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A toast for many more years of wonderful music. And thank you for bringing so much joy to my little life. Happy Birthday, Maestro!

Happy 86 th Birthday to the Maestro !!!!

All are comments found in a Reddit thread titled "Hans Zimmer vs John Williams".

So, what about this? https://m.facebook.com/story.php?story_fbid=10156337836338755&id=56031953754

Your profile pic is very appropriate. JW himself seems shocked at this revelation.

Disney's run can't last forever, eventually audiences will grow tired of Marvel and and Star Wars and Pixar and Princess and the whole thing will eventually pass, like this whole computer fad.

Tintin as a movie was great; it was the Indy movie that KOTCS should've been. As a fan of the Hergé comics, I thought it was a fun and faithful adaption.

No author, artist, performer, or musician has brought as much joy to my life as John Williams. So blessed to be a contemporary with an artistic Legend. Happy Birthday, Maestro Williams!

He probably thinks they're the same guy. He read all the Snoke theories on the internet.

This new arrangement debuted Wednesday, January 31st in San Diego, conducted by Williams himself, as an encore. You can read @KingPin's description of it, here. The new arrangment was just played again, last night in Glasgow, Scotland, and that performance is on Youtube! What do you think?

INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION AWARD NOMINATIONS ANNOUNCED; MULTIPLE NOMINATIONS FOR ALEXANDRE DESPLAT, MICHAEL GIACCHINO, DANIEL PEMBERTON, JOHN WILLIAMS http://filmmusiccritics.org/2018/02/ifmca-award-nominations-2017/ FEBRUARY 8, 2018. The International Film Music Critics Association (IFMCA) announces its list of nominees for excellence in musical scoring in 2017, for the 14th annual IFMCA Awards. In a wide open field, the most nominated composers are Alexandre Desplat and Daniel Pemberton, who both received four nominations, Michael Giacchino, who received five nominations, and John Williams, who received six nominations for new work, plus an additional three for archival re-releases of some of his classic scores. 56-year old Frenchman Alexandre Desplat is nominated for his work on two scores – director Guillermo Del Toro’s critically acclaimed monster movie romance “The Shape of Water,” and director Luc Besson’s epic space fantasy “Valerian and the City of a Thousand Planets” – and is one of the five nominees for Composer of the Year. IFMCA member James Southall said that “The Shape of Water” was “yet another from the top drawer of Desplat,” and went on to describe him as “one of the most consistently impressive film composers of the last couple of decades,” who has “managed to be so successful without having to water down his highly-distinctive musical voice at all”. Desplat previously received IFMCA Score of the Year honors in 2008 for “The Curious Case of Benjamin Button”. His other major scores in 2017 include director George Clooney’s satirical racial drama ‘”Suburbicon,” and the French-language comedy-drama “D”Après Une Histoire Vraie,” directed by Roman Polanski. Daniel Pemberton, the 40-year-old English composer, impressed IFMCA members particularly with his scores for two films: Ridley Scott’s “All the Money in the World,” about the true-life kidnapping of the grandson of billionaire J. Paul Getty in 1973, and “King Arthur: Legend of the Sword,” an anarchic re-imagining of the early life of the mythical king growing up in Roman Britain, by director Guy Ritchie. Pemberton, who is also one of the five nominees for Composer of the Year, impressed IFMCA member Alan Rogers specifically, who heralded “King Arthur” as the “overall score of the year” and said that “the score is more rewarding with every listen”. Pemberton’s other significant works in 2017 include the political dramas “Molly’s Game” and “Mark Felt: The Man Who Brought Down the White House,” and an episode of the sci-fi anthology series “Black Mirror” entitled “USS Callister”. 