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Showing content with the highest reputation since 05/26/19 in all areas

  1. 16 points
    I think we can now safely assume that the TROS recording sessions have started - because that is very clearly the March of the Resistance theme! 😁 I’m so happy that this is really happening, 9 John Williams Star Wars scores.
  2. 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
  3. 11 points
  4. 10 points
  5. 10 points
  6. 9 points
    Honestly, I think it's one of those cases where it feels so right, but wasn't exactly forthcoming when Williams got the film to work on. Not positive or negative intrinsically, but Rey is presented as the most complex Star Wars protagonist from the jump. Luke, by design, was very simple, and Anakin, though more complex, already had an endpoint to work towards, and in the beginning was just a little innocent kiddo, not a lot of layers there. Rey has all of these mysteries attached to her, from her abilities to her past and so on, while also being a spunky heroine, and a lot of the time being in a place of vulnerability, whether internal or at the hands of another character such as Kylo Ren. There are also multiple moments where she flirts with a darker, angrier part of her personality. If you ask me, that sounds like a hell of a tall order to convey in a theme. Where do you even start? Do you ignore or downplay one element and focus on another? (Like how Williams chose to totally eschew Leia's sass when he wrote her theme?) Well, Williams gave us everything: the mystery, the exploring and adventure, the delicate vulnerability, the heroism, and even in some moments, the darkness and the ominous. You could easily argue that these all could be a microcosm for the film itself. All in what at the end of the day is a rather simple melody. If you ask me, the best way to respond to that is: damn. I think that last paragraph is one of the main reasons so many people have really embraced her theme as an instant classic in Williams' oeuvre.
  7. 9 points
    Just picked this up at the mail box, sounds fantastic so far! Ten minutes of unheard music per MM's notes.
  8. 9 points
  9. 9 points

    How strong are you?

  10. 8 points
  11. 8 points
    I hope it will be as amazing as those 2 previous have been.
  12. 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?
  13. 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!
  14. 8 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!
  15. 8 points
    And yet another set... The Signature Collection:
  16. 7 points
    Any fluff news piece will always bring up Williams' uncanny ability to craft fitting musical signatures for a character or film as a whole. Usually they'll go on to play Hedwig's Theme, Star Wars, Superman, you know how these news stories go. Usually these examples are of course great demonstrations of Williams' skill, but as well-crafted as, say, Superman is, it's not a large stretch to say that's the appropriate approach: a super optimistic hero in a fun lighthearted film needs heroic music. It's an instinct a lot of composers can, and have, explored before and after Williams' take. But what are the times where it's not as obvious, but it just _works_? For myself, I'll offer the theme for Nixon. As a character theme, I marvel at this more than any other Williams theme in his catalogue. How the _fuck_, do you take _Richard_, _Nixon_, of all people, and represent him with a melody? Seriously, how do you sit down as a composer and even say that to yourself in the morning? Well, Williams did it. It's broad, it's noble, it's good ol' Americana on the prairie, it's ominous, dangerous, all at the same time. It's _conflicted_. And as such, it goes straight to the heart of Richard Nixon, certainly how he's portrayed in the film. Wow. So what are instances for you where Williams was able to capture a character or idea, when the approach or solution didn't seem like foregone or obvious? And to potentially spice things up: are are there any instances where you feel he could have tackled a character or idea differently? For example, watching Raiders of the Lost Ark, it's obvious Williams wrote the Raiders March to encapsulate the experience the film was supposed to give you, not to encapsulate Indy himself, as the character is rather gritty and down to earth. Would you have wanted him to try matching that, writing something darker, more understated, almost noirish? I know the answer here for most is no--it's certainly mine--but I'm just offering a concrete example to give ideas. Looking forward to reading y'all's responses, I have a feeling I'll gain some new appreciation for some of his work after this.
  17. 7 points

    When Williams Nails It With A Melody

    “Parade of the Ewoks” is a pretty idiosyncratic reaction to the Ewoks when you think about it. I always think of Home Alone, the main title and “Star of Bethlehem” in particular. The score has this haunted quality that brings out hidden dimensions in the movie. Makes sense with Kevin’s situation as lonely and threatening as it is, and there is some token religious imagery, but the movie doesn’t exactly scream out for the sort of menacing and spiritual treatment Williams gives it along with the expected sentiment and slapstick.
  18. 7 points
    Dieter Stark

    Seal sings the Star Wars theme

    I thought you meant Kiss From a Rose Seal.
  19. 7 points
    He said he would have been happy to come back at any time and I believe him. Yates said there was a scheduling conflict preventing him from doing the last one and I believe that too, but also he clearly wasn’t going out of his way to wrangle in Williams. And he wasn’t obligated to prioritize that either but it didn’t make it less disappointing. In the end Williams dropped the mic with one of his best scores ever and he dominates the franchise. The new Star Wars plus BFG have enough great new stuff with rehashing of old ground to make me feel like I’ve pretty much got whatever I missed out on and the HP box set provided all the closure I needed. I grin evilly every time a SW fan gripes that the new music sounds like Harry Potter and even Episode IX feels like karmic payback I really shouldn’t be getting from all the years of hoping he’d do Deathly Hallows.
  20. 7 points

