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Thread: What is the greatest score ever made (poll)

  1. #101
    Grand Shriner
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    As others have pointed out, the problem with these sorts of Top Whatever Lists is the lack of criteria (just because you like something doesn't necessarily qualify it for greatness), and following that, the fact that there can be huge gaps in people's musical exposure. But why cloud the issue with relevant details? Here's my top three (in order of release):
    • King Kong
    • Lawrence of Arabia
    • The Great Escape

    Really, it's top two (Lawrence and Kong) and everything else.

    If the list were expanded to 10, I'd also include:
    • Sunset Boulevard
    • Seven Samurai
    • Once Upon a Time in the West
    • Raiders of the Lost Ark
    • Blade Runner
    • The Mission
    • 1492
    • In the Mood for Love

    Okay, this list goes up to 11 -- cos it's one louder.

  2. #102
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    I'd have to go:

    Lord of the Rings (FotR & RotK)
    Silence of the Lambs

    aside from those two I love 28 Days Later and albeit I've never seen a complete score but the two pieces by Howard Shore for Se7en were amazing!

  3. #103
    Inline Kid WildwoodPark's Avatar
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    Pufnstuf (1969) Charles Fox & Norman Gimbel.

  4. #104
    Grand Shriner NetRanger's Avatar
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    Well, it depends on the tastes of each person.
    It is really difficult to decide the top of the tops, so here is my "short" toplist that I enjoy listening

    01. Alan Silvestri - Contact (1997)
    02. Jerry Goldsmith - Rambo III (1988)
    03. James Horner - Apollo XIII (1995)
    04. Hans Zimmer - The last Samurai (2003)
    05. John Williams - Jurassic Park (1997)
    06. Ennio Morricone - Mission to Mars (2000)
    07. Hans Zimmer - The Da Vinci code (2006)
    08. John Williams - Memoirs of a Geisha (2005)
    09. Jerry Goldsmith - The 13th warrior (1999)
    10. Trevor Jones & Randy Edelman - The last of the Mohicans (1992)

  5. #105
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    "Why does it need to be an official release, though? I would think for the people that really want it, leaked scores (in great quality, by the way) would be more than sufficient. I doubt most of the general public really cares about missing music from the commercial release."

    The complete scores to Begins and TDK have both leaked in the past six months".

    Because official releases are superb quality. Download a video, DVD rip or Blu Ray rip and buy one. You'll see the
    difference and will see that the purchased one is better than what you downloaded. A lot of times, ripped movies are compressed meaning
    quality is lost. Same with music unless it's in true genuine lossless quality. The studios who make this stuff do it professionally. No disrespect or
    knock meant to people making their custom tracks and all. There's a 2 cd Forever score on this site. But it has SFX, which I'm not complaining
    about. But an official release likely would not have any meaning no distractions from enjoying the music and would also likely have better quality and I just to be someone who cares about quality. If that bothers/or offends you or anyone else in any way whatsoever, sorry. Can't change foranother person's satisfaction.

    I am aware that the complete Begins & TDK scores have been leaked. But what's the original source? Source meaning where did it originally
    come from and what was the original audio format? If you see something that says lossless, can you really trust it without truly knowing where
    the original source is from? If someone downloaded an cd that was originally uploaded in MP3, then converted it to a lossless format & uploaded
    it to a site and put lossless as the bit rate, people may think it really is. And without knowing what the original source is as in where it actually
    came from, what else could they be expected to think? But if you have good ears and headphones, you can tell. And I do. Leaked stuff is good.
    I'm not complaining because in the end, it's better than nothing. But I'm sure there's many who want an actual release of complete scores to
    truly enjoy the music in superb quality and completely free of any SFX and or dialogue. I'm one of those people and I'm sure you and many
    others here are too. I downloaded many, many scores in my time. When I heard how good they were and realized how much I loved them, I
    bought them to support those who made them. And that's the other benefit to things being officially released whereas if they're leaked, those
    who made it don't get any financial profit. If I worked hard to make a good cd, I wouldn't want it to be leaked. I'd wanna gain something out of
    it financially since money went into making, producing and releasing it. I'm sure the people who make, produce, and release it feel the same
    way.


