Viagra.
So, if I'm "good", and you're "bad", does that make him "ugly"?

https://filmscoremonthly.com/board/posts.cfm?forumID=1&pageID=1&threadID=138956&archive=0

The tapes were found years ago. They're safe and sound and have been backed up.

Anything missing or was is the full score?

Everything except the Shirley Bassey vocals for the title song. There was an alternate arrangement of the Main Title that opened with a version of the Drax/space station theme, like the End Title version does, except more dramtic sounding.

The music is on 7 reels of 2", 24-track tape.

QBVII is I think Jerry's magnum opus if anything is (do you have the complete Tadlow version though? This one is great but leaves out two thirds of the score!)

Alien Nation is my favorite of Jerry's three all-synth scores, even though it's the one that went unused in the film. Runaway might be the best compositionally, but I find the early 80s synths too grating to enjoy listening to. The synths in Alien Nation are far better and it's got a nice theme.

The Sand Pebbles is a masterpiece but I don't care much for the main love theme so I confess I don't listen to it all that often. If you like the score though you'll need to eventually pick up the two disc Intrada version which has a good chunk more music (everything except one lost cue).

Yavar