Do you hate Howard Shore now?

[Hlao-roo 389]

What exactly is the composition (pun very much not intended) of the music branch of the Academy? I don't think I ever quite got this cleared up.

[charlesk 0]

Reasons why I don't consider the Academy an authoritative judge on fine music:

1960: Exodus-Ernest Gold won over Alex North's Spartacus

1969: Bacharach's Butch Cassidy and the Sundance Kid won over Williams' The Reivers

1970: Love Story by some Francis Lai won over Goldsmith's Patton

1978: Giorgio Moroder's Midnigh Express won over Williams' Superman :?

1979: Georges Delerue's A Little Romance won over Goldsmith's Star Trek TMP :roll:

1980: Michael Gore's Fame won over Williams Empire Strikes Back banghead

1981: Vangelis' Chariots of Fire won over Raiders of the Lost Ark censored

1987: The Last Emperor won over Empire of the Sun, Morricone's The Untouchables, and Witches of Eastwick

1989: Menken's The Little Mermaid won over Indiana Jones and the Last Crusade (Little Mermaid is a musical for God's sakes, don't the have another category?)

1991 and 1992: Menken won for Beauty and the Best and Aladdin, two musicals.

1996: The English Patient ( ) won over Sleepers 8O (yeah, the irony)

1997: Titanic won over Amistad and others.... need more proof?

2001: LoRT won over A.I. 8O

So, it seems that in many cases, the Academy has a great eye (or ear) for the most forgettable scores ever written. If anybody remembers A Little Romance over Star Trek, Midnight Express over Superman I'll cut one of my testicles and cook it for dinner. The Oscars are not always representative of quality moviemaking. They are not to be trusted.

[#SnowyVernalSpringsEternal 10,282]

Isn't it all the film composers that ever recieved a nomination, or an actual Oscar for Best score?

Well, those that are still alive that is....

[Melange 446]

I'll cut one of my testicles and cook it for dinner.

Which one though?

The left or the right?

Important question this is.

Oh decisions....decisions :cry:

[Hlao-roo 389]

Isn't it all the film composers that ever recieved a nomination, or an actual Oscar for Best score?

Well, those that are still alive that is....

I'm assuming it's composed of both composers and songwriters. So you would think that, for the most part, the composers would have fairly discerning ears. Is it the songwriters who "ruin" the results every year?

[Ray Barnsbury 8]

I didn't think clarification was needed... You "will always be a little negativite toward" Howard Shore because he wrote a big orchestral soundtrack that happened to be released in the same year as another great film score from Williams. And a third party decided that Shore's score was more worthy of some award.  

We need more John Williamses and Howard Shores and anyone that will write grand and beautiful orchestral film scores. Scores that will not age, despite the passage of time. I can think of many a great hack in Hollywood (composers or otherwise) that I would "feel negative" toward instead of an honest-to-goodness composer like Howard Shore, who did nothing more than write the best film score he could. All over a silly award, an award in which we know the people who do the voting are, for the most part, not musical experts or film score enthusiasts.  

I can't fathom how you can feel negative toward a film composer who - whether you like the scores or not - made a commitment and worked incredibly hard to produce that music. He obviously has a love for those films and a love for his own music (something I question about Williams sometimes). The guy is rescoring the extended editions, as needed. For that alone I have a tremendous respect for Jackson and Shore, that they care that much about their films and the relationship between that film and its score. The extendeds could very easily be tracked with other parts of the score, and would be if it were any other studio on any other film. For all the Lucas bashing that goes on here, there seems to be an equal amount of PJ and LOTR bashing by some. I wish Lucas had half the respect for Star Wars that PJ has for LOTR.  

In the world of film score composers, I don't see why Howard Shore is viewed as some kind of enemy here on this board.  

Ray, that wasn't all directed at you... and I am sorry for the name calling. Some of these threads just get incredibly childish and today I decided to actually speak up instead of just closing my browser...  

Jeff

Jeff,

I agree with all you've said. That was a very well written post, and I understand your frustration. I think part of the problem is how I worded my feelings. I did not mean that I hold anything against Howard Shore. I meant that I just have a somewhat negative feeling associated with him from his 'win' over HP and AI from 2001, both of which I felt were better and more deserving scores. I know the awards don't matter; I honestly really don't give them much credit. And I respect the work Shore has done with the LOTR scores, though I don't like them very much. I have nothing against Shore, just a little resentment that would be better directed at the Academy.

