Neimoidian

John Scott, the greatest underrated film composer of all time and also very charming and humble man.

According to polish media Wojciech Kilar, composer of film, TV and serious concert music, died today. He was 81.

I am waiting till Christmas to listen to it (it's going to be my present and now I just don't want to spoil the experience). <Sigh>

We actually saw it a year ago.

Yes, I know. What I meant was that moving from uber-popular Zimmer to a (real) talent out of industry is extremely rare these days.

This news actually got me excited: Roque Banos is to score the next Ron Howard's picture! http://filmmusicreporter.com/2013/11/19/roque-banos-to-score-ron-howards-in-the-heart-of-the-sea/#more-21253 Moving from Zimmer to this terrific composer may be small step for a man, but giant leap for the Industry. Anyway, I look forward to it.

Uncool, bro.

Check under J like Jaws or E like Empire Strikes Back

I have warmed up to Lincoln over past months more than I initially expected. I listen to it quite a lot these days. As for The Book Thief, it took me 2 or 3 times to dig into that score, but I must say every time I listen to it now I find it more satisfying. While most people seem to focus on its (often superficial) resemblance to Angela's Ashes or Stepmom and call it boring or uninspired, I concentrate more on what's new and unique about it. After all it's full of highlights (One Small Fact, New Parents and a New Home, Learning to Read, Visitor at Himmel St. and Finale to name a few). By no means I find it boring - it moves me a lot and I believe JW put his heart into it (even more than his mind, given it's not the most musically original of his works).

I enjoyed your review, Mikko. The score has been growing on me. I agree that similarities to previous soundtracks, especially Stepmom and Angela's Ashes, are mostly superficial. After 5+ listenings The Book Thief sounds quite distinctive to me. Charming and elegant. By any means a masterpiece and not as sophisticated as the scores form the 90s, but nevertheless a very pleasant entry in composer's portfolio.

The problem is that Hollywood doesn't invest in "very well trained and knowledgable starting film composer" anymore. Plus the bar is set impossibly high for Williams. The preconceived notion of what his scores should be to try to achieve work against him as people squint with critical brow at every note as if it should contain the world's wisdom. Exactly. We wait for every new JW score like for the second coming or something and whenever it's not up to the standard of his best works, we feel desappointed, almost cheated, no matter how well-done this soundtrack objectively is. The Book Thief my not be JW's best, but he has written a lot scores like this (in terms of appeal or lack thereof) in his career, so this doesn't mean anything as far as JW's talent (and his current form) is concerned.

The problem is that Hollywood doesn't invest in "very well trained and knowledgable starting film composer" anymore.

I guess as long as the score isn't one-note drone, it's shmaltz and sentimental to most critics thesedays.

I recommend checking out Abel's official web page (www.abelkorzeniowski.com), where you find plenty of music to listen to, including lots of stuff from his opus magnum Metropolis, as well as from some of his least-known scores (Tickling Leo is particularly noteworthy).

http://youtu.be/TgjnWsXSECc?t=48m6s A live performance of Sherlocks main theme and Irene's theme by David Arnold and friends (+ a lenghty interview with the composer).

Totally agree. Despite its flaws, it's immensely enjoyable score with killer tracks like Coast Guard Rescue (if I ever make my 10 Best Action Tracks list, it will most likely be in it). Actually I prefer The Perfect Storm to Horner's more acclaimed Titanic.

This absolutely deserves its own thread. http://mspresents.com/ "A screening series of restored classic Polish films touring the U.S. and Canada, opening at the Film Society of Lincoln Center in New York in February 2014. Martin Scorsese has personally selected 21 Polish films that have been an inspiration and influence. (...) an unprecedented cultural event. Polish cinema has never been showcased in North America on such a scale. The best in classic Polish film will be shown in cities in the U.S. and Canada throughout 2014, beginning with a special premiere presentation in New York City on February 5th. Films in the series will be presented in the highest possible quality thanks to extensive digital picture and audio restoration. Dirt, scratches and other ravages of time have been removed, while preserving the integrity and beauty of the original films."

A brand new interview with Abel by Daniel Schweiger http://www.filmmusicmag.com/?p=11836

Yes, that makes one uber-cool:)

For some time I was trying to figure out where I had heard this dramatic theme (at 4:13) from The Lone Ranger before. http://www.youtube.com/watch?v=IBazYoE8qwQ&t=4m13s I could have sworn I had and it looks like I was right (go to 0:21): http://bicicleta.wrzuta.pl/audio/3Kt9OMPih55/michal_lorenc_-_psy

Looks like this is what basically Norman's James Bond Theme is: An interesting up-tempo arrangement can also be heard here: http://www.montynorman.com/music/music01.asp

I have been listening to Kaas Chante Piaf for a couple of days and Abel's arrangements for the songs are generally stupendous. Some of them are very unexpected, like very dramatic rendition of La vie en rose (this one is a little overdone for my taste, though). There are also two original instrumental pieces written especially for this project - The 9th Hour and Song for a little Sparrow. As usual, both are brilliant. Here is official clip from the album.

I asked him about the title, too, but he didn't tell. There is no news on it on his agency's web page either, so it's highly possible it's a substitute score. This is good, because he may finally get a top-profile project which is essential to boost his career. I only wish he wasn't type-casted for sublime lyrical scores, because he can also write grand and bold music.

Tension is rising. A new score is coming...

Roman Polanski comes to mind. He has worked with Krzysztof Komeda, Claudio Gizi, Phillipe Sarde, Jerry Goldsmith, Vangelis, Ennio Morricone, Wojciech Kilar, Rachel Portman and recently Alexandre Desplat.