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  1. 22 points
  2. 20 points
  3. 16 points
    It's interesting that you talk about Williams "masking" dissonances, as if Williams was trapped into employing dissonances which he then tried to cover up by choosing the right instruments (probably not what you meant, but it sounds that way!). Of course, the opposite is really true - Williams mixes in the dissonance himself. However, rather than drawing attention on those very dissonances (as, for example, Boulez might...or "concert" JW might) he tends to treat dissonance as something like musical seasoning; to spice up what would otherwise be fairly dull, consonant music. One of the ways he does this is to do what sounds like "covering up" dissonance using the orchestra, which I guess is what you allude to. But, of course, this is just an illusion really. Every note you hear comes from the composer's pen, whether or not in the end they sound as if they are appearing out of nowhere, or as an "accident". So what is JW's favourite spice? When it comes to brass, It is undeniably the minor 2nd interval between the 7th and 8th degrees of the scale (i.e. B-C in C major). JW would sooner jump off a bridge than not use this dissonance in a fanfare. Listen to the one that plays when Yoda raises the ship in TESB, which is in E major: Now, somebody with an "untrained ear" might be surprised to know that when they are listening to the above, they are also listening to this: https://picosong.com/whnva These are the 7th and 8th degrees of the E major scale: D#-E. JW uses a lot of this sort of dissonance in the E.T. flying theme (in C major): Listening to this, one might naively think that the accompanying horns at the start are playing simple major chords (C-E-G, or 1st, 3rd and 5th degrees). But in fact, they are playing "add2" chords, i.e. chords with the 2nd degree added (D), so there is a dissonance between the C-D and the D-E. Later on, JW employs his beloved 7th-8th dissonance, at 0:20 (F#-G) and 0:25 (G-Ab). These dissonances on their own sound like they belong to a horror movie, not a feel-good family movie (though I grant that E.T. does contain some horrifying bits...). But when played by the brass in a certain range, these dissonances take on more of a "colouring" function, and you might miss these dissonances if you don't pay attention. However, take away these dissonances, and you take away an integral part of the whole. This is what I mean by JW using dissonances as "seasoning". Now for something entirely different. Listen to the prologue music of HP1, when Dumbledore does...whatever he does: Listen to that last chord at 1:15. Can you hear "it"? I made a mockup of this portion some years ago, where "it"'s clearer; listen to the high register from 0:17: https://picosong.com/whnWd Williams here is using the winds to apply a purely "colouristic" effect to the brass chord in the foreground. This is what the wind chord sounds like on the piano: https://picosong.com/whnvw This is what the brass chord sounds like on the piano: https://picosong.com/whnv3 By the way, Williams here is essentially recycling a technique he used in another film, TPM, where he used a similar wind chord. However, that time he used it in a much more dramatic manner, less as a purely colouristic effect (listen to the chord at 3:28 and pay attention to the high register): Finally, I want to go off the track a bit (though I hope it's still relevant) and close with some music from another composer who was a master at "masking" dissonances via orchestration, a composer who greatly influenced Williams and other Hollywood composers - namely, Korngold. His opera "Das Wunder der Heliane" closes with the two lovers making their way into heaven through the pearly gates, being welcomed by the sound of singing angels. But if you listen to it, there's a distinctly bittersweet tone coming from the orchestra: It's almost like the angels merely represent a "sheen" of something that is filled with sadness and sorrow. The reason is that the orchestral accompaniment is in fact full of dissonances - try playing some of those chords which fall on the downbeat. There are instances earlier in the opera where Korngold plays a major chord on top of a minor chord, though it's barely audible the way he orchestrates it.
