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Jesus dude, chill out...

The Last Jedi FYC (192kbps) >> The BFG FYC (0kbps)

Treble and bass clefs in cut time, no?

I know. He should be making 5 million a movie.

These are solid observations actually. On paper these basic plot subversions are perfectly sound ideas for something as archetypically rigid as a Star Wars storyline, but in effect the nuts and bolts that are supposed to make these beats slot into place in a way which feels smooth and satisfying are all mangled and uneven. As a result the intended emotional impact of these mechanisms completely fails to connect, there is no resonance for the audience to really care about beyond the on-screen moment itself. It's all surface.

Yeah, that's what Star Wars needs, more callbacks.

This point has been raised several times and makes no sense to me You do understand that in a military context the leadership does not owe an explanation to the subordinates, right? During D Day, the troops were actually NOT told the risk they were going to take because if they understood the risk they might have backed out. Basically, what are you talking about? This was intentional to keep the troops in the dark. Your point makes no sense in real life historical context. If you are referring to fiction only, then it is equally a meaningless point since you are describing a fictional situation.

Buy a load of turtle necks.

Escape V2.1: Volume changes have been fixed up, cleaned up the remaining FYC edits and made some changes to the part with Poe's Theme. To my ears, it sounds like Williams intended for the gorgeous strings build-up (as BB8 fixes the X-Wing) to flow straight into the big statement of Poe's Theme (sadly cut to shreds in the FYC) but I've recreated what I think was his original intention. Edit: Refined the sections around Poe's Theme, which sounded a little clunky. Don't think I can get it much better than this due to the crappy overdubs they've slapped into the film mix (unless someone can find me a clean boom-tsh I could add over the top, which would smooth it out). At least all the tracked music from Battle of Crait is gone.

I felt the same way after listening the first few times, but have changed my mind thanks in part to following along with some of the analytical listeners here. There is much to appreciate in this score. Also, they think you've run off with your secretary, you might want to contact Universal Exports.

https://www.billboard.com/biz/articles/8085427/billboard-200-chart-moves-star-wars-the-last-jedi-soundtrack-the-beatles The Last Jedi OST debuts at #12 on the Billboard 200, #1 in Soundtracks. It sold 44000 units (41000 traditional album sales) in its first week of release. By comparison, The Force Awakens debuted at #5 on the Billboard 200, selling 100000 units. $100000000 net worth and rising!

Really? It's quite simple. Star Wars IV is the first one. That was the Chiefs beat the Vikings. Empire was V. Colts beat the Cowboys. Finally in VI, Jedi, we see the Cowboys over the Dolphins. I don't see how you could make that any less difficult.

- I know what you did last summer. - It wasn't the the last summer. There's another one coming up in June...

If the salary was paid by the note, Williams would be a trillionaire. Zimmer would be earning 12 dollars a film. 😎

Hopefully not, there is a reason for these standards.

Give us the hook!

Hopefully this fit the bill

Don't tell me there's going to be a romance between those two!

Ah, must be Justin.

Bernard Herrmann's OBSESSION is the only I know of. We have a Williams Tribute Celebration concert on on Blu ray video though.