Ray Barnsbury

[Morlock 11]

Reasons why I don't consider the Academy an authoritative judge on fine music:  

1960: Exodus-Ernest Gold won over Alex North's Spartacus

1969: Bacharach's Butch Cassidy and the Sundance Kid won over Williams' The Reivers

1970: Love Story by some Francis Lai won over Goldsmith's Patton

1978: Giorgio Moroder's Midnigh Express won over Williams' Superman  :?  

1979: Georges Delerue's A Little Romance won over Goldsmith's Star Trek TMP  :roll:  

1980: Michael Gore's Fame won over Williams Empire Strikes Back  banghead  

1981: Vangelis' Chariots of Fire won over Raiders of the Lost Ark  censored  

1987: The Last Emperor won over Empire of the Sun, Morricone's The Untouchables, and Witches of Eastwick

1989: Menken's The Little Mermaid won over Indiana Jones and the Last Crusade (Little Mermaid is a musical for God's sakes, don't the have another category?)    

1991 and 1992: Menken won for Beauty and the Best and Aladdin, two musicals.

1996: The English Patient ( ) won over Sleepers  8O (yeah, the irony)

1997: Titanic won over Amistad and others.... need more proof?

2001: LoRT won over A.I.  8O  

So, it seems that in many cases, the Academy has a great eye (or ear) for the most forgettable scores ever written. If anybody remembers A Little Romance over Star Trek, Midnight Express over Superman I'll cut one of my testicles and cook it for dinner. The Oscars are not always representative of quality moviemaking. They are not to be trusted.  

I agree with just about all of those. Except that Exodus is more well known then Spartacus, and IMO has a better theme than most of the North I've heard (which, admitadly, is very little)

Morlock- who needs to get to collecting the golden age composers (a new goal maybe, after my complete JW collection- @Stefan)

[JoeinAR 1,951]

Reasons why I don't consider the Academy an authoritative judge on fine music:  

1960: Exodus-Ernest Gold won over Alex North's Spartacus

and it should have.

1969: Bacharach's Butch Cassidy and the Sundance Kid won over Williams' The Reivers

1970: Love Story by some Francis Lai won over Goldsmith's Patton

I have no problem with either win here.

1978: Giorgio Moroder's Midnigh Express won over Williams' Superman  :?  

1979: Georges Delerue's A Little Romance won over Goldsmith's Star Trek TMP  :roll:

1980: Michael Gore's Fame won over Williams Empire Strikes Back  banghead  

1981: Vangelis' Chariots of Fire won over Raiders of the Lost Ark  censored

these comprise the 4 greatest Oscar crimes of all time

1987: The Last Emperor won over Empire of the Sun, Morricone's The Untouchables, and Witches of Eastwick

EOS should have won.

1989: Menken's The Little Mermaid won over Indiana Jones and the Last Crusade (Little Mermaid is a musical for God's sakes, don't the have another category?)  

Little Mermaid is better than LC and should have won

 

1991 and 1992: Menken won for Beauty and the Best and Aladdin, two musicals.

Beauty and the Beast is wonderful and rightfully won.

1996: The English Patient ( ) won over Sleepers  8O (yeah, the irony)

1997: Titanic won over Amistad and others.... need more proof?

and you find a problem with this, Amistad should not have won against Titanic, they are not even in the same league

2001: LoRT won over A.I.  8O

A.I. should not even be mentioned with Oscar, now Harry Potter should have beaten LOTR

So, it seems that in many cases, the Academy has a great eye (or ear) for the most forgettable scores ever written. If anybody remembers A Little Romance over Star Trek, Midnight Express over Superman I'll cut one of my testicles and cook it for dinner. The Oscars are not always representative of quality moviemaking. They are not to be trusted.  

I remember Midnight Express, I still have the album, it was a very good score, just not in the caliber of Superman. My sister has A little Romance still, and it too was a nice nice score, just not as good as STTMP

JOE, still not hating Howard Shore, now Vangelis thats another story.

[Morlock 11]

1970: Love Story by some Francis Lai won over Goldsmith's Patton

I have no problem with either win here.

Patton was far more deserving

1987: The Last Emperor won over Empire of the Sun, Morricone's The Untouchables, and Witches of Eastwick

EOS should have won.

I'm a big WoE fan, but either would've been better than TLE.

1989: Menken's The Little Mermaid won over Indiana Jones and the Last Crusade (Little Mermaid is a musical for God's sakes, don't the have another category?)  

