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There's a recording of a suite of music from Morton Gould's score for Holocaust available, which is twinned with a suite of music from a documentary series called Air Power (composed by Norman Dello Joio) that aired in the 1950s.

http://www.amazon.co.uk/gp/product/B004 … amp;sr=1-1

The Air Power suite is tracks 1-14 and tracks 15-20 is the Holocaust suite (running to 25 minutes).

And there's another version of the Holocaust suite played by a "wind symphony" that might be worth investigating too:

http://www.amazon.co.uk/Echoes-of-the-H … p;sr=301-1

Wyatt Earp James Newton Howard

Ah yes, this is why I like James Newton Howard. This is wonderful. (Wonderful is not a word I can get away with saying in real life.)

Obviously I haven't entered this thread in a while, since I'm replying to a post 1500 posts ago. But I was curious on reading this what you meant. Mickeymousing is the about the fusion of image movement with musical gestures, how can you tell from listening to the music on its own that it's mickey-mousing? Are you really saying it sounds like Carl Stalling? Is it that the electronic effects are so persistent and random that they keep interfering with your ability to engage with the music? I'm just curious what 'mickeymousing' means to the average person.

NP: Trance (Rick Smith)

Definitely an album for those who don't mind a score whose roots are more in electronic pop. It works beautifully in the film, and partly that's because each of the tracks is a standalone piece of music its own right (for the most part). 'Bullet Cut' would appeal to fans of 'Dream is Collapsing'.

Chouans! - Georges Delerue

Magnificent.

Michiru Oshima - http://www.maintitles.net/forum/discuss … a/#Item_11

Yugo Kanno (don't confuse him with Yoko Kanno)

http://www.maintitles.net/forum/discuss … i/#Item_27

Taro Iwashiro - http://www.maintitles.net/forum/discuss … o/#Item_19

I guess I associate "mickey mousing" with any kind of start-stop-start music that changes ideas so frequently its impossible to have any kind of free-flowing music. However, in the case of Remember Me, the more I listened to it, the more I realized that a lot of the seemingly random musical phrases and sounds were actually connected and calling to each other.

It's not really a verb, is it? But it is also used as an adjective in certain contexts.

James Horner - The New World

Having seen the movie recently, I very much agree with Malick's choice to cut most of the written score from the album. Horner, being the dramatist he is (to think that he was chosen based on his piano writing in A Beautiful Mind...) completely misses the point of a metaphysical, experiential treatise on love and nature.

It's a beautiful and very personal score, though. Horner got out of his comfort zone a bit and what he wrote is a free-flowing symphonic poem about nature, though I think the basic idea about it has been informed by Malick himself - Hans says in the Criterion documentary that Malick told him music should be like river and lead through the movie. This score has a flow of a river, it's constant movement, be it piano, be it harmony or even string writing (the beautiful Of the Forest is a beautiful showcase of how the score is in constant motion, but not just a river flow, it's actually somehow circular, like hermeneutic or even dialectic circle in philosophy).

Malick's understanding of what he wants to say is beautifully shown at the end of the movie, when the love between Pocahontas and Rolfe is actually underscored by the theme for her relationship with John Smith. The first (of two) performances happens right after their wedding (the film version of Rolfe Proposes is much more touching in its almost shy, child-like depiction of the love being born; unusually subtle for Horner, who uses the love theme, but not the melody of it - he keeps the harmony though; and a lot of subtle pauses). Then when Smith reappears for his final meeting with Pocahontas, Mozart returns, harking back to the idyll of the Native village (his thoughts in voice-overs actually remind somehow of the idealistic views of Jean-Jacques Rousseau, who of course was born long after John Smith died), but soon after Pocahontas realizes how immature their feelings were and how immature he actually is, she walks away from him. In a very subtle scene, the love theme (a repeat of Pocahontas and Smith) returns, when Pocahontas walks over to Rolfe and takes his hand, showing that this is indeed the true love. A beautiful approach by Malick to show how the feelings develop and also the philosophical statement about the nature of true love.

Malick's The New World is a companion piece to THe Thin Red Line, in a way that one of that film's themes (the dialectic between love and war) becomes transformed into exploring the dialectics of love (the combination of immature love for Smith and her love for Rolfe builds into a really mature feeling toward Rolfe).

I think that's the Malick connection, especially that it was decided pretty early on that The Thin Red Line would inform Inception, though depending on the conversation he told me it was either his idea or Nolan's.

The latter film is also from this year. (And it's rubbish.)

It's one of my favourite scores. I remember that I bought it after you mentioned it in your first Favourite Scores thread. I had seen the film before that and loved the music but never made it to buying it. The three last tracks are very strong, also in the movie. The Other Side ... wow!

Well, what is, under that scrutinizing gaze of yours?

I thought The Next Generation was generally shite. Loved Deep Space Nine.

Also, arguing about the best Star Trek tv series is one of the greatest internet pastimes, I feel.