After doing a lot of research and re-ordering my playlist countless times, here's, according to me, the best way to listen to the entire Titanic score. The source music is included in the main score and unused source cues replace tracked ones. I added explanatory notes to cue names where appropriate. If you want to follow this list, I'd suggest you assemble the LLL set, OST track 14, Back to Titanic and CD4 from the 2012 Anniversary edition in one folder and remove the track numbers to easily find the tracks. My goal was to have a complete main program that preserves film versions without the need to edit anything. Feedback very welcome. The score: 01 Logo - Main Title 02 2 « Miles Down 03 To the Keldysh - Rose Revealed 04 Distant Memories 05 My Drawing - Relics & Treasures 06 Valse Septembre 07 Southampton (alternate) 08 Leaving Port (alternate) 09 Margueritte Waltz 10 Wedding Dance 11 Take Her to Sea, Mr. Murdoch (alternate) 12 First Sighting - Rose's Suicide Attempt 13 Jack Saves Rose 14 The Promenade - Butterfly Comb 15 Poet and Peasant 16 Oh, You Beautiful Doll 17 Blue Danube 18 Song Without Words 19 Estudiantina 20 Blarney Pilgrims 21 John Ryan's Polka 22 Kesh Dig 23 Drowsy Maggie Dance 24 Vision of Salone 25 Rose (alternate) 26 Come Josephine in My Flying Machine 27 Piano Theme-The Portrait 28 M‚ditation de Tha‹s 29 Titsy Bitsy Girl 30 Lovejoy Chases Jack and Rose 31 Lovemaking 32 Hard to Starboard (extended version) 33 Alexander's Ragtime Band (from Back to Titanic) 34 The Merry Widow 35 Song of Autumn 36 Sphinx 37 Rose Frees Jack 38 Barcole 39 A Building Panic (film version) 40 Orpheus 41 Unable to Stay, Unwilling to Leave 42 Trapped on "D" Deck 43 Nearer My God to Thee (extended version) 44 Murdoch's Suicide 45 The Sinking 46 Death of Titanic 47 A Promise Kept 48 A Life so Changed 49 A Woman's Heart Is a Deep Ocean of Secrets 50 An Ocean of Memories 51 My Heart Will Go On 52 Post Bonus tracks: 53 Never an Absolution 54 Trailer 55 Logo (alternate extended version) 56 2 « Miles Down (alternate) 57 Southampton 58 Leaving Port 59 Take Her to Sea, Mr. Murdoch 60 Rose 61 The Portrait 62 Lovejoy Chases Jack (alternate) 63 Hard to Starboard (alternate) 64 A Building Panic (album suite) 65 Alexander's Ragtime Band 66 Nearer My God To Thee (track 12 from Back to Titanic) 67 Death of Titanic (alternate) 68 Come Josephine, In My Flying Machine (with dialogue, from Back to Titanic) 69 A Promise Kept (alternate) 70 My Heart Will Go On (with dialogue, from Back to Titanic) 71 Hymn to the Sea 72 Leaving Port (with alternate ending) 73 The Portrait (album version) 74 Jack Dawson's Luck 75 Lament 76 Titanic Suite 77 A Shore Never Reached 78 Epilogue - The Deep And Timeless Sea Songs: 79 It's A Long Way To Tipperary 80 Let Me Call You Sweetheart 81 Vilia 82 My Gal Sal 83 Oh! You Beautiful Doll 84 Martha 85 In the Shade Of The Old Apple Tree 86 Waiting At The Church 87 Frasquita Serenade 88 Shine On, Harvest Moon 89 From The Land Of The Sky Blue Water 90 Loch Lomond 91 A Hot Time In The Old Town Tonight 92 Nearer My God To Thee

It felt unearned because, as with 90% of this film, it was played up to surprise the audience. Surprises only go so far. Really; think about it: how many outright twists and surprises are in your favorite films? I bet not half of the amount of surprises in this.

Laura Dern in this? Just another superfluous addition I thought. Her character's inclusion only added to the run-time and structural problems this movie has. It isn't really a good movie when I think about it.

Blu-ray audio is the thing now.

JFK & The Towering Inferno - would be the holy grails next!

The real story behind that "I know, but they're all dead" has a darker meaning. They're all dead for a reason...

Make them SACDs with multi-channel audio. That's what I want.

Ansel Egort looks more like a young Ford.

Holdo.... is that character that just had her hair done and wears an evening dress... for commanding an entire fleet of spaceships when the resistance is about to fall into ruin?

Empire Strikes Back- the original release. Thinking about the scores this week, how when I was younger I preferred the action-y tracks to those like Princess Leia's Theme and yet now, find her theme quite stirring and always the Han Solo & The Princess. Hence liking the small use of Leia's Theme as the Falcon flees Cloud City ("Hyperspace"). The Duel/Clash of Lightsabers remains my favourite, still has this element of tension no matter how often I've listened to it.

NOT ENOUGH!

I love that bit of music at 0:50 in The Master Codebreaker... this FYC is full of great highlights from the score missing from the OST.

Thanks for the heads-up, @azahid!!

It's my favorite Williams score since The Force Awakens. It gave me everything I wanted from it and some stuff I didn't even know I wanted (Williams doing 2010's minimalism is surprisingly epic)

