Naïve Old Fart

Unfortunately, she's not cropping up, in my shower 

Unfortunately, she's not cropping up, in my shower 

Unfortunately, she's not cropping up, in my shower 

Silence, heretic!

I've only seen him in Stranger Things and he's great in that.

EMPIRE OF THE SUN, is, without a single hint of a shadow of a doubt, among his very greatest, and finest, triumphs. For me, it's right up there, with RAIDERS OF THE LOST ARK, JAWS, E.T., and CLOSE ENCOUNTERS OF THE THIRD KIND.

"Not even missed"? "Not even missed"??!!
You person, you! You young whippersnapper!
There it is then: THE TOWERING INFERNO is not complete.
Richard...for the win  

That's James Norton, you ejit 

Of course he is, but the list doesn't reflect a 35-plus year career in composition.
What JWfan is appearing to say is that, for a professional musician, the list is rather...well...8th grade.
On the other hand, if that's what he likes, that's what he likes, and no-one can take that away from him.

For a man who writes film music for a living, it's not enough.

I'm inclined to agree with the "naysayers". This is, with a few exceptions, a pedestrian, and one-dimensional list. It's what Classic F.M. listeners think is good "movie music".
 
 
"Familiar"? Sorry, dude, but this man is paid a lot of money to have his "ear to the ground", when it comes to film scores. It's his job! Anyway, you'd have to be totally deaf not to work as a composer in Hollywood, and not be "familiar" with JW's music. That dog don't hunt.
 
It's interesting to note the composers that he does not list:
Horner
Shore
Korngold
Walton
Jarre
Prokofiev
Waxman
Tiomkin
Copeland
Bernstein, E
Bernstein, L
Herrmann
 
IMO, the man has no proper regard for, or knowledge of, the history of film music. Because of this, this list is meaningless.
Any JWfaner could come with a better "basic" list, than this.
 

In 1979, the Odeon Leicester Square had the biggest screen, in the UK. Yes, the meteor sequence was good, but I remember the Cygnus lighting up, with special fondness.

Good job imitating/degrading Vangelis.

It's good, but beware...what comes after is quite different...good, but different. As you've got LIVE IN COLOMBIA  you've already gotten a taste of the APP's variety.

I believe it's Dolby Digital 5.1

These are the kind of intelligent, and insightful interviews that I like, and not  the fawning, ignorant "morning TV" gobshite, that tries to pass for journalism.
It's always great to see Andrew Preview.

Three great scores, by three masters of their craft.

It was "Dregs".
 
Judoon?
DO-RO-KO-FO-RO-PO-JO-MO-SO-HO-LO-BO-TO.
And that's all I have to say, about that.

These are the kind of intelligent, and insightful interviews that I like, and not  the fawning, ignorant "morning TV" gobshite, that tries to pass for journalism.
It's always great to see Andrew Preview.

I'm sure some of y'all have seen this before, but here's John being interviewed by the late Andre Previn in 1988.
https://www.youtube.com/watch?v=Yj4sRhY-feY
 
 

In the case of INNER CITY, that was based on an original cue title (as were some of the other titles on the original LP).
 

Of course, as we saw with the recent TROS cues, maintaining the original title is a somewhat rare case. I do love some of these spruce-up changes between cue name and soundtrack though. One from TFA comes to mind - 'That Lady With the Stick' became 'That Girl With the Staff'  
 

No, he also instructed the team that did the actual editing on how to construct each track, he just didn't do the editing himself like he does now.  The assembly came out how he wanted it - sound quality issues aside - he just follows a very different methodology nowadays than he did then (24 years ago!)
 
 
I would assume JW himself decides the titles of his original cue names, and probably usually the album tracks to, or at least approves an idea someone else comes up with.  But it's not like we'd ever know with 100% authority whose brain first said each cue and track title for every cue and track in his repertoire

RIP
 
 

Agreed, on all aspects, Inky, but...as it was only the second JW OST that I purchased, I have a continuing soft spot, for EARTHQUAKE, on which subject...it must have been very hard for JW to score these two films. Because of recent events, both scores almost seem cathartic. There's an almost stoic determination to be heard to heard in both, and, at the end, a sense of relief that it's all over, and that people can get back to some sort of normality. In that respect, they could be the two most autobiographical scores he's ever written. Although I like both scores, very much (THE TOWERING INFERNO currently resides at #3 on my all-time top-ten JW list), I hear an immense amount of sadness, in them.

Ha, ha! That's a laugh! Balfe "composing".
Next you'll be telling me that Johnson has been elect- oh, shit!