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Pics from a friend who had the pleasure of recording VII and VIII

A photo taken of Daisy Ridley & John Williams last year, whilst scoring the soundtrack for Star Wars: The Last Jedi. #DaisyRidley via: lovelyridley

There are moments in PS that have a warmth and tenderness to them that elevate simple shots or the characters, not to mention that it's better at giving a narrative arc throughout the score with clear themes developed early on. The family theme, Hedwig's theme, Voldemort's themes etc. are developed whereas I would say TPM has better setpieces where the themes are reserved for Anakin, Qui Gonn, and the duel. One of my favorite scored scenes in PS is the transition scene with Harry and Hedwig in the snowy courtyard. That's the magic right there.

The moment you realize these 20 years old CGI are more convincing than those in 2017.

Michael Giacchino: "So John, how did you feel about my score for Rogue One?" John Williams:

Revel in ignorance. This supposed film journalist who is also a film critic and the editor at large of an online film publication outlet thinks Han has 3 seperate "songs" to his name in V VI and VII and that Williams is writing a fourth "song" for Han for this film. https://theplaylist.net/john-williams-solo-star-wars-story-20180102/ Exhibit A as to why the opinions on film score of these hippie new age blogger/film critics are basically BS. They are literally talking out of their ass when talking about film scores and don't know what the hell they are on about.

I am able.

To think that Powell is insulted either objectively or subjectively by this is insane. He is collaborating with the best film scorer alive within his signature franchise. I think Powell is thrilled and honored. Do you think a young Williams would have stomped his feet had he had to score a movie for which Hermann was writing a main theme or would he have been delighted (and treasured the memory years after the older had passed on)?

just saw the movie for the 2nd time. I realized that the flatiron scene is introduced by the death star motif from ANH!

Here is my spoiler-free analysis of the new themes from The Last Jedi: http://www.filmmusicnotes.com/new-musical-themes-and-their-meaning-in-the-last-jedi/ Enjoy!

I'm gonna say a CD exists...for...reasons... CLARIFICATION: I DO NOT HAVE THIS Edit: Why are some of the cues from a different publisher?

I believe that John Powell has gone through things considered more insulting than having to score a Star Wars movie and having to deal with John Williams composing a theme for one of the most iconic characters of the franchise for which he dedicated 40 years of his life.

I heard JW described Zimmer's Man of Steel score as a "completely unlistenable shower of shite"

Calling it now: Williams will fall in love with Emilia Clarke's character and insist on scoring every moment of her. John Powell gets fired. Ramin Djawadi is removed from Game of Thrones at Williams' demands, Daenerys Targaryen's theme instantly enters the public consciousness. Suddenly he is more prolific than he was in the 70's and 80's. JW ages but never dies. He outlives us all.

Hey, they're great songs!

I think it's a good example for this film not taking itself too seriously, which is great.

The salt line was very important because it tells the audience that it isn't snow. Johnson knows the audience will be reminded of the Battle of Hoth, with more Imperial Walkers and Rebels dug in defending a base in very white conditions, but nobody on Hoth needed to taste the snow to tell us it was cold. We had been watching the cold and its effects, reactions, and descriptions for over a half hour before the Imperials attacked. So the line is there to say, yeah, "this isn't snow. And it's not sand, because you saw that on Tatooine, Geonosis, and whatever planet Rogue One ended up on." Because all the Rebels' materiel inside a bunker on a planet covered in salt should have been rusted beyond use. That any of the speeders worked is a movie miracle. Maybe Gareth Edwards should have encrusted a goblet with salt from the Crait surface and poured himself a margarita?

What scene are you guys talking about?

Rah, rah, rah! Go for it, Mike! Seriously, though, either Giacchino, Powell, or Desplat would be good. Since, however, I have absolutely no interest in AVATARs 2 through 26, I'll retire from this thread. Tatty bye!

Poe: "I'll hold" Hux: "Can he hear me?!?" Mega-cringe. Two minutes in.

The first one is truly magical, what a wonderful film.

Just saw your question, here are the recordings used in the film for the classical pieces: Tchaikovsky: Symphonies Nos. 4-6 Schubert: Symphonies Nos. 3 & 8 I only just discovered the sessions, which amazes me, since I spent so many hours at the time the film came out figuring out where the album cues went and where all the source cues came from, going as far as calling Fox Music to clarify exactly which recordings of "Moon River" were used. Anyway, I thought it was really interesting to hear the cue "Anderton in Halo," because it is the score for a scene deleted at the VERY last minute. After being put in containment, Anderton had a fantasy conversation with the nine-year-old version of his son Sean, played by Spencer Treat Clark from Gladiator. It's a moving scene, assuming they filmed it as it is in the shooting script. I can only assume it slowed the film down that late. The scene was deleted so late that the credits had already been finalized, and I remember the release prints of the film had "Spencer Treat Clark - Sean at Nine" listed in them at the end. Since Spielberg doesn't believe in sharing deleted scenes (except the ones on CE3K), I suppose this music and the script pages are as close as we'll ever get to seeing that deleted scene, like the big "Camelot" action sequence deleted from WOTW,

There's an interview I found on Wiki with Rian Johnson talking about that scene, and said that John "really enjoyed himself" writing the music for that particular shot. So yes, it was intentional.

