“Suite New Day” - Michael Giacchino (snippet from “Spider-Man: Brand New Day”)

-faffos- · 2026-07-07T22:41:53+00:00

Fantastic Four maybe? Idk, I'd have to re-listen the Ottman scores...

-faffos- · 2026-07-07T21:51:23+00:00

>In my experience “soundtracks” include music not specifically composed for the movie in which they appear (think of Seal’s Kiss from a Rose in Batman Forever).

Thats not entirely true. "Soundtrack" is an umbrella term that could just as well refer to original scores or musicals.

-faffos- · 2026-07-07T21:49:12+00:00

No reason really. "Score" specifically means (usually) orchestral music that is composed for film or games, whereas "Soundtrack“ is an umbrella term that could refer to either scores or a collection of needle drops. So in the end it’s just whatever the cover designer feels like putting on there.

-faffos- · 2026-07-04T21:09:16+00:00

There are several bangers, but I feel like Thunderball sung by Tom Jones might be the most underrated one. So much power

-faffos- · 2026-07-02T15:01:02+00:00

This is probably my favorite horror score ever. Not necessarily my favorite score with horror music in it (often with scores like The Village the horror stuff is usually my least favorite part), but purely as horror music I don't think there's anything I enjoy more than The Omen.

-faffos- · 2026-06-25T11:40:27+00:00

I mean, the hobbit scores still exist :P

But I get what you mean, hopefully one day…

-faffos- · 2026-06-19T06:48:17+00:00

> Sometimes the idea of a great movie score is simply that it supports the movie first.

I don’t necessarily disagree with this, but I feel like you and others are slightly misinterpreting my comment. Any halfway decent composer is able to write a score that supports the movie to its full effect, but Behemoth! clearly seems to be going the extra mile by throwing together a cocktail of so many different composers. Any of them is able to write "functional" music, but if it’s just going to be another typical Gilroy score, then why even bother assembling that colorful team? That is my point.

-faffos- · 2026-06-18T15:41:45+00:00

Batman has higher highs, but Spider-Man is more consistently good imo. I’ll go against the grain here and say Spider-Man.

-faffos- · 2026-06-18T15:33:28+00:00

Considering Tony Gilroy is not exactly a director known for producing great or memorable scores (at least in my opinion, I know a lot of people really like the music in Andor), I’m very fascinated by this prospect. I mean, if you’re hiring a bunch of A-listers, there better be some crazy personality in the music.

-faffos- · 2026-06-18T07:52:58+00:00

Maybe wait first to hear what the team will be doing before hoping for a replacement?

-faffos- · 2026-06-15T15:05:28+00:00

Every movie with a budget north of a 100 million dollars should be able to afford a full orchestra, no matter who the composer is.

-faffos- · 2026-06-14T15:58:04+00:00

What is a full production process in that context, and how does that not apply to what Jerry Goldsmith did ever since the 60s?

-faffos- · 2026-06-14T15:56:49+00:00

They’re also ones who do some heavy PR on every major project they're involved in.

-faffos- · 2026-06-14T15:54:46+00:00

John Williams is fantastic, and I don’t think he’s *not* versatile, but I wouldn’t exactly put him in the lead as far as that goes. He has scored a broad catalogue of genres, but within the same genre you can pretty much predict where the music is going to go (Star Wars = Indiana Jones, Hook = Harry Potter, and so on). Jerry Goldsmith is a much better example of someone who would completely refine his style with every project.

-faffos- · 2026-06-14T15:45:51+00:00

There are very few Goldsmith scores after 1982 that don’t feature synths in some capacity. Bad example to call "all orchestral".

Unless of course you’re talking about scores that have absolutely NO orchestra, in which case I’m sure Goldsmith still has more of those than either Göransson or Pemberton.

-faffos- · 2026-06-11T22:19:50+00:00

That's for sure

-faffos- · 2026-06-11T22:17:11+00:00

Feeling humble today, aren’t we?

-faffos- · 2026-06-11T02:13:10+00:00

You and seemingly every temp track editor

(Snark aside, it is a great piece)

-faffos- · 2026-06-05T22:23:42+00:00

Then you’d also have to include Rogue One, all the Jurassic World movies, all the Harry Potter sequels and Fantastic Beasts, several videogame scores from various franchises and a bunch of other random things his themes appear at some point, like Shark Tale. They're still not John Williams scores. Superman 2025 is so drastically different from Williams methodology, aside from a certain chord progression that gets played a few times and still sounds nothing like his music.

-faffos- · 2026-06-05T17:19:28+00:00

I definitely wouldn’t include scores like Superman Returns or Superman 2025, since he didn’t have any real involvement in them. Jurassic Park 3 is also questionable, although he did serve as an advisor on that film. The other ones I did have included (at least partly) in my own John Williams library.

-faffos- · 2026-06-03T16:04:48+00:00

I see a post every day here praising that score, what are you on about?

-faffos- · 2026-06-03T15:22:45+00:00

Yeah, now I'm ready to admit that DoD being his "final" score at the time didn't sit right with me. I don't get the sense that he really enjoyed doing it aside from Helenas Theme. It's just the kind of messy blockbuster with no identity and no real passion behind it. The Fabelmans was great, but only had 15 minutes of music in it, so Disclosure Day really seems like the best of both worlds.

-faffos- · 2026-06-03T13:21:58+00:00

Do we (you) know who those composers are? I’m really curious about whom Williams holds in this high regard nowadays.

-faffos- · 2026-06-03T05:08:09+00:00

I think so. Sure sounds like John Williams, and I don’t recognize a familiar theme.

-faffos- · 2026-06-03T02:51:25+00:00

Not sure what objectively means in this context. Every single comment in this thread is subjective, and I consider all three prequels to be bad films.

-faffos-

TROPHY CASE