    "Also, I really doubt that Goldenthal reused all of the music from Forever in B&R. That's like saying The Dark Knight is a completely original score, using no preexisting material from Begins."

    If I said all the music was reused, then perhaps I'm wrong. But watch both films. You'll see that most or a big portion of it was. Why else do you think Forever did get a commercially released score and B&R did not? I don't think it's only because B&R was a far worse film. B&R just borrowed a lot of the Forever score. But maybe
    not all of it.


    You'll have to excuse how the words appear. I'm gonna see if I can get that fixed. Funny how it only happens on this site. Not any other site or forum and I am on countless others.

  6. #106
    Grand Shriner
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    How people like myself know the Begins and TDK releases are legitimately lossless, was simple: If you have Adobe Audition or a similar program that allows you to look at the spectral view of an audio file, you will see it is from an uncompressed source.

    It's something that's been discussed many times in various threads, the method of checking for a true lossless release.

    If you were to convert an mp3 or an m4a file to WAV, it would not 'decompress' into lossless, it would remain unchanged. Convert that WAV into an mp3 again and it would be just like compressing an mp3 to an mp3. Much worse.

    When I made a custom Avatar edit, I saved everything as WAV and then made Apple Lossless versions for iPod playback. Of course the source was mp3, and I didn't want to cause further compression by making my edit mp3s, or m4a so I saved them in a lossless manner to avoid any further compression / damage.

    If I were to upload that here and say "yes it's really lossless, look - it's Apple Lossless!", I'd be lying big time. No, I'd say "it's not lossless, just saved that way to avoid compressing it more because the source was mp3".

    That's just one example, though.

  7. #107
    Assemble at dawn. GrayEdwards's Avatar
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    Most of the leaks that say lossless are genuinely lossless. People have run it through audacity and other programs, and have confirmed it. The Begins and TDK leaks are superb quality.

    As for B&R, it actually was because the film was so derided that it didn't get a score album. Films only get score albums if it successful in one way or another. Most studios don't even care about scores, which is why a majority of the releases are so horribly put together, and miss a ton of the music, most of the time it being the best stuff from the film, in fact.

    As for supporting the artist, I do understand that. And I would if I could. Unfortunately, I have a very small income, and it barely covers the essentials. If I didn't have the interent, if there weren't sites like these, I would basically be out of luck. I wouldn't be able to hear all of this great work that these composers did. When I get spare money, I do try to buy as much of their stuff as I can. However, most of the scores I'm interested in had really horrible commercial releases. So I'd still be using this site anyways to get all of the leaked complete scores and recording sessions and whatnot.

    Two other things to say on that subject:

    1. From what I'm told, the royalties for scores are really, really horrible. It's practically nothing. So buying the scores doesn't really help the composer (who gets his/her paycheck from the actual recording of the score, not subsequent album releases), but instead continues to line the pockets of the idiotic studios that put out such horrible releases. The only labels I would actually buy from would be private ones that the composers themselves set up (Philip Glass tends to release his scores on his own if they don't get commercial albums), or companies that really care about the music, like La La Land or Intrada. While I appreciate the work of companies like FSM, the people that run them are a bunch of assholes, and I will never purchase anything from them. Ever.

    2. It's my opinion that, regardless of financial imbursement, scores are meant to be listened to and enjoyed, not horded in studio vaults until it's "financially viable" to try to sell them for outrageous prices. The real artists understand that piracy is a good thing (people like Neil Gaiman, Dave Matthews, and Joss Stone), and that it actually helps their sales and popularity. I'd much rather buy stuff from a person that wanted their stuff to be experienced, regardless of whether they get payed or not, than greedy assholes like Metallica, that use piracy to heighten their popularity, then turn on the fans and sue them because they like sharing their music.
    Complete Score Wishlist:

    James Horner - Romeo & Juliet (Rejected)
    John Williams - Prisoner of Azkaban, The Force Awakens
    Ghost in the Shell - Clint Mansell; The Fall - Krishna Levy; Hulk by Mychael Danna (rejected); 300: Rise Of An Empire by Federico Jusid (rejected)