HP1 I would venture is one of the Top 3 best treated JW scores ever, if not the best. There is literally wall to wall music and it is mixed unusually loudly so that the music is showcased extremely well. And the music is just outstanding all the time - literally a dozen memorable themes all very beautiful and long lined which play at full blast almost all the time. It is a film score delight. Also the movie is extremely old-fashioned with slow cuts and longer scenes allowing the music the space to breathe and develop.

But that complaining is almost twenty years old and predates the modern albeit small expanded soundtrack market. You'd hope with the right person in charge, they would open up their vaults.

Man of Steel is a good score

John Williams would not be where he is today without having strong opinions and particular points of view when it comes to music/his music. I'm sure he's just as opinionated as Goldsmith, Barry, Herrmann, and Horner were...he's probably just better at airing those opinions in the appropriate setting while being diplomatic and gracious in public. It has nothing to do with being nice or mean or positive or negative. As one member of the LSO put it: 'the iron fist in the velvet glove'. And I absolutely think JW can judge the quality of a score after viewing a movie once. He could also probably listen to one cue from Desplat, Powell, and Giacchino and make very astute judgements about compositional quality without needing to listen to their entire discography.

That's how it always starts, they're honoured and humbled. Then comes the running and screaming.

Or as the internet is reporting it; Theme Song by John Williams Other Songs by John Powell

I did like the death of the Snoke acolyte in the food processor. Red bits everywhere. Neato!

Clearly the visual came first, before the in-world details. I'm fine with that - it was very striking.

I like Horner's War track

They're all dead!

THE BLACK HOLE, and BSG.

I love how filmy that Silver Screen Edition looks.

The Crait scenes sure looked good, an amazing sequence visually.

Well, it were Intrada and Quartet, what a surprise! I would say this was a decent year for Jerry Goldsmith fans! 4 titles got a complete release for the first time: - Papillon (Quartet) - The Haunting (Varese Sarabande) - Damnation Alley (Intrada) - The Russia House (Quartet) Let's hope 2018 will be another awesome year for Goldsmith fans!

Exactly that! And that applies to Giacchino and Powell too. Chances are there will be a gazillion Star Wars movies in the future and they won't all have the same composer. They do seem committed to maintain Williams' original style, which means we haven't seen or heard the last of this. What if they are at the moment "shopping around" for different composers while Williams himself is still around to provide feedback and perhaps support? If they try as much as possible now, they'll learn as much as possible too. Giacchino is still in Disney's good graces as he's still attached to The Incredibles 2. And he's still attached to the next Jurassic World, which is produced by Spielberg and suggests that he's still considered good enough to follow John Williams there. I expect Rogue One will not be his final Star Wars score. The same applies to Desplat. I expect he'll end up getting another Star Wars assignment as well, eventually. Though I have to admit, I also expected one of those two to get "Solo". John Powell getting that assignment was therefore a rather massive surprise! But not an unwelcome surprise; out of the three attached so far, I think he's the most promising choice of all. Williams writing the main theme is yet another surprise, but again a welcome one. I do not believe it would have been necessary and I don't want to read too much into it. But Powell is used to collaborating with other composers anyway, so there does not necessarily need to be any conspiracy. In the end, only the future will tell. I think we'll see more Star Wars scores by all of them. And, based on Fantastic Beasts, I reckon James Newton Howard is a strong contender too. I'm excited to find out! One way or another, it'll lead to varied and enjoyable scores in a genre that I appreciate!

This is rumour control, here are the facts. All this is pure conjecture. The point is, we have no idea what was said, and, more importantly, how it was said. Remember, that JW has known Kathleen Kennedy for over thirty-five years, and (I would imagine) considers her a friend, as well as a colleague. By comparison, he's known Cappuccino for about five minutes. What happened behind closed doors was one professional passing an opinion on another professional's work, which he is entitled to do, given both the circumstances, and the context. JW created the STAR WARS sound, and if anyone knows how it should sound, it's him. The only other time (certainly that I can think of) that an event like this was covered in print, was JW's reaction to SUPERMAN II. That was an honest and visceral response to what he had just watched. I agree with artguy; this is heretical. In other words: forget it, JWfan, it's FSMtown.