Yes, they do approach these films differently, I was just trying to make the point that despite Shore treating his trilogies as several parts of a big whole, his second pieces in said trilogies still set themselves apart more than TLJ sets itself apart from TFA. With the different approach Williams prides himself on, TLJ should set itself apart from TFA way clearer than TTT sets itself apart from FotR. Desolation Of Smaug I think is not a fair comparison because the whole writing/orchestration dynamic changed from AUJ, so naturally DoS feels different. See, I'm thinking the other way around. Yes, the primary function of a score is in the Film, and how it works with the images. But beyond that, I think I can attest pretty much every film composer a firm grasp on dramatic film scoring, so it's pretty much a given that 95% of all scores accompany their films just fine and how they should. I have heard so many film music in my life that I look for more than that, for a musical experience that can hold its own, without needing the cinematic images to amplify it, or to give it a reason to exist. I feel watching a movie before listening to the soundtrack on its own manipulates your initial impression of the music too much. From the perspective of a music lover, the movie should only add more meaning to the music, the music shouldn't entirely depend on it. Just like in opera, where the vocals and texts are certainly essential to tell a story in detail, and add to the music, but where the music doesn't depend on them to tell a story on its own. And there are certainly various degrees to which scores are operatic, and of course you don't need to listen to every score independently from the film, most scores neither need that, nor would it be greatly rewarding, but Star Wars is among the most operatic subjects you can get, so I think the question whether it works in the film shouldn't even be an issue. And there are scores that can convey a coherent sense of the subject, and be exciting, without needing the film at all. A fan of Spider-Man or Batman can probably listen to Danny Elfman's soundtracks without having seen the films even once in order to love it. Which ironically is the problem with TLJ, I really think you need to be a fan of Star Wars or Williams specifically in order to love it thoroughly. I can't see this one having nearly the same mainstream appeal as even the prequel scores.

Whoever placed that order for a Han Solo movie did not have the authorization of the Jedi council.

Back on the topic of the Force theme usage. My only complaint was that it was used very literally in this film. It appears almost every time when the force is being used or mentioned. And there's nothing wrong with that, but it got old after like the 4th time. I miss the times when it was inserted in places you wouldn't expect, because usually it's arranged in a different and interesting way than the Binary Sunset and solo horn rendition that we keep hearing in TFA and TLJ. The first example off the top my head would be its usage in ROTS during the Battle over Coruscant. That militaristic rendition of it was used more as an uplifting/dramatic purpose. That rendition alone was more enjoyable to me than any of renditions heard in TLJ.

How many new themes did Williams need to write for TLJ to compete with the existing themes? The First Order didn't really need a theme since Kylo and Snoke already have their own themes and are also the biggest threats of the First Order. Having two big bad guys themes (one for Kylo and one for the First Order in general) would have been way too much. Two new and most prominent characters, Rose and Holdo, were given themes to represent them and their situations. Rose's theme gets a lot of attention for a secondary character. Even Luke got a secondary theme. I guess the Porgs could have gotten a theme of their own or the caretakers but they weren't in the film that much so why bother. Maybe DJ could have had a musical identity as well. I'm not sure why people were expecting Williams to expand or change existing themes for characters when he hasn't done that in past. In fact, he sometimes drops themes or minimizes them in later installments, such as Anakin's theme. In a way, we're lucky there's some music continuity between TFA and TLJ while still offering something new.

No.

I have been thinking one of the references for the dramatic urgency motif/music might have been another journalism drama - The Lives Of Others by Gabriel Yared. The motif from 1:52 sounds maybe like a reference for the motif used prominently in Setting The Type and then later in The Presses Roll too. I don't even know what kind of music Spielberg would use it to temp while editing. Maybe Presumed Innocent? Maybe this?

Not entirely, this film has all the familiar Star Wars elements and a decent story that has taken some risks. The online backlash and negative reception started like any propaganda, like a domino effect - a game of Chinese Whispers. All of a sudden "True Star Wars Fans" and casual movie-goers on each end of the spectrum seem to become film connoisseurs and critics and thusly is anything posted online something to be torn apart in a 'Trial by Social Media'. One slight deviation from what fans theorized about in the two-year interim and SHAZAM! "Rian Johnson is a hack", "The Last Jedi should be stripped from Canon and remade". Complete and utter Bantha Fodder and it implicates every whining little bitch in this bizarre social media circus for the soulless spoilt savages they are. Ticket prices are a bitch, but nothing in comparison to all the idiots who threw this film under the bus but supported a majority of the trash that dominates theatres now...

The two scores play very well back to back.

Obviously, a return to Star Wars for Williams after a decade, my anticipation for a new film and score really drew me back into the Star Wars hype. TFA is an introductory score in ways and I think that's why I find it more memorable than TLJ. That said I choose to look at these scores as chapters and not necessarily a competition between scores. Both are impressive and both deserve time to delve into them.

I haven't bought a JW CD since ... (walks away)

Saving Private Ryan - 20th Anniversary OCD Edition

Preordered these 3 upcoming Criterion blu ray releases. The first two are already among my favorite movies ever made. The last I've never seen but seems up my alley.

Presence is my least favorite. By a lot. I love Out Door. I listened to “Carouselambra” the other night. Fucking awesome.

Maybe this is why the studios prefer the cheap shit of the Zimmer clones. Pop that crap out at $10 a squat.