  4. 15 points
    ACROSS THE STARS Anne-Sophie Mutter / John Williams The Recording Arts Orchestra of Los Angeles Label: Deutsche Grammophon Release Date: August 30, 2019 TRACK LIST 01. Rey's Theme (From "Star Wars: The Force Awakens") 02. Yoda's Theme (From "Star Wars: The Empire Strikes Back") 03. Hedwig's Theme (From "Harry Potter And The Philosopher's Stone") 04. Across The Stars (Love Theme) (From "Star Wars: Attack Of The Clones") 05. Donnybrook Fair (Based On "Blowing Off Steam" From "Far And Away") 06. Sayuri's Theme (From "Memoirs Of A Geisha") 07. Night Journeys (From "Dracula") 08. Theme (From "Sabrina") 09. The Duel (From "The Adventures Of Tintin") 10. Luke And Leia (From "Star Wars: Return Of The Jedi") 11. Nice To Be Around (From "Cinderella Liberty") 12 .Theme (From "Schindler's List") Available on August 30 on digital, CD and 2LP. https://www.amazon.com/Anne-Sophie-Recording-Orchestra-Angeles-Williams/dp/B07SM9GCH6
  5. 13 points
    In a rather staggering coincidence, the podium in shot is the exact same podium from the TFA featurette! Please marvel at my forensic masterwork:
  6. 12 points
    While obviously another apples and oranges situation, Akira Ifukube went in and out of scoring Godzilla films over the course of 41 years, continuously incorporating themes from earlier installments in new ways and all while adding to the franchise's musical lexicon with new thematic material that seemed to stem from Ifukube having, like Williams with Star Wars, an infinite number of things to say about his defining franchise. After scoring his last Godzilla film at 80, Ifukube concluded a musical relationship that had lasted more than half of his life and that comprised approximately 15 scored entries. Again, to compare Williams to Ifukube is pointless. Apples and oranges and what have you. Some may scoff at even attempting to draw a parallel between the two. Regardless of personal opinion, Ifukube's relationship with Godzilla highlights a unique music career distinction shared with the likes of Williams and his relationship with Star Wars, a distinction that makes the Star Wars scores so largely tantalizing to me. This is to say, you have a composer who defines their career with a single film and throughout the course of multiple decades (that see both the franchise and the composer grow and change in ways not realized during the inception of the first installment) that same composer repeatedly comes back and somewhat literally has to confront the writing style of an older incarnation of themselves that no longer exists. How the composer chooses to deal with that confrontation of a previous musical identity, either through embracing it and trying to write in a style reminiscent of those years of old or by adapting and updating that identity to conform to the new musical norm for the composer, is a dilemma both Williams and Ifukube had to deal with. One of the greatest benefits in being an observer to this unique relationship as a listener is being able to more directly than usual realize and appreciate the growth a composer has had. For example, Crumbs has said before, and I agree, that Rey's theme is representative of a piece Williams couldn't have realized even 15 years ago. Yet, at least to me, Rey's theme, while being a creation deeply entrenched in the writing sensibilities Williams is currently in possession of, fits perfectly within the Star Wars musical landscape. You get to be witness to great musical moments like the build to the Rebel Fanfare statement followed by the perfect segue into Rey's theme in The Battle of Crait, whereby you have a seamless bridging between the music of new Williams and the Williams of old. Those moments, those decisions the composer had to make in trying to consolidate different sensibilities, are so delicious to be able to observe. Once again, as is usually the case when I decide to create a post on here consisting of more than two sentences, I have taken to rambling. I guess ultimately what I'm trying to say is that, while we can all find instances that are at least partially comparable to the journey Williams has taken to crafting and now having to conclude a three trilogy saga, such instances are incredibly limited. As others have put more eloquently than myself, we are witness to a very unique musical occurrence and it'll be a treat to see how Williams chooses to conclude such a journey in just a few short months.
  7. 11 points
  8. 11 points
  9. 10 points
  10. 10 points
  11. 10 points
    Not Mr. Big

    I Found It: Fanfare for Dukakis

  12. 9 points
  13. 9 points

    How strong are you?

  14. 9 points
  15. 9 points
    A new and revealing Jon Burlingame article on the music. An hour of material!
  16. 9 points
    It is now down to 12 minutes. Turns out the first big chuck was for West Side Story. He had begun scoring and then told Spielberg that "you are going to need a better composer than me for this." To which Spielberg said, "okay."
  17. 8 points
    It's here! Dang, I was hoping we'd get the whole album today, but I'll take it! On first listen, this sounds more faithful to the original arrangement than Hedwig did. Mutter's playing sounds gorgeous! Is this the one she arranged herself? Also, we've now gone from Johnny Thanos to Johnny Red Skull on the album covers. What's next?
  18. 8 points
    Just picked this up at the mail box, sounds fantastic so far! Ten minutes of unheard music per MM's notes.
  19. 8 points
    Hymn To The Fallen wasnt written for the purpose of a memorial or remembrance ceremony though. And it was mainly known at the end credits to Saving Private Ryan. It's unusual for a piece of film music to become part of a very serious repertoire, and in quite a lot of counties, including The Netherlands. John Williams is a legend!
