A24

Then there's that 'organization' that he belongs to and that wants a piece of the cake. 

Oh you didn't... 

Sounds surprisingly accomplished. Elfman has come a long way from the years of his Batman scores. 

If William's music touches the heart of the listener, which I think his music does, they will probably say that Williams' music has a heart. It's why we recognize William's voice in all his work. I think most art comes "from the heart", unless of course it has been deliberately created on a intellectual level, but even then it would be quite difficult to exclude your own emotions from the process. 

Well, JW obviously writes the best music he can for the task that he's given, and I think that's all that matters. It can be dangerous to go into such metaphors of whether or not a composer was writing "from the heart" or not, because there are some perverse connotations there, for example that music "from the heart" has to be unpolished to some degree, because it must be unfiltered by the intellect (or something like that). I don't buy that sort of talk. People express themselves in different ways. Just because some music sounds unpolished and raw, doesn't mean it came directly from the heart. One can maybe say that his 1st Violin Concerto is a more personal work than Jaws, but they're both great pieces of music, so...
 
Nevertheless, there are obviously cases where a composer "phones in" and doesn't put all that they can give into a picture. And I think it's fair to say that out of all composers, JW has done this probably the least. Virtually every film he's done has something special about it, which is astounding given the number of films he's worked on.
 
So essentially what I'm saying is, I don't care anymore whether JW writes "from the heart" or not; his music is some of the best film music out there, and I love listening to it and will probably never get tired of it, so clearly he's doing it right.

Perhaps there has been a previous thread on this, but I couldn't find it.
 
Anyways, there is a handful or two of composers that I've once disliked, for one reason or another, but then come to like (to varying degrees) at certain points in my film music fandom. I'm sure we all have those, and it would be interesting to hear who, and what score made you "turn around" on said composer.
 
Rather than list all of mine at once, I'd like to spread them out over time, and add another when I feel like it. But I can start off with one - Harry Gregson-Williams.
 
When I first discovered HGW in the mid 90s, it was as an extension of Zimmer, but somehow I didn't find anything interesting there. A film like SMILLA'S SENSE OF SNOW had so much potential (Bille August, epicness, Zimmer connection), but I found that the score wandered aimlessly. No melodic hooks, like with Zimmer. Same with some of his other scores at the time, like THE REPLACEMENT KILLERS, THE BORROWERS, ENEMY OF THE STATE, SPY GAME, even ANTZ. I attributed the success of CHICKEN RUN to Powell, not HGW. But then came KINGDOM OF HEAVEN in 2005 and turned everything completely around. I was totallly in love with that score from day one, and it made me not only meet subsequent HGW scores with a more open mind, but also reassess some of those earlier ones I had disliked. I mean, he's still hit and miss, but I got a whole new respect for the man and his music after KINGDOM.
 
Your turn.

What's a sex? Don't you mean a sax?

Two are better than one!

Two are better than one!

Two are better than one!

Ryiuchi Sakamoto - Wuthering Heights
 

 
I'm no expert on Sakamoto (though I really like his The Revenant), but I saw the cover and it looked like a great epic romantic score. And I was not disappointed: it's melodramatic and classical sounding, but not overbearing. A nice discovery. And I'll make sure to explore other works by Sakamoto, whether they're electronic or not!
 
Edward Shearmur - Reign of Fire
 

 
A while ago Thor described this score as "Don Davis on steroids" on another thread. Well, I love Don Davis, so I was curious to check it a similar score. 
 
To be honest, I didn't find it similar to Davis at all, more like Goldenthal's sci-fi horror scores like Alien 3 and Sphere. And that's not a problem: I like dark, violent, horrific and dissonant Goldenthal music and Sphere is my favorite of his.
 
Anyway, Shearmur is no Goldenthal and Reign of Fire is no Sphere, but it's still good. I'll enjoy listening to it anytime I'm in the mood for something less melodic and more dissonant and harsh but don't want to listen to Sphere for the umpteenth time.

To crush your enemies, see them driven before you, and to hear the lamentations of their women.
 

Two are better than one!

Apart from how the characters speak my bigger issue is, that the characters of that group somehow hardly speak to eachother. They don't manage to appear as a team, people, like the woman with the two swords just holds a monologue, not even has any conversation with anyone. No relations between the characters, just a figure in a game.
 
That for example was something very well handled in Rogue One. But even there I always had to smile when the imperial pilot introduces himself as "I am the pilot." Because how would he know, that anyone of the group knows about him. The viewer knows. So, here he more speaks to the viewer of the movie than to the characters in the story.

Sure, if your passion is bad movies.

Sure, if your passion is bad movies.

Sure, if your passion is bad movies.

Just found this today on facebook. 
 

 
 
 
 
 
Also, it helps that the actor who is playing Prince Philip is none other than the charismatic Jonathan Pryce. 

Just found this today on facebook. 
 

 
 
 
 
 
Also, it helps that the actor who is playing Prince Philip is none other than the charismatic Jonathan Pryce. 

It was surreal, as if she was slowly walking towards the Gates Of Heaven.

The Crown Season 6 ends with the shot of the year for me, movies or TV series.
 

Oh, I never knew that.