Top 10 Film Composers

[MSM 126]

1. Herbert Spencer

2. Angela Morley

3. Arthur Morton

4. Eddie Karam

5. Conrad Pope

6. John Neufeld

7. Scott Smalley

8. James Campbell

9. John Williams

10. Jerry Goldsmith

Where's Alexander Courage?

[Faleel 5,340]

1. Herbert Spencer

2. Angela Morley

3. Arthur Morton

4. Eddie Karam

5. Conrad Pope

6. John Neufeld

7. Scott Smalley

8. James Campbell

9. John Williams

10. Jerry Goldsmith

Where's Alexander Courage?

He isnt that good to be honest.

only the first few star trek scores and Superman IV..

[MrJosh 892]

1. John Willliams (completist)

2. David Arnold (completist)

3. Jerry Goldsmith

4. Michael Giacchino

5. John Barry

6. Elliot Goldenthal

7. Bernard Herrmann

8. James Horner

9. Danny Elfman

10. James Horner

[Koray Savas 2,251]

Horner is so good you listed him twice!

[Wojo 2,453]

One entry represents the original material, the other represents all the copied Horner.

[Jay 37,319]

lol

[MrJosh 892]

LOL! The first is early horner, the 2nd the later

[Koray Savas 2,251]

8. JERRY GOLDSMITH

Goldsmith was a genius, plain and simple. It seems somehow wrong to place him so low in my list, but I don’t spend nearly enough time with his music as I should. I have so much, but rarely go through and listen to my favorite scores. I don’t know why, that’s just the way it is. Perhaps it’s similar to why hornist is unfamiliar with a lot of his work, because of the types of films he scored. Flipping through my many albums, I’ve only seen the film counterpart to only 13 of his scores, including ones I saw many years ago and have no real recollection of. I suppose without a visceral image to connect his music to, it doesn’t occur to me to seek his work out when I want to listen to scores. Who knows?

Either way, of the films that I have seen, what’s on display is a master at work. Williams wasn’t wrong when he called Goldsmith a chameleon. He had an uncanny ability to service the film tremendously, regardless of genre. I believe my first exposure to his music was through Gremlins, its sequel, and Congo. Wildly different films with equally excellent scores. The first two, classics in their own right that I watched endlessly growing up, particularly A New Batch. “The Gremlin Rag” fit the tone of what Joe Dante was doing so well that, for me, it became inseparable from the film. Jerry was able to capture the cute fuzziness of Gizmo and the hilarious zaniness of the gremlins with their respective themes. He also borrowed the brilliant Lebo M from Zimmer for Congo, giving life and adventure to an otherwise okay movie through his music.

Star Trek: The Motion Picture is often hailed as his greatest masterpiece, and after revisiting it (although not all of it) through La-La Land’s excellent release, I am still not grabbed by what’s there. It’s good music, without a doubt, but there’s no connection for me emotionally. Enter The Edge and Under Fire, my two favorite Jerry scores. The former a sweeping, tragic yet beautiful, adventure score. Goldsmith’s main theme is probably his finest composition. Under Fire’s “Bajo Fuego” is just an awesome track, and the rest of the score is equally rousing and fun to listen to. No matter what Jerry was scoring, he put his best effort into it. Other favorites are The Shadow, Chinatown and L.A. Confidential in all their smoky, jazzy goodness; The Great Train Robbery, and Patton.

[BloodBoal 7,538]

Damn! 1 out of 2 now... I'm sure Koko adjusted his list after I posted my guesses about his favourite composers... Damn him! Damn him and the entire Savas family!

[Jay 37,319]

I didn't connect to Star Trek TMP myself for a while, then one day I just did. Ilia's Theme (the track) is just one of the best pieces of music ever written, I love every bit of it every time. I much prefer the action music in TWOK to TMP, but I love the atmospheric and romantic music in TMP better than anything else Trek related there is.

[MSM 126]

1. John Willliams (completist)

2. David Arnold (completist)

3. Jerry Goldsmith

4. Michael Giacchino

5. John Barry

6. Elliot Goldenthal

7. Bernard Herrmann

8. James Horner

9. Danny Elfman

10. James Horner

Be careful to prefer David Arnold over Bernard Herrmann!!

