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This scene works a treat in the film, was one of the score highlights for sure! Thank god it's on the album.

The only thing I heard before watching the film was Listen... and I can't say I really noticed any of its ideas in the film itself, other than the main "humming" motif (which is presented prominently throughout the film, in a few short cues throughout Act 1 especially). We don't know what order JW wrote the score but it's possible he did the concert suites (Listen and Reprise, seemingly) last, expanding upon his film cues with new ideas that weren't presented in the film score proper. I'd heard there were around 7 recurring themes on the album but it's really just the humming motif that had noticeable development in the film.

Top 5 cues that instantly stood out watching the film: The first car chase Blunt breaking out O'Connor from custody The "flashback" dream/abduction sequence The cloaking device escape sequence The whole end credits (which seems to be a fusion of OST Reprise and OST Listen... and potentially an unreleased coda ) Some great tense underscoring throughout as well, plus the introductory short cues of the "humming" theme. I have a terrible feeling these will not be represented on the album.

Almost gasped at that cue. Transfixing, astonishing film scoring that you never hear in films anymore.

This stood out to me more than anything else in the end credits! I really hope it's on the album. The first half of the credits seemed like a mix of the Dolby music and Listen, but there's an obvious transition to what sounds like a film cue halfway through. Haven't listened to the album yet but just got home from the film. Will write up some thoughts but first impressions is this was another glorious JW score that sounded fresh, warm, original and surprisingly modern. I'm astonished that a score of this energy, with such forward propulsion, came from the hand of a 94 year old. I do wonder if the film might have had more narrative thrust if JW's score was more prominent in the first half though, rather than being reduced to short tension cues that don't really drive the film forward. It does noticeably follow the onscreen action rather than lead it, as Spielberg alluded. This was my major problem with the film. Surprisingly wordy when Spielberg's such an excellent visualist, and Josh O'Connor had very little character depth compared to Emily Blunt.

I'll be seeing an advance screening tomorrow night, so around 35 hours from now.

@Arnaud2 did you notice any source music, particularly for the TV News station Emily Blunt works at? I've been wondering if JW might have written some Mission-esque news intros, bumpers, etc. (like that Minority Report Pre-Crime commercial source).

Now available on YouTube (if you're in AU, or have a VPN!) Also lists the release date as 12th June.

Sucks to live in the Baker Islands right about now.

What a gorgeous first track! The textures in the orchestra just wash over you in the way only John Williams can elicit these days. With a sound that's fresh and feels very unlike anything else he's written, but also feels right at home with everything he's written. Sheer genius. Won't listen to anything else until I see the film and can enjoy it in context.

Spielberg confirms it in that recent interview but it's been listed as such on IMDB for months.

It ain't just you. Nearly died of cringe when he handed his ticket stub collection to Spielberg at the end. Not to mention taking nearly two minutes to ask a single question.

That is indeed a fantastic poster. Mysterious but also conveys the UFO and eye imagery stronger than the other poster does (which is a bit too Photoshoppy filtered for my liking).