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Apologies if this has already been mentioned, but I just stumbled upon this revised version of "The Face of Pan" from Hook and I was wondering if anyone had heard of this new version. According to the description, the performance is from 2013 conducted by Williams himself. I'm personally still trying to wrap my brain around the new orchestration, given that I'm so accustomed to the Boston Pops records version, but I'm giving it several more listens to try and better appreciate it. Interested to hear others' opinions.

Back in stock! http://www.lalalandrecords.com/Site/HomeAlone25.html I should probably get this soon. I got the OST for Christmas last year, but I have never listened to more than a few tracks, outside of the film which I have seen several times. I love the score however, and it seems that at some point I'll want to listen to the complete version of every Williams score so I may as well not waste time listening to the OST -- I should just start right in on the complete.

"Let's leave these unreleased," Williams said with a mischievous grin. "I love doing that."

Hayao Miyazaki Working on Proposed New Anime Feature Film

You seem to be confused. The Sony Trinitron is in my bedroom. The 5-disc Blade Runner Blu-ray is the garbage container.

How could this have slipped under our radar when it happened??

Maybe they're delaying it until Williams has time to score it?

It's a brilliant cue!

I really really hope there's a version of "The Hunt" from Lost World. Seems doubtful if this project is going to be of manageable length (just the main Lost World theme seems more likely) but it's such an underrated track.

Well I think I'll just go and listen to War Horse now.

Ah, this beautiful performance!

I've seen the YMF Orchestra perform live once. They are based out of LA and comprised mainly of high school and college music students. The time I saw them, John Williams led them in three pieces, including the world concert premieres of Dartmoor 1912 from War Horse and The Duel from The Adventures of Tintin, so I am inclined to believe that this performance was actually him conducting.

80's nirvana!

I've only ever watched a couple of the Mr. Plinkett Star Wars reviews which I enjoyed (and of which he didn't once mention the music), but when I read that they ripped on JNH, I had to check it out. Firstly, those two guys really aren't as educated about films as they are trying to appear. They confess to not paying attention to the music in films, which is the first warning sign for dedicated film reviewers. Then they openly insult JNH's effective score to Nightcrawler, which added such weight to the feeling of uneasiness and uncomfortability of Gyllenhaal's character. And some of the rock style anthems he wrote for the film made you get inside the head of Gyllenhaal and understand that he feels powerful with his insane and controlling actions. Great score. Secondly, one of them didn't even know who JNH was, and yet he reviews films for a living... And the guy who knew who he was (may have done it for comedic effect) yet I surely didn't see the comedy, when he named rom-coms and lovely cheesy comedies that JNH has done, as an example of his work and to seemingly attempt to lessen his achievements. That was just childish mockery and not comedy. JNH fanboy rant over.

It reminded me a little of War Horse too, and also a little bit of the concert arrangement of Irina's Theme from KOTCS. I like the extended flute cadenza at the end but I miss the extended brass interlude from the Boston Pops recording.

I like it. it creates more space between itself and the Delerue source piece.

The temp tracks in New Hope are very well documented. There was a great Star Wars Oxygen podcast on all the different classical pieces used to temp the first film, and hearing how JW reconstituted pieces into his own score is pretty fascinating. We haven't heard much else for the prequels though, apart from Adagio for Strings during the immolation scene. I'd expect the Order 66 sequence had a classical music temp in it, but it's anyone's guess what that was.

Ah, so you think the music would have ended at 2:36? Makes sense. But it does fit really well with what comes immediately after -- particularly the sync at 2:55. Possibly just coincidence though, or maybe GL did let it go on longer. I can see how a director could fall in love with their temp track! This one works so well -- and I think it's pretty clear that Lucas edited to the music, at least partially. Amazing. Do we know any more pieces that were used as temp track in any of the SW films? @Fennel Ka? @crumbs?

I didn't edit it at all, I let it play most of the way through. I'm assuming the music would have ended when it ends in the film, but I let it play through a little longer, since it matched up quite well.

Ohhh, a good musician! And well trained and educated! How impressive, I bet no one else here fits that description! So it's not an act, you're just a dang fool. You'd have to be to view my, or anyone else's who you are constantly up in arms over, posts as "bashing." Get a grip man. We're all here because of Williams. Everyone recognizes his mastery, whatever changing of trends might happen. Perhaps some of us don't meet your requirements of slobbering Williams worshipper, but I'm ok with that.

Isn't that where the lizard people are supposed to live?

Not bad.

They also belittled his work as a composer in general. And on top of that, they suggested that Trent Reznor () should have scored the film. On another occasion, Mike called John Barry's Black Hole "one of the worst scores of all time". They're pretty on-point with the films themselves but their judgement on film scores is pretty janky IMO.

He used to crap out Pops albums every couple of months!

One word reply of the day. Outstanding.

You guys need to let the negativity wash away like the river over a stone. Feel the pain of anger disappear and be replaced by the joy of happiness.