[Koray Savas 2,251]

7. DANNY ELFMAN

To put it simply, Danny Elfman was a major part of my childhood and played a huge role in developing my love for film and its music. The Nightmare Before Christmas was released in 1993, and while I’m not exactly sure if I saw it in the theater, it was one of my first VHS tapes alongside The Lion King and other Disney classics. I was in love with this film, I had a Jack Skellington toy and would watch the movie endlessly. I memorized all of the songs, and still know them to this day. The score is one of my favorites, hands down. It’s directed by Henry Sellick, yet is widely regarded as a Tim Burton film; but for me, it’s a Danny Elfman film. His music is so crucial to the narrative that without him, you’d be left with storyboards. From “This Is Halloween” and “What’s This?” to “Jack’s Lament” and “Making Christmas” to “Kidnap Sandy Claws” and “Oogie Boogie’s Song.” The compositional talent at display here is immense, from rich orchestral themes to wonderfully unique songs, this score has it all. The “Christmas Eve Montage” is 7 minutes of bliss. The Danny Elfman & Tim Burton 25th Anniversary Music Box is my most treasured physical possession. Not because of its insane asking price, but because Richard Kraft and co. asked the fans what they wanted, and I simply said “The complete score for The Nightmare Before Christmas.” Not only did I get it, but I was treated to the orchestral-only versions of the songs and endless demos and alternates, plus a special thanks credit to boot.

Danny Elfman takes my #7 spot on this score alone, but his talent doesn’t end there. All of his work for Burton holds a special place in my collection, whether it’s the zany Beetlejuice or the touching Big Fish, or even the lackluster Charlie And The Chocolate Factory. There’s something there in each one that makes them unique to Burton’s films. The two were meant to collaborate. Not to mention his other great scores for other filmmakers, like Standard Operating Procedure, Iris, Hulk, Men In Black, The Wolfman, and Milk. Elfman can compose for a wide range of films like few other composers can.

[Jay 37,319]

Great writeup!

The complete NBXMas that showed up in the Elfman Box is one of my favorite expansions ever. Its such a splendid listening experience, I'm so grateful to finally have the complete score!! I so hope its released separately someday so I can place it on my shelf.

[BloodBoal 7,538]

2 out of 3... Good...

[The Psycho Pianist 216]

Surprised Debney isn't on any lists - he's composed some great and extremely underrated scores aside from the popular Cutthroat Island and Passion of the Christ. It's a shame he never seems to have got a really big break though - I see so much potential in him. If only he'd got the breaks someone like Tyler has in the past few years.

[Koray Savas 2,251]

Debney has done plenty of films, they just happen to be really crappy kids' films.

[chuck 154]

Debney has done plenty of films, they just happen to be really crappy kids' films.

Kinda like David Newman.

[Faleel 5,340]

Or Joel Mcneely?

[chuck 154]

or Bruce Broughton.

[Koray Savas 2,251]

Don't forget Randy Edelman!

McNeely doesn't work as much anymore, conducted mostly anyway. Broughton doesn't do anything at all. I think he just runs the music branch of the Academy these days.

[chuck 154]

Don't forget Mark Mckenzie.

[KK 3,307]

Don't forget Mark Mckenzie.

Oh how this man needs more work! If anything, The Great Miracle proved we desperately need to hear him more.

Debney is an extremely talented composer but I wish he would get more blockbuster flicks and less rom-coms. Dream House had some fantastic five star material.

[Koray Savas 2,251]

6 (originally TBD). HANS ZIMMER



I’ll let that name soak in for a bit.

Whether you adore him, despise him, want him killed, think he’s a god, or just like a couple of his scores, the name conjures something within you. Your mind will hear one of his iconic themes. Pirates Of The Caribbean, or maybe Gladiator, or the relentless power of his music for Christopher Nolan. The Lion King perhaps, Sherlock Holmes, or The Prince Of Egypt. His name and more importantly his style are instantly recognizable to fans and detractors alike. I don’t care if you think he single-handedly, or rather leading an army of additional composers, destroyed the music genre you hold dear. I don’t care if you think he’s the greatest film composer ever (assuredly no one on this message board). The fact remains is that Zimmer transcends our niche market. His music has the ability to reach millions of people, and not only reach them but to be received well by them. This is a feat that few composers can claim. He bridges the gap between us and them. The film score enthusiasts and the general moviegoing public. He innovated action scoring in the 90s, defined the modern warfare genre, and redefined the film scoring process, all within 20 years. He’s a major influence to young filmmakers and composers, whether that’s good or bad is irrelevant to the simple fact that he inspires creative thinking to the masses. I’m one of them.