50-year-old New Jersey-born Michael Giacchino is lauded for two scores: Pixar’s lavish animated Mexican-themed fantasy “Coco,” and the third film in the blockbuster Planet of the Apes trilogy, “War for the Planet of the Apes”. IFMCA member Mihnea Manduteanu said that “Coco” had “effervescence and passion” and was “inspirational, emotional and fun at the same time,” while IFMCA member James Southall said that “War for the Planet of the Apes” was “not just the best film music [Giacchino has] ever written” but that “the manner of the score, the construction of the dramatic narrative, [and] the very deliberate emotional prods … make it stand out as a special achievement”. Giacchino previously received Score of the Year honors in 2004 for “The Incredibles,” and in 2009 for “Up”. He is also one of the five nominees for Composer of the Year this year, having also written the scores for the intimate drama “The Book of Henry,” and the super hero sequel “Spider-Man: Homecoming” in 2017. Despite now being 86 years of age, John Williams continues to be a force in the world of film music. Both of Williams’s 2017 scores are nominated for Score of the Year: director Steven Spielberg’s “The Post,” a political drama about the Pentagon Papers scandal that rocked Washington in the early 1970s, and “Star Wars: The Last Jedi,” director Rian Johnson’s blockbuster second installment in the new space fantasy series which has smashed box office records around the world. IFMCA member Christian Clemmensen described “The Post” as “an exercise in Williams minimalism wholly appropriate for the context of the historical drama” with a finale full of “Williams’s typical French horn majesty, denoting the significance of the occasion”. Meanwhile, IFMCA member Jon Broxton said that “the two major new themes [in The Last Jedi] combine perfectly with the older material,” with Williams providing “more than enough variation on those themes for them to still feel fresh and exciting”. He went on to say that “the new action material, especially in the fathiers sequence, and during the final Crait battle, is wonderfully entertaining and musically creative” and that the entire score is “a nostalgia bomb of the highest order”. Williams – the fourth of the five nominees for Composer of the Year – previously received Score of the Year honors for “Memoirs of a Geisha” in 2005, “War Horse” in 2011, and “Star Wars: The Force Awakens” in 2015. The fifth nominee for Score of the Year is Jonny Greenwood's music for the controversial and avant-garde romantic period drama “Phantom Thread,” directed by Paul Thomas Anderson and starring Daniel Day-Lewis. In describing the score, IFMCA member Jon Broxton wrote that it was a “quite masterful score from Greenwood, one which gets deeply under the skin of the damaged, potentially dangerous, but nevertheless mutually fulfilling relationship at the center of the story. The abstract, impressionistic, modernistic textures perfectly capture the torment that both characters at times feel, as well as their willful and often unpleasant personalities. Then, when he opens up his orchestra and performs the Phantom Thread theme with glorious melodrama, or when he writes elegant romantic music for what should be the dreadful finale, the whole thing simply soars”. The fifth composer vying for the title of Composer of the Year is Benjamin Wallfisch, whose astonishing work in 2017 included writing the music for the horror sequel “Annabelle: Creation,” the sweeping historical drama “Bitter Harvest,” the atmospheric thriller “A Cure for Wellness,” the new adaptation of Stephen King’s “It,” and the optimistic and celebratory documentary “Mully,” as well as working with Hans Zimmer on “Blade Runner 2049” and “Dunkirk”. IFMCA member Kaya Savas called “It” “the backbone that makes us