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It's on Spotify! John Williams – John Williams & Steven Spielberg: The Ultimate Collection

My physical copy arrived, its a rather cheap looking box with each disc in its own cardboard sleeve. The full painting that made up the original front and back of the 1991 CD isn't even included anywhere! (its shown during the documentary though, funnily enough). Here's some pics so you can see. It barely feels like a "box set", its only as thick as 2 jewel cases, and isn't even as wide

Well I picked 'Yes, in Episode VIII: The Last Jedi' because the 2nd chapter in the trilogy is where characters are usually more exposed, challenged. If we look at the score for the Force Awakens it felt like A New Hope (jokes about the similar plot aside), I can see The Last Jedi score following the Empire model, hearing the similar themes again but in a much different context. If you compare the statements of the Force Theme in A New Hope to Empire (Binary Sunset vs Rescue from Cloud City), you'll hear what I mean. I hope the First Order get a fully formed Theme in the next one like Williams did with The Empire in Empire Strikes Back. I'm hoping the film is more of a challenge to score for Williams and it pushes him a little outside of the normal Star Wars model. I don't mean drastically, along the lines of Rey's Theme, it felt fresh to Star Wars, especially the Celeste/Mallet opening.

https://www.facebook.com/1661641564047419/photos/a.1667241380154104.1073741828.1661641564047419/1895067164038190/?type=3&theater

22 minutes? That's very short.

Just watched the DVD, and its pretty good! Now, story/anecdote wise, its basically all fluff (though it is always nice to see Williams and Spiely chumming together). BUT visually, we're treated to footage of the orchestra playing every piece on the CD, which is really cool. They devote a lot of time to Dry Your Tears, Africa, I think Williams really likes that one. It seems they recorded the entire album over 2 days and Spielberg was there for it all

Please stop that.

I think it is the best concert version of a film piece of the last 20 years. It takes the time to tell the story of the movie, all the while gently developing the main theme. TFA end credits would be my second choice, but it less unified than the BFG piece.

I just started listening to disc 1. Thought this would be a nice excuse to listen to the whole thing again. I must say that I largely prefer all these recordings to their original ones. Especially when it comes to ET and Hook, these performances are so much more vibrant and lively! Wish he'd record his HP suites with the Boston Pops.

Hey, the OST version of "Scherzo for X-Wings" is awesome.

I would have rather had Ivanka's theme in its stead.

I don't understand Williams' fascination with The Adventures of Mutt. It does absolutely nothing for me; an instant skip on my iPod along with most of KOTCS (uninspired and disinterested sums it up, in line with Spielberg's direction). The lethargic tempo does it no favours either (reminiscent of the OST Scherzo for X-Wings, inferior to the faster tempo concert version).

^^first thing I think of too.

Very true. But if the film isnt that good the third one will underperform. Like how Star Trek Beyond didn't do well because people disliked Into Darkness.

The revised Hymn to the Fallen might well be the most bizarre Williams reinterpretation since the Concord version of Desert Chase.

Guardians 2 will make even more money than Guardians 1 did, its a 100% guaranteed lock.

I think it just wasn't midnight EST yet when you checked. Its all on Spotify here now https://open.spotify.com/album/6N5S77eH6cj4782cOs85s2 The physical box set will be in my mailbox around 2PM EST or so today.

Agreed and I think even Spielberg realized that he had made a mistake in not using the main theme more hence all the tracking in the film as it is a killer piece of music. But on the whole I think the whole unique jungle atmosphere makes up for it. If the main theme had been used more this score's rating would hit the stratosphere from the sky high it currently is in my book. And it is indeed shame that the concert version didn't make it to the new re-recording for what ever reason (recently released box set, lack of space after the duo had chosen their favourites etc.). We can always hope for volume 4 of the Spielberg/Williams collaboration.

I like the analogy to the original trilogy, musically. TFA echoes a lot of ANH. Hopefully TLJ echoes TESB... and not AOTC...

Hopefully he will do, well because it'd be awfully nice if he managed it.