I wouldn’t be the film and score fan I am today without The Rock in 1996. I’ve been following Zimmer’s work ever since, and the man continues to surprise and delight me with everything he does. That’s not to say every score is perfect, great, or even good, but that he’s always experimenting, always changing, always refreshing yet always grounded within his unique musical stylings.

I think the biggest disappointment I have with traditional film score fans and just the people here and on FSM, is that no one attempts to appreciate an approach that steps outside their boundaries of what film scoring is or what it can be. Whether it’s the use of synthesizers, collaborative composing, writing away from picture, textural soundscapes, or a lack of themes and motifs… if it doesn’t check off a certain amount of boxes on our lists, it doesn’t make the cut. Even if one attempted it, stepped out of their comfort zone and still came out the other end saying no, that’s great and perfectly fine, but it seems to me that they always go for the usual suspects. Batman, Inception, Sherlock Holmes, Pirates Of The Caribbean, the big blockbuster scoring, which while great (to me), doesn’t even begin to define Zimmer as a composer and an artist.

There’s great beauty in scores like The Thin Red Line, Beyond Rangoon, The Burning Plain, Driving Miss Daisy, An Everlasting Piece, Frost/Nixon, The Last Samurai, Matchstick Men, Hannibal, The Da Vinci Code, Pearl Harbor, The Holiday, As Good As It Gets, Tears Of The Sun, The Pledge, Black Hawk Down, and The Power Of One. How many people here have even heard of A World Apart or The House Of The Spirits? Pacific Heights or Radio Flyer? Zimmer has scored an incredible amount of films, from high budget war films to small comedies and unknown dramas. Not to mention his foray into video game scoring, bringing back his infectious 90s thematic writing with Modern Warfare 2, and exploring more of his recent sound and focus on violin with his theme for Crysis 2. Then there’s his charity work, like “Who Are The Roma?” “Aurora,” and “Save An Angel.” Cues like “Journey To The Line,” “CheValiers De Sangreal,” “Leave No Man Behind,” “Now We Are Free,” “A Small Measure Of Peace,” “Heart Of A Volunteer,” “Mother Africa,” “Cameroon Border Post,” and “Weather Man” all move me in a way that no other composer can. These aren’t just scores that I listen to, these are scores that I experience and relish in, scores that make me think and make me feel. If you don’t like him, I beg you to just try and discover some of these not talked about titles. Give one or two a chance, go to YouTube, I’m sure they can be found there. Repress the thoughts that come along with his name, and listen to the music. If you still come up with the same conclusion, I thank you for your time.

I joined this board in 2006, and my first post was a topic about Media Ventures. I’ve been talking, positively and negatively, defending, arguing, joking, anything you can think of regarding Zimmer, I’m sure I’ve responded to it. Six years later and still the same conversations pop up from time to time, although definitely not as much as they used to. There are members that agree with some things I have to say, and there are definitely those that don’t. Whatever it may be, let this be my final post about Hans Zimmer. I’ll let his music speak for itself.

[Joe Brausam 214]

Yeah, you know, Zimmer isn't so bad.

[media=]

[KK 3,307]

Great write up Koray!

There’s great beauty in scores like The Thin Red Line, Beyond Rangoon, The Burning Plain, Driving Miss Daisy, An Everlasting Piece, Frost/Nixon, The Last Samurai, Matchstick Men, Hannibal, The Da Vinci Code, Pearl Harbor, The Holiday, As Good As It Gets, Tears Of The Sun, The Pledge, Black Hawk Down, and The Power Of One. How many people here have even heard of A World Apart or The House Of The Spirits? Pacific Heights or Radio Flyer? Zimmer has scored an incredible amount of films, from high budget war films to small comedies and unknown dramas.

Its ridiculous how many Zimmer fans claim they're his biggest fans and have no clue how many of these scores exist. I own every one you've mentioned and even more from the 90s. His work in the 90s is fantastic with some of my favourite scores. Some truly great work there. I appreciate the fact that you took the time to list some of those unheralded works.

[#SnowyVernalSpringsEternal 10,265]

It's a rubbish essay, there are plenty of Zimmer and RCP dans both here and on FSM. Koray should stop pretending that loving Zimmer somehow sets him apart.