Little Mermaid is better than LC and should have won

IMO The Last Crusade is score is infinatly better. One of the best ever. The score to The Little Mermaid was the weakest Menken score to a disney film.

1991 and 1992: Menken won for Beauty and the Best and Aladdin, two musicals.

Beauty and the Beast is wonderful and rightfully won.

Definatly true of B&TB.

1996: The English Patient ( ) won over Sleepers  8O (yeah, the irony)

1997: Titanic won over Amistad and others.... need more proof?

and you find a problem with this, Amistad should not have won against Titanic, they are not even in the same league

Sleepers may be far from a great score (ok, very far), but IMO is still better then Yared's score.

And Amistad's score throughout is not as strong as Titanic's, but the theme is IMO one of the best ever, and worth infinitley more than all of Horner's score.

I remember Midnight Express, I still have the album, it was a very good score, just not in the caliber of Superman.  My sister has A little Romance still, and it too was a nice nice score, just not as good as STTMP

I think Midnight Express is brought down by the synth performance. I have a full version of it, and it's very good. But IMO it aged as well as the movie did- and the movie seems so amazingly tame now.

And Delerue's score is a very nice score indeed, but not much more. I personaly can't stand that theme anymore.

[Melange 446]

....But IMO it aged as well as the movie did- and the movie seems so amazingly tame now.

Really?. I think the movie remains powerful. And an example of great acting by John Hurt. He plays such a great character in the movie. I was watching it again the other week and it's still powerful. It may lose it's shock value the more times you've seen it. But still powerful for a first time viewer. From the empathy of fear you feel with Billy as he's going through security, to the moment when he just loses all restraint and attacks the guy in his cell. But yes i agree some of the Synth cues like the chase early on through the streets, just sound plain wierd nowadays and one of those pieces which has dated very badly indeed unfortunately.

[Morlock 11]

I still love John Hurt- but in the age of Oz, It's hard to be moved by the images that movie shows us. It still has it's great and very emotional parts- like the whole opening sequence when he's arrested and when he's told he has another long while to serve when he thought he was going free, and when the guy blames Hurt for the radio.

But all in all- the movie doesn't feel as heavy as it should. I didn't feel sorry for him all the way through.

I'm still out on if I'm an Alan Parker fan though. I despise The Life of David Gale, worst film of last year, and I didn't like Angela's Ashes beyond the overall look of the film (and the music of course). I liked all the parts in Evita with Banderas and Pryce, but didn't like Maddona at all in it. Nowhere near as good as LuPone in the original play.

But on the other hand, he made Mississipi Burning, which a phenominal film. He seems to be very able in capturing a feel of a movie, but not always take it the next step. And it'll take something very good to make me forget about how deplorable David Gale is.

[Elmo Lewis 6]

The score to The Little Mermaid was the weakest Menken score to a disney film.

I didn't know you had not seen Hercules.

[King Mark 3,635]

1978: Giorgio Moroder's Midnigh Express won over Williams' Superman  :?  

1980: Michael Gore's Fame won over Williams Empire Strikes Back  banghead  

1981: Vangelis' Chariots of Fire won over Raiders of the Lost Ark  censored  

Well,if you put things in perspective,that's far worse than LotR beating out Williams in 2002...

K.M.

[Morlock 11]

The score to The Little Mermaid was the weakest Menken score to a disney film.

I didn't know you had not seen Hercules.

I stand corrected. But I don't think either score was bad, just that they were totaly unnesecary to listen to, as you get it all in the songs.

[Morn 8]

I agree with just about all of those. Except that Exodus is more well known then Spartacus, and IMO has a better theme than most of the North I've heard (which, admitadly, is very little)

Is it? You know the love theme was an extremely popular jazz piece. And Spartacus has just about some of the best themes ever created. Exodus merely has one great theme that's inferior.

[Morlock 11]

I don't know any of North's scores too well, but I know that Exodus has a great and very well known theme.

[JoeinAR 1,951]

I don't know any of North's scores too well, but I know that Exodus has a great and very well known theme.

ditto.

[Morn 8]

Well it must be more popular in Israel.

But try and get the MCA Spartacus CD ok.

[JoeinAR 1,951]

Exodus is extremely popular in the US to Morn, it was one of the few pieces I could actually play on my accordian.

[Morn 8]

Ohh well it doesn't seem to be in Australia.

