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Great news -- Williams could finish RPO, take a few months off, then spend the rest of 2018 writing Star Wars IX (assuming he wants to do it...) I doubt anyone here could've expected Williams would write 3 new Star Wars scores in the space of 4 years in his mid-80s.

7. Corporate Helicopters */The Hunt * 4M2 Corporate Choppers 4M3/5M1 The Round Up So now we get to... The Hunt. Or The Round Up as it was originally called. It took a lot of experimenting and I think I still haven't gotten quite as close to what it was originally like as I'd want to. This time, rather than posting just one video, I'll try to take you through the process and show some different results. The final video featuring both The Round Up and the overlapping preceding cue is at the very bottom of this post. But we start off with Corporate Choppers. In the film, the music doesn’t start until we actually see the choppers, but by then we’re already a few seconds into the cue. As you can see, the score now starts right when Kelly first notices the distant sounds of the choppers. The arrival of this other team also signals a significant change in the score's sound: as the already dubious tranquility of the island is about to be brutally disturbed, the percussion becomes the driving factor in the music. This percussive drive will become the signature sound of The Lost World. The first part of Corporate Choppers is heavily edited in the film, with large chunks lifted out. It’s likely we originally saw more of Ludlow’s crew landing and unloading and the team's reactions to their arrival. Now, we simply cut from approaching helicopters to the all-terrain vehicles racing across the island. The Island’s voice is featured prominently throughout the cue as the motif is repeated and swells over the arrival of the antagonists. There is some looped music in the conversation between Ludlow and Roland, as the scene is longer than what we hear on album. I’ve synced the end of the track to the film, so when we first cut to Roland and Ludlow, the music isn’t quite the same as what we hear in the picture. When Corporate Choppers ends, The Round Up is supposed to begin right away. This track is really hard to sync up. The Round Up is particularly difficult to edit back into the picture, as the cue is entirely unused, likely written for an alternate edit of the sequence and features very few possible sync points. For my first attempt, I simply started the track The Hunt right where Corprorate Choppers ends and let it play as is: As you can see, it doesn’t quite sync up. So I started tinkering about and ended up with some alternate versions that might represent the original sequence better. By experiment, I started by removing a few shots that I felt where out of place. I have cut the shot of Ludlow racing the camouflage as he watches the motorcycle race amongst the dinosaurs, as well as the shot of Nick placing his long-range microphone on the edge of the cliff. This seemed to solve some minor syncing issues, but still felt off (if you really want to, you can view this version here). Then, in addition to cutting the aforementioned shots, I rearranged some of the scenes, basically switching the introduction of Burke with the capture of the infant Pachysephalosaurus. Musically, this seemed to make slightly more sense. Of course, all this still doesn't account for other possible edits. For one thing, I have only moved entire shots around, while some of this might have been trimmed or extended after Williams scored the sequence. And this version sort of hinges on me removing the right bits. But what you see here is probably my best guess at this point: And finally, here is the entire thing, with Corporate Choppers leading into The Hunt set to the re-edited sequence:

http://www.slashfilm.com/jeff-goldblum-jurassic-world-2/

Delighted to find this at Record Surplus in Los Angeles last night. "1941" is not on Spotify. Sounds and looks fantastic!

The way he shot "This Must Be the Place" in Stop Making Sense is so magical. One of the strongest musical moments in film history IMO. In my younger days, there were many occasions where I "partook" and watched that movie. Beautiful memories.

Absolutely loved Demme Something Wild is probably my favorite, brilliantly rides that line between absurdist comedy and action thriller. Jeff Daniels, Melanie Griffith, and Ray Liotta are all amazing in that, I think that was Liotta's first movie? Agree that Rachel Getting Married is a great one too, hysterically funny and heartbreaking. Everyone always talks about Anne Hathaway but I remember Bill Irwin also making a huge impression on me. Definitely on the Silence of the Lambs hype train any day. Some of the greatest uses of closeups ever?? His docs are great too, watched Neil Young: Journeys recently, wonderfully bittersweet. And Stop Making Sense, the greatest goddamn concert film ever made. My favorite. Great shot at 4:55!