He's not Thor!

[BloodBoal 7,538]

3 out of 4... Koko is so predictable...

[publicist 4,643]

I think the biggest disappointment I have with traditional film score fans and just the people here and on FSM, is that no one attempts to appreciate an approach that steps outside their boundaries of what film scoring is or what it can be. Whether it’s the use of synthesizers, collaborative composing, writing away from picture, textural soundscapes, or a lack of themes and motifs… if it doesn’t check off a certain amount of boxes on our lists, it doesn’t make the cut.

While all this sounds appropriately lofty, i don't see people rejecting all these necessary evolutions, per se (say in case of Desplat or JNH or Elfman). And to credit synthesizers, writing away from picture, textural soundscapes, or a lack of themes and motifs as Hans Zimmer exclusive...i mean, seriously...

[Brónach 1,301]

I think the biggest disappointment I have with traditional film score fans and just the people here and on FSM, is that no one attempts to appreciate an approach that steps outside their boundaries of what film scoring is or what it can be. Whether it’s the use of synthesizers, collaborative composing, writing away from picture, textural soundscapes, or a lack of themes and motifs… if it doesn’t check off a certain amount of boxes on our lists, it doesn’t make the cut.

I disagree entirely. I'm sure many here have an appreciation for these concepts. Myself included. And I don't consider any of that stepping outside of the boundaries of film scoring. Nothing of that is revolutionary in any way, given that all of that has existed for decades.

That doesn't mean I have necesarily to like a score that contains several of these methods just because it's that way, mind you. I might love synthesisers, "textural soundscapes", etc... but that doesn't mean I have to like something like The Dark Knight Rises. I can find one such score to be a turd just like anything else.

And I don't know how can you put something like his Batman right on the side of a score as fun as Inception.

I'm not sure if you'll answer to any of this, but there it goes.

[gkgyver 1,645]

Morricone wrote away from picture and that was, and still is, so much better than Zimmer's output that it can't be measured.

In the end, it still comes down to how talented you are as a composer.

[publicist 4,643]

In the end it all comes down to the old boo-boo argument of how a pop composer lacks the compositional chops to bring off a well-considered longer piece of work (read: underscore that is musically actually good and well-developed). The field of movie music is large enough to give all the Zimmers, Jablonsky's et al a playground for nifty themes and queer experimentation (where Hans' strengths actually lie) enough work, it's only over the course of an elaborate chase sequence or long dramatic scene when the seams slowly dissolve and you realize that the pure musical form and structure - craftmanship - requires a bit more musical stamina.

But we are at a point where people listen to one of those flat 8-minute adagios á la Hans and they think it's the best music with strings can offer...or, to cite a german eBay seller, a small guitar on a long stick.

[Koray Savas 2,251]

I think the biggest disappointment I have with traditional film score fans and just the people here and on FSM, is that no one attempts to appreciate an approach that steps outside their boundaries of what film scoring is or what it can be. Whether it’s the use of synthesizers, collaborative composing, writing away from picture, textural soundscapes, or a lack of themes and motifs… if it doesn’t check off a certain amount of boxes on our lists, it doesn’t make the cut.

While all this sounds appropriately lofty, i don't see people rejecting all these necessary evolutions, per se (say in case of Desplat or JNH or Elfman). And to credit synthesizers, writing away from picture, textural soundscapes, or a lack of themes and motifs as Hans Zimmer exclusive...i mean, seriously...

I never credit any of these characteristics to Zimmer, he just happens to use them on a frequent basis, and are usually the highlight of people's arguments against him.

I think the biggest disappointment I have with traditional film score fans and just the people here and on FSM, is that no one attempts to appreciate an approach that steps outside their boundaries of what film scoring is or what it can be. Whether it’s the use of synthesizers, collaborative composing, writing away from picture, textural soundscapes, or a lack of themes and motifs… if it doesn’t check off a certain amount of boxes on our lists, it doesn’t make the cut.

I disagree entirely. I'm sure many here have an appreciation for these concepts. Myself included. And I don't consider any of that stepping outside of the boundaries of film scoring. Nothing of that is revolutionary in any way, given that all of that has existed for decades.

I meant it in the context of a very traditional mindset of film scoring. You don't hang around FSM too often, they're very close-minded. Thor, First Breathe, Kevin (who also posts here) and maybe one or two other posters actually know Zimmer's background extensively and appreciate alternative ways to approach a film musically.