[BigKenLittle 6]

I think Howard Shore is a talented composer, whose music I have been enjoying since the early days with David Cronenberg. 2003 was a bad year for film scores. Howard Shore came up with one of the three most interesting scores of the year and ROTK is a great score. I can live with FOTR winning the oscar because AI was (IMO) a decent score only. I enjoy it and it has some strong moments, but on the whole it is not one of JW's masterpieces. FOTR was a much stronger score.

But as Charlesk has pointed out, the academy is not a strong judge of quality. However, the members of this board don't seem to understand that the "academy" is not some secret boardroom ensconced in some hidden room deciding the fate of the Oscar ceremony. The nominations are selected by a committee of "specialists" in the individual fields, who decide the nominated scores and then the ENTIRE membership of the academy votes for their faves. IT IS A POPULARITY CONTEST!!!! There is no artistic merit in the academy's decision process. They vote for what they LIKE, nothing more. And in a year of substandard scores ROTK stood out head and shoulders above the rest. How much thought do you think Meryl Streep and Mel Gibson are giving the musical scores, when they fill out their individual ballots? Further evidence of the lack of understanding of the academy membership lies in not what won, but what was not even nominated. Where was X-2? IMO, the next best score of the year, after ROTK. I mean really, they recognize James Horner's and Gabriel Yared's names as being previous winners and nominated them on auto-pilot. If anyone other than John Ottman deserved this years oscar it as Thomas Newman for Finding Nemo.

Superman lost to Midnight Express; so what? Can anyone still remember a single theme from Express? Love Story beat Patton; who cares? Does anyone still play Love Story in concert? Empire Strike Back lost to Fame; big deal! When was the last time anyone heard the theme from Fame (or Irene Cara, who is probably flipping burgers at a Fresno Burger King)? What matters is quality and that is what will stand the test of time... What is the most frequently requested soundtrack release? SPARTACUS!!!! This proves that it was the best score of the year. The oscars are nothing more than a fashion show. They are the Miss America contest amplified to the Nth degree. Nothing more.

BK: Non Piangere Liu; Turandot - Pavarotti, Cabelle, Ghiaurov, London Philharmonic cond. Mehta

[OrchDork 0]

Are you sure that the final winners for each of the categories at the Oscars are determined by actors and other non-musical people in Hollywood? Do you have proof? Because if you do, that seriously diminishes what fairly little respect I have for the Academy...

[LordChadwick 0]

I agree whole-heartedly with Jeff. Yes, I know, it has been waaaayyyy too long since I have posted last, but I have been reading these posts and I must say is life so boring that you have to come up with a post like this? Do not blame Shore for winning. I am by no means a soundtrack expert and I cannot even write music, but I know it if I like what I hear, and I have thoroughly enjoyed the LOTR music. To be honest with you, I never saw or listened to FOTR until Blockbuster had that 10week rental card for the release of the movie. By that time Shore had already won the Oscar and like many of you I was hoping for Harry Potter or AI to win but I figured they cancelled each other out being from the same guy. But I hardly hated Shore for it, how could I when at that time I had never even heard of him?

After watching FOTR for the first time (keep in mind I have never read the books, either) I was very impressed with both the movie and the music so I decided to purchase the soundtrack as well. What a nice surprise, after listening to many JW scores, that the tracks had been for the most part unaltered. This is a major gripe that I have with JW in that he tries to make the album more listenable but in the process hacks up a good majority of the album with mismatched and incomplete cues. The LOTR albums are for the most part (correct me if I'm wrong) un-hacked and are in the order of the movie.

Like Jeff had said earlier, the respect that Peter Jackson & Shore have for these movies and scores is very refreshing. Their main goal is to make the diehard fans of these books the best movie interpretation that could be, and I believe that they have pulled it off magnificantly. I own both the 2-disc and extended editions of the first two films and if George Lucas or John Williams gave one tenth of the care that these two do I would be shocked. The recent announcement of the SW DVDs is going to be a joke. I am 30 years old and grew up on those movies and for Lucas to take those away from me is heartbreaking, it makes me want to get a laserdisk player and get the original versions on that format. For Shore to go back for the extended editions and compose another 30-45 minutes for EACH movie is pretty unheard of to me and that earns him a hell of a lot of respect in my opinion! If you ask me Peter Jackson had a hell of a lot more vision for LOTR than Lucas had when he created SW, it shows in the prequels how much of a money grubber he has become, throwing out totally uninspiring movies to make millions off of the original trilogy fans.