David Byrne's tribute to Demme. My friend, the director Jonathan Demme, passed last night. I met Jonathan in the ‘80s when Talking Heads were touring a show that he would eventually film and turn into Stop Making Sense. While touring, I thought the show had turned out well and might hold up as a movie, and a mutual friend introduced us. I loved his films Melvin and Howard and Citizens Band (AKA Handle With Care). From those movies alone, one could sense his love of ordinary people. That love surfaces and is manifest over and over throughout his career. Jonathan was also a huge music fan—that’s obvious in his films too—many of which are jam-packed with songs by the often obscure artists he loved. He’d find ways to slip a reggae artist’s song or a Haitian recording into a narrative film in ways that were often joyous and unexpected. We very much saw eye to eye when we met and the late Gary Kurfirst, who managed Talking Heads, found us the money to shoot Stop Making Sense. We booked four nights at the Pantages Theatre in LA at the tail end of a tour for filming. Jonathan joined us on the road and became familiar with the band and the show. Jonathan was going through a bit of a nightmare during filming—a studio and a star wanted him to reshoot parts of a big budget film he’d just finished called Swingshift. He was dealing with that in the day and shooting our low budget movie at night. Guess which one will be remembered? That said, Swingshift was filled with empathy for the women workers in U.S. factories during WWII—it was character driven, as much of his other work is. Stop Making Sense was character driven too. Jonathan’s skill was to see the show almost as a theatrical ensemble piece, in which the characters and their quirks would be introduced to the audience, and you’d get to know the band as people, each with their distinct personalities. They became your friends, in a sense. I was too focused on the music, the staging and the lighting to see how important his focus on character was—it made the movies something different and special. Jonathan was also incredibly generous during the editing and mixing. He and producer Gary Goetzman made us in the band feel included; they wanted to hear what we had to say. That inclusion was hugely inspirational for me. Though I had directed music videos before, this mentoring of Jonathan’s emboldened me to try making a feature film. Jonathan helped me as I was developing True Stories, I wrote a song for his film Something Wild, a score for Married to the Mob and we made a test sequence for a never completed documentary featuring Robert Farris Thompson called Rule of the Cool. Jonathan went on to make a lot more features—some hugely successful, others not so much. He interspersed these with a number of documentaries and music films. The documentaries are pure labors of love. They tend to be celebrations of unsung heroes—an agronomist in Haiti, an activist (cousin) and pastor and an ordinary woman who does extraordinary things in New Orleans post-Katrina. The fiction films, the music films and the docs are all filled with so much passion and love. He often turned what would be a genre film into a very personal expression. His view of the world was open, warm, animated and energetic. He was directing T.V. episodes even this year, when he was in remission. Jonathan, we’ll miss you. David Byrne April 26th http://www.stereogum.com/1937607/david-byrne-eulogizes-stop-making-sense-director-jonathan-demme/news/?utm_source=facebook&utm_medium=social&utm_campaign=timeline

This is an interview mostly about the upcoming Spider-Man: Homecoming score but Giacchino mentions at the very end that they're planning live-to-projection concerts of the Rogue One score:

They should just reboot the series with Chris Pratt as Indy.

He could hand down the reigns to Short Round at the end. Earlier in the movie we learned that Mutt was brutally murdered years previously.