I didn't mean to single out Zimmer in this regard. It includes Reznor or something like Martinez's Drive or The Chemical Brothers' Hanna, and it all ties back to the purpose of a film score. Most people seem like they just want something good to listen to at home.

[TheHouseholdCat 4]

I wouldn't put Thomas Newman in my top 10, but certainly top 100 and probably top 50.

The Shawshank Redemption might be what I consider to be his definitive work.

I was going to put him on #1. ROTFLMAO

My personal top 5 at the moment, it may change at one point:

5.) Hans Zimmer (Mainly because of "The Lion King" and "Inception", which I really liked.)

4.) Alexandre Desplat

3.) John Williams

2.) Howard Shore

1.) Thomas Newman

1. John Willliams (completist)

2. David Arnold (completist)

3. Jerry Goldsmith

4. Michael Giacchino

5. John Barry

6. Elliot Goldenthal

7. Bernard Herrmann

8. James Horner

9. Danny Elfman

10. James Horner

Be careful to prefer David Arnold over Bernard Herrmann!!

Film score board advice. It's a general rule. But can anyone disagree?

[MSM 126]

Yeah, you know, Zimmer isn't so bad.

[media=]

Hm.

I wouldn't put Thomas Newman in my top 10, but certainly top 100 and probably top 50.

The Shawshank Redemption might be what I consider to be his definitive work.

I was going to put him on #1. ROTFLMAO

My personal top 5 at the moment, it may change at one point:

5.) Hans Zimmer (Mainly because of "The Lion King" and "Inception", which I really liked.)

4.) Alexandre Desplat

3.) John Williams

2.) Howard Shore

1.) Thomas Newman

1. John Willliams (completist)

2. David Arnold (completist)

3. Jerry Goldsmith

4. Michael Giacchino

5. John Barry

6. Elliot Goldenthal

7. Bernard Herrmann

8. James Horner

9. Danny Elfman

10. James Horner

Be careful to prefer David Arnold over Bernard Herrmann!!

Film score board advice. It's a general rule. But can anyone disagree?

It's a rule to prefer Arnold over Herrmann? Or the other way around. Anyway I once also put Arnold above Herrmann and was hugely criticized on this MB.

[TheHouseholdCat 4]

It's a rule to prefer Arnold over Herrmann? Or the other way around. Anyway I once also put Arnold above Herrmann and was hugely criticized on this MB.

No, I wouldn't say so. It's all a matter of taste. But sometimes unwritten rules amuse me. Exactly because you can't say that one is always better than the other, if that makes sense.

[Jay 37,319]

So uh, is this ever going to be finished Koray?

[Quintus 5,399]

He got distracted by life and impulse purchases.

[alicebrallice 134]

So uh, is this ever going to be finished Koray?

check the relationship status thread, man!

[Koray Savas 2,251]

It's always in the back of my mind. I'll get to it eventually. Now that you've bumped it though I may do the next entry tonight.

[Jay 37,319]

yay!

[Koray Savas 2,251]

5. JOHN POWELL

This list is becoming increasingly difficult. Hans Zimmer was always going to be placed in the #6 spot, but as I was listening to his music and writing the entry I became overwhelmed with how his music affected me, so I put in TBD instead, because at that moment he was better than 6th place. It's been awhile since that entry, and while his music is no less important since then, I will leave it as I intended it. There was someone else in this thread that listed all ten as #1, and that's the same for me. All of these composers have their own individual strengths that make them the best, whether it's thematics, underscore, or genre scoring, they all become #1 when I listen to them.

John Powell is another one of my childhood defining composers. I discovered him shortly after Zimmer, with 1997's Face/Off and 1998's Antz. The former was an exercise in becoming a standalone composer, as it was his first film. There's nothing particularly Powell about it, at least when compared to his current compositional style, but it definitely stands apart from other MV scores of the 90s in that it's much less power anthem and more intimate action scoring. Antz is on a whole other level, musically. Powell and Harry Gregson-Williams worked together to establish this unheard style that would be later developed into perfect form with their score to Chicken Run. These films let Powell off the Media Ventures chain. His voice is so distinct that it's painfully clear which cues are Powell and which are Gregson-Williams. "Opening Titles - Z's Theme," "The Colony," "The Big Shoe," and "Z To The Rescue" all display a wholly original composer at work. His distinct use of percussion and rhythm cannot be heard anywhere else. His blend of orchestra and electronics, heard much less in these early works oddly enough, is seamless. This is his third film score, that fact alone is staggering. It still remains one of my favorites of his, as his contemporary animation scores are now much too common and pale in comparison to the thematic and action scoring here. He hasn't scored a live action film since 2010!