The news of a possible (near) complete box set of the LOTR trilogy would be another first for film scores, considering how short of a turnaround time between the release of the movies and the box set coming out. TWELVE HOURS of music would be simply awesome, something that JW fans usually have to wait 10-20 YEARS for any expanded or complete release to come about.

Well, I didn't mean for my post to be this long LOL but to put it short, I think it is time for everyone to check themselves and ask if this is really necessary. I will step off of my soapbox now and post again in another 6 months! OUT!

-Chad

[BigKenLittle 6]

Are you sure that the final winners for each of the categories at the Oscars are determined by actors and other non-musical people in Hollywood?  Do you have proof?  Because if you do, that seriously diminishes what fairly little respect I have for the Academy...  

Up to five nominations are made in most categories, with balloting for these nominations restricted to members of the Academy branch concerned; directors, for instance, are the only nominators for Achievement in Directing. Nominations for awards in the foreign language and documentary categories are made by large committees of members drawn from all branches. Best Picture nominations and final winners in most categories are determined by vote of the entire membership.

Or you can just go here

BK: Who never claims facts unless he can back them up...

[Ollie 1,069]

No I don't hate Shore I think he was deserving of both Oscars and should have won a third one for The Two Towers.

Yes Williams and Goldsmith have both been robbed in the past although I love Georges Delerue's music so it's kinda hard for me to object to his Oscar.

But I agree with BigKenLittle, Superman, TESB, Patton and ST:TMP may have lost but they are still recognized after all of these years while the winners are all but forgotten.

[Yoda Longbottom 0]

Well, I didn't mean for my post to be this long  LOL  but to put it short, I think it is time for everyone to check themselves and ask if this is really necessary.  I will step off of my soapbox now and post again in another 6 months!     OUT!

-Chad

You should drop in more often than that. Wonderful post!

And I enjoyed reading BigKenLittle's thoughts no less.

Roman.-)

[JoeinAR 1,951]

Does anyone still play Love Story in concert

yes they do, and as a matter of fact, you have caused it to be playing in my head now. It really is a beautiful melody.

[Romão 2,277]

1987 was a great year. I also think EOS should've won, but c'mon, ahev you guys even heard The Last Emperor. It's a pretty impressive score and theme is of the best in movie history IMHO. Add that to the Untouchables and WOE. What a great year. Just compare these 4 scores to any released this year.

[scarybunny 0]

Hi All-

Just to add my two cents-

I don't hate Shore. In fact, for me anyway, I was never too into his scores in the past and think that his work on the LOTR trilogy is exceptionally good.

They made me like his work more than before. And while Williams, Goldsmith and others have lost in the past to whatever film was most popular that year, I really do think Shore deserved the awards.

-Becky

[ChrisAfonso 188]

I still love John Hurt- but in the age of Oz, It's hard to be moved by the images that movie shows us. It still has it's great and very emotional parts- like the whole opening sequence when he's arrested and when he's told he has another long while to serve when he thought he was going free, and when the guy blames Hurt for the radio.  

 But all in all- the movie doesn't feel as heavy as it should. I didn't feel sorry for him all the way through.

 I'm still out on if I'm an Alan Parker fan though. I despise The Life of David Gale, worst film of last year, and I didn't like Angela's Ashes beyond the overall look of the film (and the music of course). I liked all the parts in Evita with Banderas and Pryce, but didn't like Maddona at all in it. Nowhere near as good as LuPone in the original play.

 But on the other hand, he made Mississipi Burning, which a phenominal film. He seems to be very able in capturing a feel of a movie, but not always take it the next step. And it'll take something very good to make me forget about how deplorable David Gale is.

Now that you mention Alan Parker, what do you think of "The Commitments"? Wonderful film, IMHO (with great music)

[ChrisAfonso 188]

But try and get the MCA Spartacus CD ok.

Morn? Is this you?

[Morlock 11]

Now that you mention Alan Parker, what do you think of "The Commitments"? Wonderful film, IMHO (with great music)

Never seen it.

BTW- John Hurt was mentioned here before. I just saw History of The World Pt. 1 again, and noticed for the first time that he played Jesus! So his self parody of Alien in Spaceballs was not his first time working with Brooks! (Brooks was also the one who pushed for The Elephant Man, which stars Hurt, to be made, and was an uncredited producer)

[King Mark 3,635]

, I really do think Shore deserved the awards.  