    John Williams: The Year 1956

    Has this been shared here before? From Billboard, July 15th 1957:
  21. 7 points
    Some reviews I found for Zimmer's new Dark Phoenix score:
  22. 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).
  23. 7 points
    He's writing a cheque for the ghostwriter. Karol
  24. 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/
  25. 6 points
  26. 6 points
    http://filmmusicreporter.com/2019/06/20/spider-man-far-from-home-soundtrack-details/ Can't frickin' wait!
  27. 6 points
    He was writing kickass music at 83, then again at 85, then again at 86, so I'm not concerned. It will be sufficiently kickass. And when you consider the musical palette of IX will sufficiently ramp up the dramatic/emotional tone of the action scoring, it's a very enticing prospect indeed. Williams always saves the most goosebump-inducing cues for the third score in his trilogies.
  28. 6 points
  29. 6 points
  30. 6 points
    Here’s a really awful mock-up I just made: https://www.dropbox.com/s/c17ivqdrlo0uwix/Star Wars.m4a?dl=0 Just guessing on the tempo, but I can’t recall any where in episodes 7 or 8 where this theme has this syncopated bass part, or is played by muted trumpets (and possibly muted horns?). Curious what @Falstaft thinks…
  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
    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.
  36. 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!
  37. 6 points
    Added The Rise of Skywalker to my previous collection above:
  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. 5 points
    All John Williams releases should be enhanced CDs with a link to Jay's spreadsheet for each score! I gave the new release a listen last night, and enjoyed it a lot. It leans heavily on the main theme, but I liked the theme enough that I didn't mind. The piano rendition in "At the Forum" was one of the biggest highlights.
  40. 5 points
    How CAN people claim the POA OST is an accurate representation of the score?! The most unique and brilliant cues are missing: Honeydukes music box, A Winter's Spell, the pub music, brief snow scene, etc, etc. No, let's repeat the useless end credits suite instead. Also, I just don't understand why people keep going on about 'the composer's album intentions'. ET lasts 40 minutes and HP1 over 70 because the studio allowed him that luxury. So what makes anyone think that JW would never ever want a complete album to be released? Williams doesn't use some magic formula to completely transform a score for the OST and give us a transcedental 'listening experience'/concept album, he just does what he can with the time they allow him to use!
  41. 5 points
    How can people here call themselves fans of John Williams if they think half the score isn't worth listening to?
  42. 5 points
    In the facebook video, Mutter mentions that Yoda's theme was specifically arranged by Williams. https://www.facebook.com/17971374062/posts/10157868987969063/
  43. 5 points
    I think it was nothing more than a fun little quote because of the similarity in scenario and action at that moment. TLJ is the most self-aware/referential Star Wars score yet, and I think this short musical moment is one example of that.
  44. 5 points
  45. 5 points
    Built my own lightsaber tonight. I do not regret the $200 expenditure...quite an experience and quite an end product. I wanted to share, though, because the entire experience has orchestral underscore. The Galaxy's Edge thematic material is prominently featured, but there are also statements of the Force theme, Kylo Ren's theme, and other material adapted from the films. The beginning and end have synched performance and lighting elements; the middle section seems to be a loop during the actual building process. It's effective, but I would bet my lightsaber that Williams didn't pen any of these arrangements. Probably Bill Ross's work...unlike, say, COS, the parts that aren't taken directly from existing arrangements don't quite have that Williams sound. (Still very competently put together, though.) I'm sure there are YouTube videos out there; I haven't looked. I just thought I'd share my firsthand observations. (And if any of you big Star Wars fans have the opportunity, I'd recommend trying to save up for this. Egad, the thing is made of real metal...)
  46. 5 points
    There's no such thing. I guess that comment generated from the talk with Rodney Newton last October in London during Mike's symposium at NBC Universal. Rodney talked about Williams writing and recording "traveling music" for Monsignor that wasnt used in the film. I think he likely was referring to the "Meeting in Sicily" piece, which is a concert arrangement of the "traveling" theme heard during the score. It's stated in the press release: It's just two brief cues, but we're talking about a quite short score (at least from the perspective of Williams' standards in those years) It's 12 years ago (eek!) and it was out-of-print since quite a few years. While all the hard-core Williams' fans probably already have the previous release, I think it's nice to have it back in circulation for people who didn't, but first and foremost I'm particularly glad Mike was able to work with better-resolution tapes this time. It's an archival process of restoration and preservation which is very important to keep going on.
  47. 5 points
    1:09 - 1:23
  48. 5 points
    "The Homecoming" is a masterpiece, I have no qualms about that. Essential John Williams AFAIC. The score as a whole, I dunno...as others have said maybe not by every imaginable standard? But I think it's magical and it was exactly what I wanted in 2011 after three years of waiting for a new Williams release. Along with Tintin it was an ideal fix and the first scores I anticipated on this forum so I always think about it like that. I think it's proved definitive of this decade in JW, its resolute yearning and leaner action style felt refreshing at the time and still lingers. It also has my favorite John Williams melody ("Remembering Emilie") and action cue ("No Man's Land") of the 2010s and there have been some good ones. 7.5 years later it remains a notable score in my mind, so I vote yes.
  49. 5 points
    I'm still reading CC's review, but honestly don't understand what people are complaining about. This is a perfect score that needed this kind of treatment, end of story. The only thing that's too much about this set is the rather boring POA bonus section that also fails to include some material we know was recorded and the last cue of CD2, but HP1 is perfect, just perfect. Embrace this masterpiece.
  50. 5 points

    Temple of Doom is 35 years old

    Double accomplishment then. TOD may lack a certain 'gravitas' which the Nazi entries have, but makes up for it with a lightness that probably no other director could have achieved while simultaneously making an epic adventure (i always found the claims of the movie being dark, cruel and racist to be complete nonsense).
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