  8. #108
    Grand Shriney
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    Quote Originally Posted by GrayEdwards View Post
    As for B&R, it actually was because the film was so derided that it didn't get a score album. Films only get score albums if it successful in one way or another. Most studios don't even care about scores, which is why a majority of the releases are so horribly put together, and miss a ton of the music, most of the time it being the best stuff from the film, in fact.
    Its not always the studio's fault though, some of the composers pick which cues to include, which to drop, and what cues to edit, and where to cut, and what to cut to, to create a kind of suite a.k.a. "listening experience"

  9. #109
    Assemble at dawn. GrayEdwards's Avatar
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    Quote Originally Posted by Faleel View Post
    Its not always the studio's fault though, some of the composers pick which cues to include, which to drop, and what cues to edit, and where to cut, and what to cut to, to create a kind of suite a.k.a. "listening experience"
    I think a big part of the reason why composers do that, though, is because they are limited to what they can include on a commercial release. Most of the time it's an hour at most, when they have composed probably 80-110 minutes of score. There are rare exceptions (Zimmer and Williams), but I think, for the most part, it's to try to fit as much of their score on an album as possible, and so they have to trim it or re-arrange it to make it fit.

    Hopefully with digital releases become more and more commonplace, this will no longer be an issue. But, I don't know all of the business intricacies, so maybe not.

  10. #110
    Grand Shriney
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    Thats why I hope something like blu-ray disc happenes with CD's, where more material can be added.

  11. #111
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    Right out of the bat I'd say Gone With The Wind by Max Steiner! Still going great and well known after so many years.

    By composers I'd say:

    - one by John Williams (Star Wars or Jaws)
    - one by Maurice Jarre (Lawrence Of Arabia or Doctor Zhivago)
    - one by Ennio Morricone (Once Upon A Time In The West or The Good, The Bad And The Ugly)

    Certainly very near the top are John Barry for the James Bond-Theme and Henry Mancini for the Pink Panther-theme. But then again it's the main theme and not the whole score.

    (Personal, either Barry's Moonraker or The Black Hole, but ask me on another day and it may be something by Goldsmith (Rambo First Blood Pt. 2) or Horner (Star Trek II - The Wrath Of Khan).

  12. #112
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    <-- astounded that only a few people mentioned Superman...wow

  13. #113
    Grand Shriner jedisaurus's Avatar
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    Nice posts everyone. Here are mine.
    Star Wars I-VI (Williams)
    PoTC At World's End (Zimmer)
    Titanic (Horner)
    Lord of the Rings (Shore)
    Gladiator (Zimmer)
    Armageddon (Rabin)
    Godzilla (Arnold)
    Independence Day (Arnold)

    Those are some of my favorites.

  14. #114
    Grand Shriner
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    "How people like myself know the Begins and TDK releases are legitimately lossless, was simple: If you have Adobe Audition or a similar program that allows you to look at the spectral view of an audio file, you will see it is from an uncompressed source.

    It's something that's been discussed many times in various threads, the method of checking for a true lossless release.

    If you were to convert an mp3 or an m4a file to WAV, it would not 'decompress' into lossless, it would remain unchanged. Convert that WAV into an mp3 again and it would be just like compressing an mp3 to an mp3. Much worse.

    When I made a custom Avatar edit, I saved everything as WAV and then made Apple Lossless versions for iPod playback. Of course the source was mp3, and I didn't want to cause further compression by making my edit mp3s, or m4a so I saved them in a lossless manner to avoid any further compression / damage.

    If I were to upload that here and say "yes it's really lossless, look - it's Apple Lossless!", I'd be lying big time. No, I'd say "it's not lossless, just saved that way to avoid compressing it more because the source was mp3".

    That's just one example, though."

    Appreciate that good info. Didn't know about it before. However, a lot of leaked stuff (not saying all) may still have dialogue and/or SFX even at a
    minimal which I'm not complaining about at all. But I am one person who likes classical, actually just about any music so much so that any SFX/dialogue distracts me from true listening experience.


