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So is The Force Awakens now going to be listed in "Soundtracks conducted by others" on his wikipedia discography?

HELP! Can somebody tell me if the 5 pages of posts after the William Ross revelation have anything worth reading?

There should be a thread entitled 'So, did Williams, you know...do it?' speculating his credits on the CoS score and another thread entitled 'What the @#$! is an orchestrator anyway?'

Batman Returns is seriously one of the dumbest movies I've ever seen.

Personally I think he just conducted Since the "40 minutes" doesn't hold up anyway you look at it , by logic the whole press release is false Or you can think Williams Ross can perfectly imitate JW with new cues including the music that sounds like some cues in AotC.In that case he'd be a genius and could technically replace JW on Episode 7 since he could write Star Wars music

There are many that claim JW wrote everything. Despite the fact that the official report states Williams wrote about 40 minutes of music. I find it amazing that 15 years later you still 100% trust an early "official" press release as the absolute truth regarding the final score, despite all the evidence to the contrary . Even if you don't count the re-recorded stuff, there's alot more than 40 minutes of totally new music that could only have been written by JW (like the quidditch music, the Lucius Malfoy scenes)

Here's the Castagnet mass from the previous post, in actual recorded quality. I was floored by this piece. It's the best new music I've heard quite a while, and it's a few years old now! Absolutely stunning.

I can already see the spare arm sitting in the toy package.

What if I die before then? Shit, that would suck.

Terrence Malick. I've heard he wants to do a porno. Imagine the inner-dialogue possible in that genre!

He's better than Richard Linklater.

As much as Spielberg is surely an auteur, I think he still looks at people like Michael Curtiz and William Wyler (and also John Ford) as his true role models, i.e. not auteurs in a "Cahièrs du Cinema" sense, but pure Hollywood directors who made mainly popular films in a wide variety of genres during their long careers. He feels comfortable working within these boundaries of Hollywood filmmaking style, but at the same time he seems able to put his own personal stamp on the movies he does. It's probably a very old-fashioned and nostalgic approach in this day and age, but that's who he is, imho.

Schindler's List One of my absolute favorite scores, John Williams or otherwise. Though the heavy dramatic weight and relatively poor sound quality prevent me from regularly revisiting it.

It's just frustrating that these low order commoners enjoy bland and banal scores like ET more than the rich, innovative, complex and melodic scores of Hands Simmer.

It looks and feels like a Batman movie. The Nolan flicks look generic and bland.

I actually prefer the Elfman's Spider-Man scores to his Batman scores, which were pretty dull apart from the main title music. I completely disagree with you about the villains! Doctor Ock is one of my favorite movie villains and Green Goblin isn't too bad either. I see why people hate Kirsten Dunst's Mary Jane but I'm fine with her too.

Sigh.

That much is certain.

It is a terrible film.

Have you ever really written home to tell your folks about any movie you saw?

The manuscript score, (as orchestrated by Pope and Karam), as well as Williams' sketches. There's not a single cue that credits Ross as composer, but there are plenty of instances where sections from HP1 are reused verbatim, and my guess is Ross was involved in adapting these to fit new scenes where intended. Hence the "Music Adapted and Conducted by" credit (rather than "Additional Music by"). Still, that's only an assumption. We can't just assume Ross adapted music from the first installment of the series when the manuscript scores don't at all mention his involvement. If the album states Ross adapted music (i.e. Ross either followed Williams's guidelines in synchronizing music from the first installment with the second, or performed the synchronization himself) and if that's a fact, why wouldn't that be mentioned on the manuscript scores in the form of a Music Adapted by credit? In that particular case, there's no reason at all not to mention his contributions. Adapting isn't a job to underestimate. The fact that we have the manuscript sketch of the Prologue, adapted from HP1, clearly penciled by Williams himself makes one frown alone. We know there have been instances where Williams didn't work chronologically, so whether Ross was brought in late in the game or not is irrelevant.

Common sense? It all sounds Williams.

Ross adapted existing music (HP1) to fit certain new scenes. Everything else is Williams (including whatever bits and pieces certain members here have less affection for).

"All music composed by john williams" means that Ross did not really composed new themes of his own. If he wrote some cues, he did so adapting existing williams music (like ken thorne in supes 2, as croc mentioned). Or he was in the podium to help them fit the leght of the images. Basically superman 2 is all composed by john, even if he did not write a sole note on paper for that score propper. in COS he did more, he created new themes and composed some setpieces, and probably chose which cues to be re-recorded to fit some scenes.

Oh we are back to the age old HPCOS debate again. Comfy, cozy JWFan nostalgia.

Your just using bad logic to close the argument, like someone would do in a religious debate . You take it that the press release is the absolute truth and nothing will ever change your mind anyways We've been through this so many times anyways

Somekind of obligation or just JW being nice (not going back on his initial word) It's a contradictory credit anyways, inside the c.d.(under the track list) it says ALL MUSIC COMPOSED by John Williams, not 80% or whatever

They were very controversial images.

LOL. This should have been announced on April 1st.

Steven Spielberg's Cinematic Universe? Karol

Fantastic Breasts, We Found Them

Classic Williams method of transforming and extending an existing musical snippet into something else.

Simba, remember who you are...