Sure he does,at least RotK,which is the best score I heard last year.The point is the frustration of seeing Williams lose again and again for 21 years since E.T. is building up for us Williams fans.To me the Star Wars Original Trilogy and the Indy Trilogy are just as "groundbraking" and "cinamatic landmarks" for Optical effects as LotR trilogy is fir CG driven movies.Where's the Award sweep for Return of the Jedi and Indiana Jones and the Last Crusade?I"m sure Spielberg must be experiencing some amount of bitterness that the only "worthy movies" in the 198O's for the Academy was sappy melodramas like Kramer vs.Kramer ,Rainman, Terms of Endearment....ect ...blaaaah!

I think Williams music is now taken for granted by the Academy voters

K.M.

[BigKenLittle 6]

Does anyone still play Love Story in concert

yes they do, and as a matter of fact, you have caused it to be playing in my head now. It really is a beautiful melody.

Okay, that may have been a bad choice... I actually find that a gorgeous melody also.

BK: :oops:

[MrScratch 294]

The point is the frustration of seeing Williams lose again and again for 21 years since E.T. is building up for us Williams fans.To me the Star Wars Original Trilogy and the Indy Trilogy are just as "groundbraking" and "cinamatic landmarks" for Optical effects as  LotR trilogy is fir CG driven movies.Where's the Award sweep for Return of the Jedi and Indiana Jones and the Last Crusade?

ROTJ and TLC are the worst movies in their trilogy, they don't deserve anything (aside from special effects, music etc.). LOTR is being awarded because of the "groundbreaking" risk that New Line took in handing Jackson the keys to the kingdom and Jackson is being awarded for pulling it off. It also doesn't hurt that LOTR is considered a classic literature. So if the Academy is going to be awarding a scfi/fantasy film, at least its based on a "classic".

I have no problem with LOTR and Jackson and company receiving all this praise. Can you imagine what 1975-Lucas could have accomplished if a studio had had enough faith in him then to write and film a trilogy of Star Wars movies all at once? We need more ambitious and risk-taking film projects out there.

Jeff

[Morlock 11]

ROTJ and TLC are the worst movies in their trilogy, they don't deserve anything (aside from special effects, music etc.).  

That a matter of opinion. TLC is one of my favorite movies, and I'd vote for it for best picture over Driving Miss Daisy.

[MrScratch 294]

ROTJ and TLC are the worst movies in their trilogy, they don't deserve anything (aside from special effects, music etc.).  

That a matter of opinion. TLC is one of my favorite movies, and I'd vote for it for best picture over Driving Miss Daisy.

1989 was just a poor year for Oscar nominated films. None of the 5 nominees stand out, although I haven't seen 'My Left Foot' yet. Daisy still gets my vote over TLC though.

[Romão 2,277]

My lef Foot is a very touching movie. And of course, Daniel Day Lewis probably is the best actor in the world nowaays

[Rogue_Leader 2]

I still stand by my belief that Shore won for ROTK primarily because he faced a weak field.

[BigKenLittle 6]

I still stand by my belief that Shore won for ROTK primarily because he faced a weak field.

Possibly... But that doesn't detract from the quality of the material. ROTK is a terrific score. I wish there were more scores like it written every year.

[Morn 8]

There is no artistic merit in the academy's decision process.

Well there is in their selections for nomination.

1987 was a great year. I also think EOS should've won, but c'mon, ahev you guys even heard The Last Emperor.

Yes I have and I am shocked to find out that EOS lost to that!

[Romão 2,277]

I still say EOS should've won, but The Last Emperor is not score like Fame or Chariots of Fire. There are several layers and merits to that score, specially the Sakamoto sections. It's still far better than anything released this year. But EOs should've won indeed.

[Morn 8]

That's debatable also, Matrix and ROTK were fine scores.

[David Coscina 4]

I don't hate Howard Shore. I personally think A.I. should have garnered Williams with another Oscar but that's me. I like Shore's 3rd installment of the Lord of the Rings score. It's quite developed past the themes he introduced in the first film. Cannot really think of what would have been better this year. I mean I was rooting for Newman but mostly because of things like Shawshank Redemption and Road to Perdition.

I think Shore deservedly won his Oscar this year. And I still listen to his Fellowship score too. Some nice writing in that one too.

Now I wonder what he would do if he were hired to write the upcoming Batman score? Just imagine a se7en-styled score to accompany Nolan's new incarnation of the caped crusader? *

* this wasn't actually my idea but a friend's who I think came upon a really great idea...now to convince the studio!!!

[Romão 2,277]

I want John Williams to score the Batman flick. What a dream that would be.