    "Most of the leaks that say lossless are genuinely lossless. People have run it through audacity and other programs, and have confirmed it. The Begins and TDK leaks are superb quality.

    As for B&R, it actually was because the film was so derided that it didn't get a score album. Films only get score albums if it successful in one way or another. Most studios don't even care about scores, which is why a majority of the releases are so horribly put together, and miss a ton of the music, most of the time it being the best stuff from the film, in fact.

    As for supporting the artist, I do understand that. And I would if I could. Unfortunately, I have a very small income, and it barely covers the essentials. If I didn't have the interent, if there weren't sites like these, I would basically be out of luck. I wouldn't be able to hear all of this great work that these composers did. When I get spare money, I do try to buy as much of their stuff as I can. However, most of the scores I'm interested in had really horrible commercial releases. So I'd still be using this site anyways to get all of the leaked complete scores and recording sessions and whatnot.

    Two other things to say on that subject:

    1. From what I'm told, the royalties for scores are really, really horrible. It's practically nothing. So buying the scores doesn't really help the composer (who gets his/her paycheck from the actual recording of the score, not subsequent album releases), but instead continues to line the pockets of the idiotic studios that put out such horrible releases. The only labels I would actually buy from would be private ones that the composers themselves set up (Philip Glass tends to release his scores on his own if they don't get commercial albums), or companies that really care about the music, like La La Land or Intrada. While I appreciate the work of companies like FSM, the people that run them are a bunch of assholes, and I will never purchase anything from them. Ever.

    "It's my opinion that, regardless of financial imbursement, scores are meant to be listened to and enjoyed, not horded in studio vaults until it's "financially viable" to try to sell them for outrageous prices. The real artists understand that piracy is a good thing (people like Neil Gaiman, Dave Matthews, and Joss Stone), and that it actually helps their sales and popularity. I'd much rather buy stuff from a person that wanted their stuff to be experienced, regardless of whether they get payed or not, than greedy assholes like Metallica, that use piracy to heighten their popularity, then turn on the fans and sue them because they like sharing their music."

    Perhaps of most of the leaked material is genuine lossless. But not all of it, not all the time. Can you expect it to be? I don't think so. A lot of work is put into just getting it
    ready to upload. And then you count uploading it onto a site which just takes up more time. I don't know if I agree with your B&R point. You may be partially right though I don't
    think you completely are. B&R was one of the worst films ever. But a lot of people say that about the 3rd Halloween film & Superman: The Quest For Peace. Yet the latter 2
    got score releases. While a score not being released for B&R may be partly due to the film's rating, it's also because a good portion of the music (not all of it though) was taken from the Forever score. The B&R score has been leaked though. I had it before. But once I heard it, I realized it's basically Batman Forever (at least my favorite parts/tracks are concerned) so I tossed it. Watch both movies. You'll hear it for yourself.

    When it comes to income, I know where you're coming from. Who hasn't been there before? So it's a valid reason as to why you don't buy albums.

    Royalties for scores being horrible.....yeah maybe nowadays because of the decline in our economy. But perhaps also due to being able to obtain material for free via
    downloading. I do think the economy decline is a much bigger reason for the royalties being horrible. That is, if whoever told you was right. Maybe they are. Maybe they aren't.


    ""It's my opinion that, regardless of financial imbursement, scores are meant to be listened to and enjoyed, not horded in studio vaults until it's "financially viable" to try to sell them for outrageous prices. The real artists understand that piracy is a good thing (people like Neil Gaiman, Dave Matthews, and Joss Stone), and that it actually helps their sales and popularity. I'd much rather buy stuff from a person that wanted their stuff to be experienced, regardless of whether they get payed or not, than greedy assholes like Metallica, that use piracy to heighten their popularity, then turn on the fans and sue them because they like sharing their music."