emotionally connect to our protagonists”. IFMCA member Ley Bricknell described “A Cure for Wellness” as “totally compelling” with “an overwhelming sense of fear and madness”. IFMCA member Peter Simons said that “Bitter Harvest” was a “rich orchestral score with lush themes … a wonderful pastoral tone to it, and a gorgeous main theme”. Each year the IFMCA goes out of its way to recognize emerging talent in the film music world, and this year is no exception. The nominees in the Breakthrough Composer of the Year category are a diverse and exciting group. American composer Michael Abels wrote the Swahili-inflected score for the racially charged cult horror hit “Get Out”. German composer Anne-Kathrin Dern wrote two vastly different but no less impressive scores – one for the sweeping Chinese drama “The Jade Pendant,” and one for the German children’s film “Hexe Lilli Rettet Weihnachten”. Cypriot composer George Kallis had three enormously impressive scores in 2017, including the children’s fantasy “Albion: The Enchanted Stallion,” the historical drama “The Black Prince,” and the Russian fantasy epic “Posledni Bogatyr/The Last Warrior”. Spanish composer Alejandro Vivas joined the ever-growing list of outstanding Iberian musicians with his score for the WWII drama “El Jugador de Ajedrez/The Chess Player,” while Brit Christopher Willis channeled Prokofiev and Shostakovich in his score for the satirical comedy “The Death of Stalin”. As it has in previous years, the IFMCA takes pride in honoring composers from across the film music world; in addition to the ones already mentioned, this year’s international nominees include French composer Cyrille Aufort (“Knock,” Comedy), French composer Olivier Derivière (“Get Even,” Game), French composer Pascal Gaigne (“Plan de Fuga,” Action/Adventure/Thriller), Spanish composer David García Díaz (“Rime,” Game), Argentine composer Federico Jusid (“Tiempos de Guerra,” Television), and Japanese composers Yôko Kanno (“Onna Jôshu Naotora,” Television) and Yasunori Mitsuda (“Valkyria: Azure Revolution,” Game). Also worth noting in 2017 is the larger number of women composers and film music professionals amongst the nominees; in addition to breakthrough composer nominee Anne-Kathrin Dern and television nominee Yôko Kanno, other female nominees include Rachel Portman (“Their Finest,” Comedy) and Debbie Wiseman (“Live at the Barbican,” Compilation), as well as writer Julie Kirgo, Sony Classical album producer Laura Zsank, and graphic designer Kay Marshall. Several other composers are receiving their first ever IFMCA Award nominations this year, including Andrew Cottee (“The Orville,” Television), David Fleming (“Blue Planet II,” Documentary), Philip Glass (“Jane,” Documentary), and Steve Mazzaro (“The Boss Baby,” Composition). The International Film Music Critics Association will announce the winners of the 14th IFMCA Awards on February 22, 2018. ####################################### THE 2017 IFMCA AWARD NOMINEES SCORE OF THE YEAR PHANTOM THREAD, music by Jonny Greenwood THE POST, music by John Williams THE SHAPE OF WATER, music by Alexandre Desplat STAR WARS: THE LAST JEDI, music by John Williams WAR FOR THE PLANET OF THE APES, music by Michael Giacchino COMPOSER OF THE YEAR ALEXANDRE DESPLAT MICHAEL GIACCHINO DANIEL PEMBERTON BENJAMIN WALLFISCH JOHN WILLIAMS BREAKTHROUGH COMPOSER OF THE YEAR MICHAEL ABELS ANNE-KATHRIN DERN GEORGE KALLIS ALEJANDRO VIVAS CHRISTOPHER WILLIS BEST ORIGINAL SCORE FOR A DRAMA FILM ALL THE MONEY IN THE WORLD, music by Daniel Pemberton DARKEST HOUR, music by Dario Marianelli MURDER ON THE ORIENT EXPRESS, music by Patrick Doyle PHANTOM THREAD, music by Jonny Greenwood THE POST, music by John Williams BEST ORIGINAL SCORE FOR A COMEDY FILM THE DEATH OF STALIN, music by Christopher Willis DOWNSIZING, music by Rolfe Kent KNOCK, music by Cyrille Aufort PADDINGTON 2, music by Dario Marianelli THEIR FINEST, music