The cinematography is one part of why that feels hollow to me. Another factor would be the muted performances/expressions from the trio, where I think Yates and the actors were trying to convey some kind of world-weary peace or acceptance but it just feels mildly depressing with their poker faces and their pasty complexions made even paler by the desaturation. For that music to really work, I think they needed to be positively glowing in that moment. With the scene as it is, frankly I think Desplat should have written something else, or at least re-orchestrated "Leaving Hogwarts." Of course that's the other thing is all three references from the first two scores really have nothing to do with Desplat's work at all, except for rare moments like "Dragon Flight" which still feels somewhat muted in context because of the color grading and the static medium-wide framing of the dragon in profile which isn't a dynamic visual to me. Also Lily's Theme is a minor-key melody that tapers off without a strong resolution, appropriate for the dark uncertainty of the finale but I think it comes back to bite him with Voldemort's death where in that solo voice setting it creates this sad existential emptiness watching him go, which was just a bizarre way to end the series...but I digress! Point is I don't feel the score sets up much context for the full orchestra whirling and swirling around a melody like Hedwig's Theme, so I find it pandering instead of delightful. Also for the Room of Requirement/Great Hall scenes, I'm not sure how well the theme's mysterious, fanciful majesty works against a bunch of kids cheering and clapping, anyway. The spotting hurts the effect to me as well, because in both that earlier Room of Requirement reunion and the Great Hall confrontation with Snape, everything around "Hedwig's Theme" is so sparse that in both of those instances "Hedwig's Theme" comes in unexpectedly and then immediately evaporates. Everything around and in between those two references is either unscored, very subtly blending underscore, or at most just a few brief seconds of a prominent melody or orchestration that "participates" in the action. To me the Williams-orchestrated "Hedwig's Theme" and "Leaving Hogwarts" feel exponentially bigger, more optimistic, and more of an overt musical narrative than the film and score are trying to be otherwise. Btw, my attempts at rescoring those scenes

Ah, okay. I love how the music fits with the scene of the ship taking off! @Manikin Skywalker, did you make any edits to the music or did you let it play straight through? Btw I like your avatar! The other video (Fennel Ka's?) seems to just try to match the general feel of how the temp music would have worked but not the specific timings.

I listen to this frequently still, it always puts me in a good, productive mood.

Don't forget that 2017 marks the 20th anniversary of The Lost World: Jurassic Park, as well as the 20th anniversary of Amistad.

The Thief of Bagdad (Tadlow) by Miklos Rozsa. A very different, less weighty type of Rozsa score. Lots of singing and feels more swashbuckling in general. All Tadlow fans I don't need to convince, it's as excellent as their other stuff. Karol

Zimmer is a far more talented and distinctive composer. One who has produced some stunning scores, and has influenced film music as a genre. Gia doesn't even come close. And I'm not even a Zimmer fan!

maybe they recorded a few pieces, then said....meh, lets scrap the whole thing

Last year was a Star Wars year, remember that specialized labels offered us a great year full of wonderful expanded sets: A.I., Jaws, Jaws 2, Home Alone 25th, Tom Sawyer, Lost in Space 50th Anniversary Soundtrack Collection. 2016 was very ordinary. So be prepared for 2017!

Except I'm excited to see what the collaboration brings? Never seen a Rian Johnson movie I didn't like. Definitely couldn't have said the same for Abrams last year, what with TFA being his follow-up to the terrible Into Darkness. All I know of Johnson tells me he's a thoughtful, intelligent person. Certainly giving him the benefit of the doubt at the very least.

Oh shit, I just realized we're only like a year away from another new John Williams Star Wars soundtrack. Glimmer of hope on the horizon!

Maybe that trumpeter kid can show up at JW's house again, and ask him (and a whole heap of other questions while he's at it)?

They should record the Rambo II End Credits, while they are at it!

He should think spherically! Spherical music is awesome!

Stop it! The memories!

There's only so much an actor can do with dialogue like "I don't like sand"

Little known fact: John's lightsaber is actually disguised as his conducting baton. It comes in especially handy when some lowly trumpeter plays a D flat instead of a D sharp.

Thanks for everyone's support over the years, especially you few who have felt like commenting lately. Looks like I missed the boat on all the outstanding praise from a few years ago. So it is with a quiet whisper I conclude STAR WARS: Symphony for a Saga. This has taken quite a few hours over the last year to complete, and life is extremely busy. I hope to work on "The Force Awakens" in the future, but I don't have any plans for even starting it. Life is a lot different than over a decade ago, and the time I can devote to hobbies like that has changed. Even in the last month, time has become increasingly difficult to come by. I haven't listened to the TFA score nearly enough to begin to tackle an edit of this magnitude. Perhaps I will one day find myself loading WAV files from the OST and FYC onto my editor...and we'll finally get a Kylo Ren concert theme... For now, I am so happy to give everyone a listen to the "Return of the Jedi Suite."

1) Because he's hilarious. 2) Because his analysis is actually quite brilliant. In this review, for instance, the way he uses the ending of A New Hope as a prophetic device that foreshadows Lucas's own fall from his early ideals is like a final, unerring condemnation of everything the prequels represent. I could do without the extra "Nadine" story garbage (thankfully there's a lot less in this one than the last), but the rest of it is gold. His perspective on character and story alone could be used to teach seminars on the most effective way to write and direct movies. - Uni

I think they're funny.

Dialogue scenes might have been shot that way as an homage to The Bold and the Beautiful. They are pretty much identical. Both in approach and in content. Lucas is clever, you know. Karol

For me, his voice is a big part of the 'effect'. I'm amused by it.