Doug Adams recently shared on Twitter this JVC ad with Williams which I had previously been unaware of:

Okay, so this question probably doesn't really belong in this topic, but I think it sort of does and as we were unclear on the point of the discussion in the beginning, I'm just going on a limb here. Yesterday I accidentally discovered Erich Kunzel's re-recordings of a few JW pieces (concert arrangements and film cues) and really, really liked them, reminded me a bit of Herbert von Karajan's style. Other than that, my only experience with re-recordings comes from the City of Prague Orchestra, and, well, it's not really re-recording what they do, more like trying and failing to play JW. Their string section is great, but other than that, I don't like them at all. But now I'm wondering, can anyone tell me whether there are other conductors/ensembles worth checking out that have consistently produced JW re-recordings? So preferably not random Spotify tracks, but actual albums. I know John Debny nailed Superman, but would like more. I'm also much more interested in JW's output after Jaws (Harry Potter, Star Wars prequels, Hook, Home Alone, Schindler's List, Indy, etc.) And finally, for me a re-recording doesn't count if it's blatantly obvios that an untalented someone first arranged/messed with the music.

It's great.

Well he rushed his Pentagon Papers film into production as a clear reaction to Trump's disrespect for journalists.

The best way to honor him would be to alter the films even more.

I rather listen to...

Lack of rhythmic inventiveness is one of the chief reasons i hardly bother with current film music.

Quite the contrary, over the last decade or so it's been embraced as the misunderstood masterpiece that it is. Most of the 'cineastes' I hang with -- even the Spielberg critics -- seem to like it now. And it's been the object of many an analysis in both academia and elsewhere. That's my experience, anyway.

I'll bring the spinach, you bring the crushing existential horror!

This is sad. R.I.P., Mr Demne. Stu, STOP MAKING SENSE is the finest concert film ever made!

Attractive, older woman are probably sexually threatening to Drax.

I love it when Williams doesn't sound like typically Williams. The Mecha World is a good example. I wish he musically explores more often than he does.

They keep banging on about a black James Bond, or a female Doctor Who, so how about dumping Ford and getting progressive with Indiana Jones?

Boring conversation anyway.

12 Angry Men has a very impressive and effective visual style actually.

I could never get into The Abyss. It's this bloated production with impressive underwater setpieces, but the pacing of the film loses my attention and the characters aren't all that engaging. Then finally Silvestri wakes me up about 15 minutes before it's over.

Han Solo pretended to be Indiana Jones and that turned out quite well.

Tomorrow Never Dies (expanded)

... Yes! Highly deliberate and very intentional.

They should just leave it alone. But, like Sybok, we know them better than that.

I attended the 2015 extended premiere at the Hollywood Egyptian Theater with lots of the originals in attendance and bumped into Tim Mattheson and Nancy Allen (who looked great by the way), writers Bob Zemeckis and Bob Gale and a few others - it was a wonderful experience and the film was so much fun to see in a crowded modern theater. I took some photos and can dig them up.

Video is back up for some reason I think the End Credits is the main theme reprise on piano only

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Another 'only' tune and i still try to figure out the time signatures in this one. Apparently this scene was temped with Herrmann's 'The Trouble with Harry' and Goldsmith responds with a madcap feelgood tune - it belongs to a Frank Capra movie crossbreeded with a Looney Tunes cartoon - that rounds off an unkempt but riotous score.

The art-work on that LP is something else.

Since there's no mention of TESB, or ROTLA (and who would want to mention DRACULA or 1941?), I think azahid is right.

"For Better or For Worse, The Zimmerization of Film Music"

There are several examples of collaborative works in classical music too, although it was by no means the norm (a good example is works completed by others after the original composer's death).

You really don't like older people, do you, Quintus?

I have a feeling that Williams' Indy V will be an improvement over the last, a major improvement even (especially if this is the sentimental send-off that I'm expecting/hoping for).

If he would have done just that, he might have survived the theater.

Here is James Newton Howard's take on the same musical idea:

There's gonna be a lot of unintentionally offended cinema staff at the box office booth, that's for sure. "You want tickets to what?!"

Genetically splice them into Dame Helen Dench, or Judy Mirren... Spared no expense!

er.. not that i remember of. This franchise does not have lousy CGI. Maybe some shots or scenes. But overall, it is not bad at all.