No.

No Don Davis = No The Matrix. Karol

Lair by John Debney and Kevin Kaska First Knight by Jerry Goldsmith Conan the Barbarian by Basil Poledouris. Karol

More diverse, perhaps, but certainly not as fulfilling. WILLIAMS ON WILLIAMS is not only my favourite JW compilation; it's one of my favourite film music compilations of all time and easily on my Top 50 list of favourite soundtrack albums (where both individual scores and compilations are put together). I'm extremely passionate about that album.

Why are a lot of people unhappy with the coupling? We get a SECOND SCORE we didn't expect, and we all would have bought the expanded S&I without it... so basically it's free bonus content. And it's to JW material previously unissued on CD so I don't see the problem? It should be manna from heaven, instead people are complaining... jeez, just be thankful don't you know.

I don't care for Desplat, to be bluntly honest. His music is too boring and depressing in my opinion. I was disappointed when I first heard he was going to score Rogue One. I'm glad he didn't. I can't remember a single piece of music of his from Harry Potter, and I've seen the last two movies dozens of times. There's no substance, just a bunch of soft staccato string riffs.

Although the fllight to the Carrock piece does seem to emulate the Forth Eorlings/Théoden Rides Forth in its musical contour quite closely I love the Nature's Reclamation theme too much to deny that my heart has greatly desired it. The thematic set-up done in Out of the Frying-Pan almost begs for the full rendition of the theme for the eagles. And out of all the surrounding thematic revisions it also makes the most sense to me. But then again do love that theme.

We just watched Prisoners, inspired by BB's recent post. Also just feels like time to get more familiar with the Frenchman. Harrowing, well made, generally good. Too long, though. Enemy is next.

Anybody get around to watching the documentary yet? Anything of interest?

Star Trek: First Contact

Incanus' review of The Spielberg/Williams Collaboration Part III is up on the main page: http://www.jwfan.com/?p=9415 Also, for those who want to buy the new album in lossless format, it's available in FLAC (96kHZ/24bit) at the following sites: https://www.highresaudio.com/en/album/view/yzghz6/john-williams-the-spielberg-williams-collaboration-part-iii http://www.qobuz.com/fr-fr/album/the-spielberg-williams-collaboration-part-iii-john-williams/0886446295787

The dramatic parts of the film were scored apty. The rest of the film is not truly dark, there is a lot of humor

I don't mind Rogue One NOT being unbearably dark. Honestly cannot stand excessive darkness these days.

Timezones, Bespin. It's already Friday in many places of the world.

Have you not seen the track list for his score to 'The Light Between Oceans?' Music Composed by Alexandre Desplat 1. Letters 2. Tom 3. Jyn Erso takes flight 4. The Dinghy 5. Isabel 6. In God’s Hands 7. Reused Rogue One [No.128] 8. To Resent 9. Janus 10. A Wonderful Father 11. Suck it Disney 12. Path of Light 13. The Return 14. Hannah Roennfeldt 15. Still Your Husband 16. Yeah This Is From Rogue One Too 17. Sue Me 18. To Be Loved 19. The Light Between Oceans

Why would anyone think he could do it in IX but not VIII?

Wait, The Jedi Steps lose to Yub Nub, Victory Celebration and Augie's Municipal Band for you??

If he does choose to score Episode IX, it will (most likely) be his big goodbye to a franchise he has been a fundamental part of for over 40 years. He did superbly with the end credits to ROTS when faced with a similar situation, and I am very anxious to hear Williams now give his last last word in what would truly be the end of musical era as well as the bookend to a monumental achievement. Absolutely, I think he can top Jedi Steps. While no easy task, I have found that if anybody can top Williams, it's Williams.

Thanks for the heads-ups! An interesting renaming of the two Irish jig themes from the score as I don't think those particular ideas had anything to do with a wedding in the film but rather the boxing matches. Unless you call those "an Irish wedding".

mine too!