"Spoke ill?" Not being enthusiastic about a score is "speaking ill of another composer?" It's not as if he went on an expletive laden tirade against the guy. If you believe John Williams is somehow too deific to have opinions and express them, well....

I always thought that was Yoda's guidance/what Luke utilizes what he has learned moment.

About as good news as anyone here could have expected. Powell is a solid choice even without Williams' assistance. I'm really keen to finally hear a proper JW theme for intrepid movie hero No. 2 though.

Pretty ironic considering Hollywood was founded by young inspired filmmakers running away from the incredibly constrictive Edison system.

OK I've finally found time to go through the FYC one track at a time and and posting my results into the main post of this thread. I skipped over Escape for now because its such a nightmare, but here's what I've gotten through for now with the next handful of tracks FYC 02 Ahch-To Island (2:31) OST equivalent: 02 Ahch-To Island [1:43-end] (2:40) This is the music for Rey asking Luke for help, and then following him on his "daily routine". The FYC features the proper clean opening as heard in the film, while on the OST, the beginning of the cue is slightly abridged, and mixed over the ending of the previous Ahch-To cue that's in the same track. However, the OST features a section of music (3:22-3:27) that is edited out of the FYC track at 1:40, meaning the film was probably slightly shortened after scoring around that area. So, to create a proper complete version, you'd want to take the cleaning opening of the FYC track, then segue over to the OST track as soon as you can and continue with the OST track all the way to the end. FYC 03 The Supremacy (2:00) OST equivalent: 04 The Supremacy [0:08-2:00] (1:52) This is The Supermacy showing up and Leia realizing they were tracked through lightspeed, and Kylo firing on their ship. The FYC from 0:25-0:30 is longer than the same OST passage (0:35-0:36), though I don't know of the OST is microedited, or if the OST is how it was recorded and they had to artificially stretch it for the final film. The FYC has a small edit around 1:14, and the OST has a small edit around 1:18 (or, the OST is the proper recording, and the FYC Is looped in that area). Finally, the FYC seems to have a loop 1:39-1:43, but then omit material around 1:53. The FYC track seems to artificially fade the final string sustain down early, but the OST segues to another cue when it ends, so we don't have a good ending anywhere. For a custom edit, I'd ignore this FYC track entirely and just use the whole Supremacy OST track. FYC 04 Admiral Holdo (1:02) OST equivalent: None - Completely new track! This is Admiral Holdo being introduced as the new leader, and her initial speech to the Resistance. FYC 05 Fun With Finn And Rose (3:03) OST equivalent: 05 Fun With Finn And Rose [0:25-end] (2:09) The OST from 0:00-0:25 contains the cue for Rose telling Finn about her sister, then realizing he's trying to escape and stuns him (it only contains the Paige story portion of the cue, though). This cue isn't on the FYC at all, so you'd need to break it out into its own track if you want to keep it (you can call it "You Are a Hero" or "That's a Real Hero". I wouldn't call it "Finn Meets Rose" though, because THAT cue comes before this one and isn't on the FYC or the OST at all). In the film, that cue segues immediately to the next cue, which covers which covers Finn and Rose coming up with their plan and telling it to Poe. This cue appears in full on the FYC track, while the OST version omits the opening minute due to it seguing from partway through the sister story cue to partway through the planning cue. So, Option 1 is to break out OST 0:00-0:25 into its own track, and then use FYC 05 for the next cue in its own track. Option 2 would be If you don't want to do WAV editing, then its a a personal preference if you rather use the OST track (Paige story opening -> incomplete planning cue) or the FYC track (no Paige story at all, but complete planning cue). FYC 06 Connection (1:58) OST equivalent: 06 Old Friends [2:36-end] (1:52) This cue covers Ren and Rey's Force connection ending because Luke has shown up, and then him taking her to their first lesson up the cliffside. The FYC provides the full proper clean opening, while the OST omits the opening 4 seconds and is segued from another cue in the same track. Otherwise they are basically the same, but the FYC might be slightly edited down in one spot, so I'd transition from the FYC's clean opening to the OST track as early as possible then just use that from there to the end. FYC 07 Lesson One (1:59) OST equivalent: 07 Lesson One (2:10) The FYC and OST tracks of the same name are pretty much identical to each other, though the FYC seems to have a few edits and a loop around 1:31, so I'd ignore the FYC track and just use the OST track.

I'll happily watch TV, or films with a message. I will not, however, watch any TV, or film, with an agenda.