  20. 8 points
    Controversy aside, this was a highly influential film, in many ways. As for us specifically, it gave us the first "new" Star Wars score in well over a decade. It was also the reason @Ricard decided to start a website about the music for this film, which eventually became JWfan. I can't say Iove the film, its boring. I can't help feel grateful towards it, in some way. Happy birthday The Phantom Menace!
  21. 8 points
    There's a picture of Williams recording in the new Vanity Fair cover story on The Rise of Skywalker. I just want to confirm, is this from Force Awakens???? It can't be new, right? The caption under the picture just says: https://www.vanityfair.com/hollywood/2019/05/star-wars-cover-story
  22. 8 points
    There's a fun experiment you can do with this at the piano. Play a major or minor chord in the right hand e.g. C major or C minor. Now, in the left hand, put your hand on a major or minor chord one semitone above and one semitone below the right hand. So, for instance, with C major in the right hand, you place your left hand on B major or Db major. Now pick one of the notes in your two left hand chords. This is now your bass note - play it with the chord in the right hand (so e.g. C major in RH, with D# in the bass from the B major chord). Now do this multiple times for different chords. Voila! You have become John Williams.
  23. 8 points
    HOLY SHIT!!! That is ... not TFA... well, that's a deleted scene from TFA but with an entirely new background composited in! And it matches the shot and clothing of Leia as seen in the TROS trailer!!! JW is already recording TROS?!
  24. 7 points
    Some reviews I found for Zimmer's new Dark Phoenix score:
  25. 7 points
    This interview with TROS' editor probably explains how Williams was able to start writing so soon after production ended, in contrast with the post-production timeline for TFA. https://www.express.co.uk/entertainment/films/1136655/Star-Wars-9-Rise-of-Skywalker-editing-post-production-editor-filming-on-set-tight-schedule She goes on to discuss the benefits of this approach, including getting pickup shots and inserts while the main production was still underway (this was done much later in post-production for TFA with reshoots -- a contributing factor to Williams constantly rewriting TFA as the edit kept changing).
  26. 7 points
    He's writing a cheque for the ghostwriter. Karol
  27. 7 points
    I do too! Williams tapped into something special when writing this one I've listened to it regularly for 8 straight years now The OST is superbly arranged, too!
  28. 7 points

    Temple of Doom is 35 years old

    Since there's a thread about TLC's 30th anniversary, here's another one to discuss the better film of the two which was released 35 years ago this week. And while you're at it, do not miss @TownerFan's wonderful article about Williams' masterpiece! https://thelegacyofjohnwilliams.com/2019/05/24/indiana-jones-temple-of-doom-35-anniversary/
  29. 7 points
    That wasn't Williams conducting. It was actually Andy Serkis in mo-cap.
  30. 7 points
    THE POST THE FILM 2017’s The Post marks Steven Spielberg’s and John Williams’ 28th collaboration, and it stands as their most recent collective project. While it’s certainly not the most famous or memorable of their movies together (although it needn’t be anyways), the venture offers a top-tier film and score. I was disappointed in The Post upon my first viewing; it felt like a lacklustre showing on a few levels, but this was an opinion based merely on poor circumstances. I had hit play on the movie at 11:30 pm one night in December and fell asleep before things could get too interesting. I eventually finished it, but something about the nature of the showing disrupted my reception of it. So, after a few months I decided to give it another shot, after I gave it a dull two and a half stars out of five. I assure you that my thoughts have changed, and for the better, no less. It was terribly hard to initially push back the Oscar-bait stigma that seeped into my mind from various comments and articles. In fact, the first time I completely believed in this notion, and I still must admit that The Post carries all the characteristics that would support such a claim. I mean, come on! Spielberg directing a pro-press drama starring Meryl Streep and Tom Hanks, released in a time where the media is being depicted by some (or one) of the world’s most influential person(s) as an enemy to society? It’s screaming for golden statues, especially the way the Oscars seemed to have turned in awarding socially relevant cinema despite the craftmanship perhaps being subpar to that of other flicks that don’t make such statements. However, this time I’ve learned to look past that, because such an ensemble as this should be embraced rather than scorned. The Post follows The Washington Post, then a local newspaper for the upper class, in a debacle against the Nixon administration after an information leak revealed 22 years of government secrets regarding American involvement in Vietnam. Owner and publisher of The Washington Post, Katharine Graham (Meryl Streep), prepares to launch her business in to the stock market as a means of strengthening financial