    Scores are most definitely meant to be enjoyed by whoever listens to them. But while I don't like that they're horded in studio vaults just till it's financially viable, I look at it
    from a business standpoint too & think that's the case to build anticipation. As a few examples: I was anxiously anticipation for years, an expanded Batman 1989 & Returns set as well as the Superman 4 score. Once they were released, I downloaded them to see how the quality was & if everything was included. To the very best of my memory, they were so I bought them right away. Of course, whatever is released whether it is popular or not, there will always be a handful of people at the last to buy whatever is out there. But if anticipation builds, more people will buy. If less people buy, business goes down. I also hate that the prices are ridiculously expensive. But rarely, it is worth it.
    To me, at least. Of course I'd like it if the price was lowered. But if it's a score I really really like, price does not matter to me. That's on rare occasions when I actually afford
    to buy something so expensive. I don't know any artist who likes piracy & who feels it helps their sales. Piracy means getting stuff for free last I checked. Not sure how that
    helps sales.

    btw, you said that Begins & TDK are superb quality. Is there any SFX/dialogue? If it's minimal, not that much of a problem for me. If none though, that's even better.


    "Its not always the studio's fault though, some of the composers pick which cues to include, which to drop, and what cues to edit, and where to cut, and what to cut to, to create a kind of suite a.k.a. "listening experience"

    Yeah. I always thought it was the studios who did that. Maybe in some cases, but not always.

    "I think a big part of the reason why composers do that, though, is because they are limited to what they can include on a commercial release. Most of the time it's an hour at most, when they have composed probably 80-110 minutes of score. There are rare exceptions (Zimmer and Williams), but I think, for the most part, it's to try to fit as much of their score on an album as possible, and so they have to trim it or re-arrange it to make it fit."

    Hopefully with digital releases become more and more commonplace, this will no longer be an issue. But, I don't know all of the business intricacies, so maybe not."

    Some things are left out because maybe the composers and/or studios feel it's no necessary to have on there. This can be a small cue or a cue the composers themselves didn't like how their final work for that particular musical piece turned out to be. If I'm right, and I'm not saying I am, I don't know if digital releases will help or not. But it might. I
    just feel like even if they had 2-3 disc sets which would mean they'd be less limited in what they could be included, if a piece is really that bad in the composer's opinion, which
    should definitely count as it is their work, it is likely not to be included IMO which would mean that whatever time is left would be taken up by demo tracks. Like you. I don't
    know all the business intricacies either so I may be wrong too.


    "Thats why I hope something like blu-ray disc happenes with CD's, where more material can be added."

    Not only more material, but perhaps even better quality. I say that because as far as movies go, Blu Rays are often better of not always than DVD's so maybe the same will go for CD's.

    "<-- astounded that only a few people mentioned Superman...wow"

    I am too which is why I'm adding Superman 4. The movie was panned. But the score was IMO, the best. Most people remember the score to the first Reeve film for John
    Williams' Main Title theme which is well cemented as it should be in film music history. But Courage's score to the 4th film blows that away IMO. I don't know. I just liked it more.
    What I'm surprised at is E.T. was never mentioned. Well I may have mentioned it. But besides me, no one has. It's the greatest film to not yet receive a Blu Ray treatment.
    And the score only enhances that film to greater heights.

  15. #115
    Assemble at dawn. GrayEdwards's Avatar
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    While I still disagree with you on a number of points, there's only one that I want to discuss anymore.

    Just to clarify for you, if a score is leaked, that means it came from someone, somewhere in the business, which means that it is always SFX-free. Now, sometimes it isn't always the best quality (though this was more often the case several years ago, not today), but it definitely came from someone within the studio who had access to the masters.

    If a score has SFX or dialogue, it doesn't matter what people say it is, it is a fan rip (either from a DVD or blu-ray). Some are better than others (Tron: Legacy and Blade Runner as two examples), but it is still a rip nonetheless.

  16. #116
    Grand Shriner
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    Well we both gave our opinions. While we may agree on some, we obviously disagree on others which is ok from my side of things. I respect your opinions as well as you should respect mine. Now let's move on before this thread suffers the same fate as the Cap thread....sudden death.