Varese announced it!!!! https://www.varesesarabande.com/products/stanley-iris-the-deluxe-edition

The songs in the first Guardians Of The Galaxy are great. The original score. Nondescript. Same for Watchmen, by the same composer. The songs and the Philip Glass music are outstanding and well chosen. The underscore just fills in the gaps.

I'd rather never watch Firefly again.

Well, another one bites the dust here. Finally decided to start watching this show a month ago, naively thinking it would be something I could pick at till maybe the summer. Of course I heard it was addictive, but I've never been a huge binge-watcher, even Twin Peaks took me several months to finally get around to finishing. Needless to say I just finished watching "Rabid Dog" through "Felina" last night. Obviously everybody pretty much covered everything in this thread but yeah, incredible! Biggest surprise for me right off the bat was the near-perfect linearity with minimal time jumps, I was pretty tickled by the novelty of picking up S1E2 directly from the morning after the bedroom scene, and then quickly settled into that being the norm. Also was pretty surprised how quickly everything was set into motion by the end of the Pilot. The intimacy of the show was also a great surprise for me. Between all the "You're goddamn right" and "I am the one who knocks" memes and the "All hail the king" posters and such, I had been under the impression that Heisenberg became this sort of OTT legendary kingpin....I basically took Vince Gilligan's "Mr Chips to Scarface" line literally and assumed everything was just going to keep getting bigger and more "explosive" and I guess in some ways it did, but it also became far more personal (also funny in retrospect that I never considered Walt wouldn't actually do drugs himself....Gus's "Never trust an addict" mantra introduced an interesting dynamic to that kind of corporate drug distribution.) So I was kinda surprised Gus lived as long as he did, because it meant Season 5 didn't progress nearly like how I would have imagined at the beginning. The shift in tone to a much more muted kind of personal drama was unsettling, especially with Walt's relationships with Skyler, Jesse, Mike, and Hank, and "Heisenberg" never became the sort of larger-than-life omnipresent villainous persona that I assumed. When the famous "Say My Name" cold open finally rolled around, I realized just how little the name had actually been mentioned up to that point, and I realized its significance was much more internal, like when Hank whispers it to Walt's face in the garage, angry and haunted. Similarly, I also had heard a bit about the much-discussed "Ozymandias" shootout/confrontation going in, but didn't realize how personal the stakes would be at that point in the story....I had previously assumed that showdown was going to be over some sort of massive deal, but the drugs and the money had long become an afterthought (again, which made removing Gus Fring from the equation for Season 5 so interesting, coupled with Walt leaving the business....Gus's character/status was actually a lot like how I originally presumed Walt/Heisenberg would evolve into, but I then realized he was never going to be that, because how could he? Instead I was gratified to see the focus move away from the business and into the unraveling of these personal relationships.) That was something that occurred to me as well as I was watching "Felina".....knowing how big and popular this show became, Vince Gilligan et al never seemed to lose the big picture. Of course I'm sure there are things that happened in the last couple seasons that they technically may not have been able to accomplish with their resources in Season 1, but the scale always felt appropriate even at its most outlandish, and always tempered with its keen, often wonderfully perverse sense of humor and drama (the very matter-of-fact presentation of Gus's death for example.) Part of me wishes I could have been watching along with everyone else because I know how much fun hype and speculation can be, but there was also something very satisfying about being able to run straight through this particular show, taking all the twists and turns as they came without weeks or months in between to overthink the details or predict what would happen. Not to say I was completely spoiler-free.....along with the stuff I'd heard before through memes/discussion (I knew about Hank's death already, unfortunately...or maybe fortunately), I have to confess that sometimes the suspense and heartbreak were too much to bear Never actually watched anything ahead, but sometimes I would go to YouTube and peek at a search results page to see if it had brought up anything ("Walt tells Jesse he killed Jane") or not ("Jesse Pinkman death scene") or Googling things like "Which season Walt tells Skyler he's cooking." Sorry, I'm weak! Anyway, hell of a great yarn. Probably gonna go back and skim through again soon to watch key episodes/moments. And I hope Jesse made it to Alaska.