assets. The mantra is that quality and profitability go “hand in hand". Streep is certainly an incredible actress, and I feel that this was a very strong performance on her part. Editor-in-chief Ben Bradlee (Tom Hanks) knows what he wants to cover and who he wants to cover it. His introductory scenes see him as being quick-tempered and sharp. He’ll tell you what to do, not the other way around. I used to feel that the big names weighed down their surroundings, at least in this case, but my views have changed in that regard too. The two leads are the front runners of the cast, obviously. Supporting actors include Sarah Paulson, Bob Odenkirk, Tracy Letts, Bradley Whittford, and Bruce Greenwood, whose role as Secretary of Defense Robert McNamara is spot-on. Visually The Post is not particularly striking, at least not at first glance. However, there are plenty of camera movements (eg. following shots to perfection, gradual facial zoom-ins, etc.) that make up a delightful aspect of this movie, which is no surprise coming from Spielberg and Kaminski. There was one steady shot that really stood out to me, where the camera would continuously circle around a conversation in perfect harmony with the movements of the actors and the energy of the scenario. In brief, many of scenes were executed splendidly. The lighting, often distinct whites, warm yellows, or electric blues was quite appealing, and did its job well enough. There’s a general air of visual ambience to each scene. Kaminski states in an interview with Matt Grobar, “As filmmakers, we had to reflect that energy in the way we photographed the movie, knowing that the camera was going to move a lot. I had to create an environment where the actors were not inhibited by the lighting equipment within the frame, so they could go wherever they wanted, and the camera would follow them.” (See: https://deadline.com/2018/01/the-post-janusz-kaminski-cinematography-interview-news-1202230114/) The script, which I previously dismissed as tiring, is solid. At times, there’s hardly any room to breathe though; there are multiple scenes where characters talk over each other, which can either be a handicap or a tension creator. Other times, there’s a little more space. There’s a fair amount of good, constructive dialogue, and a smaller number of throwaway lines than I recalled. I would even go so far as to say that there were a few bold statements, but that was certainly to be expected. Spielberg’s typical integration of the troubled or dysfunctional family is not at all a major theme. Although there are very minor family traits, they don’t really depict the same honest human struggle that we’ve come to expect. It’s more of an independent personal journey for Graham to find her voice and for Bradlee to make a choice (granted, Katherine, as publisher and owner, has the final say). Of course, Spielberg can only press the family point so much, and he doesn’t have a great choice when it comes to basing a film off historical fact rather than entire fiction. Nonetheless, he somehow managed to do so with, say, Bridge of Spies and Lincoln, but those were certainly more allowing for such a thing compared to The Post. It’s easy to understand ways that some may not enjoy The Post, because I probably had similar thoughts at one point. But there’s a delightful appreciation of energy (a refreshing, non-action energy that we don’t often get in cinema nowadays) that’s consequential of Spielberg and Kaminski behind the camera with Streep and Hanks in front of it. It should be elaborated upon that there is next to no action, save the opening night battle in the Vietnam jungle, which is very concise, but reminds one of Spielberg’s impeccable on-screen battle brilliance (a la Saving Private Ryan). Of course, the coined Spielberg transition, which never ceases to be deliciously clever, is one of sound rather than images, and it’s quite good (although it may go unnoticed at first). The sonance essentially carries over from firing weaponry to the whir of a helicopter’s propellers, and it does so quite splendidly. The Post is well directed, and it is evident without watching any behind the scenes clips. It’s a far cry from being Spielberg’s best, but it’s just as far from being his worst. On a directorial level, as far as Spielberg himself is concerned, it’s a pretty spot-on average showing, and yet it’s still a better film than others best. RATING: **** out of ***** THE SCORE *Please note that all John Williams quotes are copied out based off my own hearing (aka they may not be word for word) from the "Arts & Entertainment: The Score" bonus feature on the DVD or Blu-Ray release of the film. There are some gaps and some edited out parts because I couldn't make out the words. The score to The Post is an enduring favourite for me. Since its release I've listened to it many times, and I always enjoy it. Williams noted that: "...We don't think of it as a particularly music-driven film as an adventure would be. But there are situations and scenes in The Post where the orchestra does provide a rhythm and even, you could say, an atmosphere of the printing process." Beginning with The Papers, a low and brooding cue that even throws in some quiet retro synths. Williams