Endurance is a small 1999 film that Zimmer produced and let Powell score. I'd say it's most likely his least known work, and it's a superb one that should not be missed. It takes a note or two from Hans' earlier African-themed scores, but the string writing and percussion is, again, Powell in full form. Along with Michael Giacchino, he is probably one of the few composers that instantly settled in their own unique style upon entering the film industry. There are paragraphs more I could write about Powell and specific scores, but like I said when I started this thread, I'd like to keep these posts 'medium-depth.' Many here are familiar with Powell and his popular work, so I'll say if you haven't heard them, check out Drumline, Agent Cody Banks, The Adventures Of Pluto Nash, and Paycheck. All fine staples of percussion-driven action scoring that only Powell can deliver.

[Ollie 1,059]

1. John Williams

2. Jerry Goldsmith

3. Bernard Herrmann

4. Akira Ifukube

5. Miklos Rozsa

6. Alex North

7. John Barry

8. Georges Delerue

9. Michael Giacchino

10. Basil Poledouris.

[BloodBoal 7,538]

Powell! Here is another one I guessed right! 4 out of 5!

[Koray Savas 2,251]

4. JAMES NEWTON HOWARD

Like most others on this list, Howard was one of the few composers that helped spark my love for film music. Despite seeing a handful of his films earlier, it wasn't until The Sixth Sense in 1999 and Unbreakable in 2000 that I really took notice. I wasn't hugely in love with these scores, but I found them quiet and reflective yet tense. They weren't scores I sought out for a fun listen. It was then in 2002 with Signs that Howard became a name I would never forget. His score permeated through the film, bringing it to life and being the major reason why everything worked so well within it. There are the chilling "Main Titles" that I still remember hearing for the first time in theaters, as well as the superbly poignant and heartbreaking finale, but neither of those still excellent scenes made me sit up and take notice more than "Recruiting Office." This moment in the film is an example of perfect film music. The officer's steady, metronomic voice coupled with Howard's equally cold and chilling beat made my spine twinge. He's actually the composer that's probably made the hairs on my neck stand more than any other.

His sense of melody and thematic unity is unparalleled. The music always seems to evoke a sense of wonder and fantasy but could be frightening and unknown at the same time. It's a rare combination of so many different elements that keeps me coming back to his music. His range is quite unique, as he brings something different to the table not necessarily in terms of genre, but in time. The 90s, 00s, and now 10s all evoke something different out of Howard and his music. There is the same nerve running through all his scores, but as he evolves and develops as a composer, his music produces vast effects on the listener. That magic and wonder is evident through nearly all of his 00s work. His use of choir and soloist instrumentation is so undeniably Howard that he can bring me to tears based purely on the lyricism of his music. If I had to pick a score that expresses everything Howard has to offer as a composer, it would without a doubt be Snow Falling On Cedars. A powerhouse of melancholic beauty. It features nearly everything that makes him one of the best composes to ever write for the medium. King Kong, I Am Legend, The Village, The Last Airbender, Lady In The Water, and Michael Clayton all also contain the rare magic that is James Newton Howard. Other unknown works like Dreamcatcher, Freedomland, and The Interpreter are some of my favorites as well. Lastly, how could this be a JNH post if I didn't mention Big Trouble? Such a unique and fun score that sadly never got any type of release. Thankfully, the end credits of the film features a 6-minute suite of all the themes and highlights. Those familiar with Duplicity would recognize the sound he implements here. It's a wonderful little bit of music.

[Jay 37,319]

JNH was writing great music long before Signs. Have you heard Waterworld?

[BloodBoal 7,538]

5 out of 6! Yeah, baby!

[crocodile 7,988]

He's a mixed bag, this Howard chap.

Karol

[Wojo 2,453]

I've never heard a JNH score that didn't bore me to tears.

[Jay 37,319]

Not even Waterworld?

[Wojo 2,453]

I'll listen to it when you give Conan a fair spin.