  17. #117
    Grand Shriner RogueShark's Avatar
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    Vertigo (Herrmann)
    Spartacus (North)
    The Ghost and Mrs. Muir (Herrmann)
    Obsession (Herrmann)
    Richard III (Walton)
    Alexander Nevsky (Prokofiev)
    The Day the Earth Stood Still (Herrmann)
    El Cid (Rózsa)
    On Her Majesty's Secret Service (Barry)
    Chinatown (Goldsmith)
    Once Upon a Time in the West (Morricone)
    To Kill a Mockinbird (Bernstein)
    Lawrence of Arabia (Jarre)
    Spellbound (Rózsa)
    Bullitt (Schifrin)
    Seconds (Goldsmith)
    E.T. The Extra-Terrestrial (Williams)
    Bladerunner (Vangelis)
    Walkabout (Barry)
    The Battle of Algiers (Morricone)
    Sunset Boulevard (Waxman)
    The Lion in Winter (Barry)
    A Man Called Horse (Rosenman)
    On the Waterfront (Bernstein)
    Patton (Goldsmith)
    Viva Zapata! (North)
    Close Encounters of the Third Kind (Williams)
    Raiders of the Lost Ark (Williams)
    Planet of the Apes (Goldsmith)
    Fantastic Voyage (Rosenman)
    A.I. (Williams)
    The Matrix (Davis)
    Titus (Goldenthal)

    That's pretty much it. Not a single David Arnold POS in sight.

  18. #118
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    my list:

    Basil Poledouris - Conan The Barbarian
    Vangelis - 1942 Conquest Of Paradise
    John Williams - Star Wars IV, V, VI
    John Williams - Schindler's List
    Rocky I-IV (score and songs)
    Eric Serra - Leon
    Ennio Morricone - The Good, the Bad, the Ugly
    Peter Gabriel - Passion

  19. #119
    Score Douche SonicAdventure's Avatar
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    My own humble list:

    1. Star Wars: Episode II (J.W.)
    2. Vertigo (B.H.)
    3. Star Trek: The Motion Picture (J.G.)
    4. Harry Potter & The Prisoner of Azkaban (J.W.)
    5. Cleopatra (A.N.)
    6. Jurassic Park (J.W.)
    7. Total Recall (J.G.)
    8. Dances with Wolves (J.B.)
    9. Legend (J.G.)
    10. Contact (A.S.)

  20. #120
    Onion Kid
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    For me (and I have been around for a few years now) the cds I listen to most are (which is how I would gage my favourites):

    Deep Red (Goblin)
    Halloween 3 Season of the Witch
    The Serpent and the Rainbow
    Dead Ringers (Howard Shore)
    Dressed to Kill
    Vertigo
    The Return of the King (Complete)
    King Kong (remake - sorry)
    I Saw The Devil
    Sonatine
    Tron Legacy
    The Thin Red Line
    A L'interiuer (Inside)
    Predator
    Insomnia
    Inception
    Lady Vengeance
    Day of the Dead
    Alien

  21. #121
    Very Eclectic Tastes Joseph's Avatar
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    I object to this kind of poll for two reasons:

    1) I doubt anyone on this forum, myself included, is qualified to name the greatest score ever made.

    and

    2) Chances are that few of the scores on this list are going to pre-date the 1960s.

    I think a better title for this thread might be: what is the most popular score on this forum?
    I don't have a sig anymore.

  22. #122
    Assemble at dawn. GrayEdwards's Avatar
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    So... basically you're arguing semantics?

    The basic idea the OP had was "What is the score that everyone can agree on is great?".

    So far, I think that's The Lord of the Rings.

  23. #123
    Nothing will stand in our way ygmmasta's Avatar
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    Quote Originally Posted by GrayEdwards View Post
    So... basically you're arguing semantics?

    The basic idea the OP had was "What is the score that everyone can agree on is great?".

    So far, I think that's The Lord of the Rings.
    Well, thank you, GrayEdwards for making it clear
    The way you put it should be now enough for all the 'doubters'

  24. #124
    creature of the night LDR88's Avatar
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    DELETED.

  25. #125
    Onion Kid
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    You put Order of the Phoenix but not any of the other Harry Potter Scores?!

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