said that: "A couple of scenes have very light computerized electronic effects which are used […] where we see Ellsberg reading the Pentagon Papers, and in that 4 minutes or so, you hear orchestra again and then you hear electronics again, and your hear orchestra again, and electronics- it isn't as precise as electronics for the former Presidents and orchestra for Ellsberg, it's more […] a (morph?) shaping for computerized effect and what the orchestra's doing." The pinnacle track, The Presses Roll, embraces warm and vibrant string passages and an orchestral sound. Nixon's Order takes the energy down a tad, and begins to usher in shades of Williams familiar Americana scoring style. The Oak Room, 1971 and Two Martini Lunch are two lovely piano pieces that are so very warm and welcoming. Who can deny the energy and vigor of Setting the Type, which introduces an allegro con brio motif, which I feel had potential to be developed into something more stylistically fugal. It certainly bounces around the string section to great effect. Mother and Daughter is perhaps the most "Williams - Americana" track on the album, employing a lovely piano melody before bringing in the strings for a final passage. Scanning the Papers and Deciding to Publish make up another facet of the score's personality, one that includes a bit more suspense. It's really one of my favourite Williams cues of this nature. Williams said: "Among other things, this film has, to my eyes, a near perfect performance by Meryl Streep. There's one particular scene where she makes the decision to go ahead and print this material, and the camera's on her face, which tells a lot of story. We don't have to do much music, but we have to do something. And there's a long, very quiet accompaniment to her telephone call, and Steven was crazy about that: how much could we increase volume and speed as the camera pulls in to here eyes? And it becomes a very, very important part of the physiological aspect that takes place when we have to deal with something like that." The finale, The Court's Decision and End Credits, is an appropriately arranged culmination of the score, although I believe the End Credits are just edited segments from other cues. The Post has been one of my most frequently listened to scores of the last year. Williams writing for the string section, the rest of the orchestra (as Tom Hanks said when he visited the recording sessions, "More French horns, John."), and the piano make the album very relistenable. To close, Williams reminded me of his wonderful humility and great friendship with Steven Spielberg by saying: "I hope that what I've done for his projects has been and will be remotely worthy of what he offers me." RATING: **** and a half * out of *****
  31. 6 points
    11. Nice To Be Around (From "Cinderella Liberty") 02:3212 .Theme (From "Schindler's List") 93:21
  32. 6 points
    I think that the former Emperor’s theme just became a larger theme, associated to the pure evil of the dark side. Like Ben’s and Luke’s theme became respectively the Force and the Heroic theme.
  33. 6 points
    Here's my list: 1)E.T. Adventure :ET LLL. 2)Teaser from Harry Potter and the Sorcerer's Stone 3)Fortress of Solitude Alternate (Superman LLL) 4)Return to the City Alternate (Empire of the Sun LLL 5)The Plane Alternate (Empire of the Sun LLL) 6)Inside (Ce3K LLL) 7)A.I. Theme Instrumental (A.I. LLL) 8)The Love Scene Extended Version (Dracula Varese) 9)Hungry Raptor (Jurassic Park) 10)Eleventh Commandment (Ce3K)
  34. 6 points
    Here's the new installment of the "Legacy Conversations" series: the new episode features an engaging and wide-ranging interview with film composer Joe Kraemer (Jack Reacher, Mission: Impossible - Rogue Nation, The Man Who Killed Hitler and Then The Bigfoot), who talks about being inspired by the music of John Williams since childhood and how it led him to a career as a film composer in Hollywood: https://thelegacyofjohnwilliams.com/2019/06/10/joe-kraemer-podcast/
  35. 6 points
    Inspired by @Loert's thread on "The Map Room: Dawn," I wanted to ask if there are any particular examples orchestration being used to kind of mask dissonances in John's music. Often, you get the sense that his music is considered very straightforward, even "pop" by many for it's listenability, accessibility, and melodic recognizability, but, when you listen closely, and espeiclly when you hear a piano reduction, for example, the striking harmonic invention and complexity behind this facade, if you will, becomes apparent. It is almost as if John has achieved the perfect synthesis between romantic traditions and modernist developments in music. How big a role does this idea of orchestration used to mask dissonance, which was brought up in the aforementioned thread, play in all of this?
  36. 6 points
    Sky's the limit To be honest, while it'd be a dream to talk with Spielberg of course, at this moment I'm more focused in talking with musicians, composers and conductors, including people who worked/collaborated with him, but also people who have been inspired to go for a career in music and/or film through his music. I think right now it's more important to pursue this "mission" about celebrating JW's legacy.
  37. 6 points
    The newest episode of my podcast features the score to 1971's "Jane Eyre," the third and final time Delbert Mann and John Williams would work together. This episode features fellow JWFan member @Yavar Moradi as he talks about why he counts "Jane Eyre" as his favorite John Williams score. We also have a good discussion about whether to count the main theme as a love theme or not, and the music it inspired about 30 years later. Hope you enjoy!
  38. 6 points
    I apologize if this has been already posted, but here are some great pictures from the Mutter/Williams sessions: https://www.anne-sophie-mutter.de/en/page/media/anne-sophie-mutter-photos/
  39. 6 points
    Holy shit! The Rebirth track features a familiar piece of music from Godzilla vs Destoroyah! By the way, got my plush toy today.
  40. 6 points
    It's a very big topic because there are multiple "forms". But listen to Beethoven Piano Sonatas for excellent example of structure and form. He wrote the book on classical form then destroyed it. Even his sonatinas (short sonatas) are brilliant examples of structure but frankly it takes a lot of study to expose these secrets. Maybe check out this basic example of Beethoven's Piano Sonata form: In a way, you can think of it like Joseph Campbell's hero's journey story structure. Many books have been written on this topic but you could sort of think of the hero's journey as story structure. Similarly, Sonata follows a dramatic structure: For example, you would never start a story with the climax. Or end it by introducing the characters. True, story tellers can play around with the order of these events but if if you line them up chronologically, they will fall in to a similar pattern (Pulp Fiction for example). Similarly, you would start a sonata by introducing the theme (characters) and their dilemma. The story would continue throughout the movement as the theme faces drama and additional characters (secondary themes for example). The climax would be the point of ultimate drama followed by a resolution. Great stories manage the balance of all these elements. Over centuries, artists try to stretch and challenge these classic structures but the goal is usually the same (tell a coherent drama with a satisfying resolution) though there are interpretive, individualistic, and stylistic approaches in how each composer does this.
  41. 6 points
    Playing Sherlock in the lead-up to a new Williams score is one of the most fun things about this message board!
  42. 6 points
    Well Mr. Smarty Pants, I don't think anyone's arguing it was a 'faked' recording session, just that we can't determine if this was taken at a TROS recording session or during something else. Clearly the photograph itself was staged (note the laughing musician in the background and the dimmed lighting) but it could have been taken during last month's ASM recording sessions. In case you didn't know, her album includes an arrangement of Leia's Theme, hence the sheet music that appears to say -- you guessed it -- Leia's Theme. The photo of Leia is undoubtedly an unreleased photo from TROS but could a) be Photoshopped in or, b) projected just for the sake of the staged photograph. Note the lack of Lucasfilm watermark, markings, cue title or timestamps on the vision -- highly irregular for a score recording.
  43. 6 points


    Who, Djawadi?
  44. 6 points

    War Horse MUSIC Discussion Thread

    Couldn't resist playing that exquisite piano solo from the last cue on the horn
  45. 6 points


  46. 6 points
    Hooten was introducing the orchestra to those of us who were in attendance. The couples on either side of Williams were the largest donors to the project, while the three of us in the back, and a fourth gent not pictured, were the Kickstarter donors who contributed at a level that allowed us to attend the sessions. The dark-haired gent to my left, with his head down, is composer Daniel James Chan, who recently won an ASCAP award.
  47. 6 points
    This article is old, JW has written 32 minutes of music by now.
  48. 6 points
    I’m sure some of you have seen this. Really cool stuff.
  49. 6 points
    I see many of you joined the JWFan arithmetic club. Good, very good. Have you ever heard the tragedy of The Force Awakens "The Complete Recordings"? This is not a story The Mouse would tell you. You see: TFA required 11 double sessions, with each session being 3 hours long. John Williams is so wise and powerful that he can record ~15 minutes every 3 hours he is working with an orchestra. Ironic. Others mix the audio improperly when he is in his sleep. Q: Is there a way to learn how much has been recorded for TFA? A: Not from the Mouse. But the math side of the force is a path to many abilities some consider to be unnatural: There are 11*2*15 = 330 [min.] = 5,5 hours of variations on the music for TFA that are stored somewhere.
  50. 6 points
    That was a really nice interview.
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