by Rachel Portman BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE/THRILLER FILM A CURE FOR WELLNESS, music by Benjamin Wallfisch JUMANJI: WELCOME TO THE JUNGLE, music by Henry Jackman KING ARTHUR: LEGEND OF THE SWORD, music by Daniel Pemberton PLAN DE FUGA, music by Pascal Gaigne THE RENDEZVOUS, music by Austin Wintory BEST ORIGINAL SCORE FOR A FANTASY/SCIENCE FICTION/HORROR FILM GET OUT, music by Michael Abels THE SHAPE OF WATER, music by Alexandre Desplat STAR WARS: THE LAST JEDI, music by John Williams VALERIAN AND THE CITY OF A THOUSAND PLANETS, music by Alexandre Desplat WAR FOR THE PLANET OF THE APES, music by Michael Giacchino BEST ORIGINAL SCORE FOR AN ANIMATED FILM CAPTAIN UNDERPANTS: THE FIRST EPIC MOVIE, music by Theodore Shapiro COCO, music by Michael Giacchino THE EMOJI MOVIE, music by Patrick Doyle FERDINAND, music by John Powell LOVING VINCENT, music by Clint Mansell BEST ORIGINAL SCORE FOR A DOCUMENTARY BLUE PLANET II, music by Hans Zimmer, Jacob Shea, and David Fleming BOSTON, music by Jeff Beal EARTH: ONE AMAZING DAY, music by Alex Heffes JANE, music by Philip Glass MULLY, music by Benjamin Wallfisch BEST ORIGINAL SCORE FOR TELEVISION ALIAS GRACE, music by Jeff Danna and Mychael Danna GAME OF THRONES, music by Ramin Djawadi ONNA JÔSHU NAOTORA, music by Yôko Kanno THE ORVILLE, music by Bruce Broughton, John Debney, Joel McNeely, and Andrew Cottee TIEMPOS DE GUERRA, music by Federico Jusid BEST ORIGINAL SCORE FOR A VIDEO GAME OR INTERACTIVE MEDIA DEFORMERS, music by Austin Wintory DIVIDE, music by Chris Tilton GET EVEN, music by Olivier Deriviére RIME, music by David García Díaz VALKYRIA: AZURE REVOLUTION, music by Yasunori Mitsuda BEST NEW RELEASE, RE-RELEASE OR RE-RECORDING OF AN EXISTING SCORE BEN-HUR, music by Miklós Rózsa; The City of Prague Philharmonic Orchestra & Chorus conducted by Nic Raine; album produced by James Fitzpatrick; liner notes by Frank K. De Wald; album art direction by James Fitzpatrick, Gareth Bevan, and Nic Finch (Tadlow) CLOSE ENCOUNTERS OF THE THIRD KIND, music by John Williams; album produced by Mike Matessino; liner notes by Mike Matessino; album art direction by Jim Titus (La-La Land) DAMNATION ALLEY, music by Jerry Goldsmith; album produced by Nick Redman and Mike Matessino; liner notes by Julie Kirgo; album art direction by Kay Marshall (Intrada) DUEL IN THE SUN, music by Dimitri Tiomkin; The City of Prague Philharmonic Orchestra & Chorus conducted by Nic Raine; album produced by James Fitzpatrick; liner notes by Frank K. De Wald; album art direction by Jim Titus (Tadlow/Prometheus) E.T. THE EXTRA-TERRESTRIAL, music by John Williams; album produced by Mike Matessino and Bruce Botnick; liner notes by Mike Matessino; album art direction by Jim Titus (La-La Land) BEST FILM MUSIC COMPILATION ALBUM CAPTAINS COURAGEOUS: THE FRANZ WAXMAN COLLECTION, music by Franz Waxman; album produced by Douglass Fake; liner notes by Frank K. De Wald; album art direction by Kay Marshall and Joe Sikoryak (Intrada) DEBBIE WISEMAN: LIVE AT THE BARBICAN, music by Debbie Wiseman; The Orchestra of the Guildhall School conducted by Debbie Wiseman; album produced by Debbie Wiseman, Reynold Da Silva, David Stoner, and Pete Compton; liner notes by Debbie Wiseman; album art direction by Stuart Ford (Silva Screen) JOHN WILLIAMS AND STEVEN SPIELBERG: THE ULTIMATE COLLECTION, music by John Williams; album produced by Laura Zsaka and Jamie Richardson; liner notes by Jon Burlingame; album art direction by Amelia Tubb (Sony Classical) THRILLER, music by Jerry Goldsmith; The City of Prague Philharmonic Orchestra conducted by Nic Raine; album produced by James Fitzpatrick and Leigh Phillips; liner notes by Jon Burlingame; album art direction by Matthew Wright and Nic Finch (Tadlow) THE WILD WILD WEST, music by Various Composers; album produced by Jon Burlingame; liner notes by Jon Burlingame; album art direction by Jim Titus (La-La Land) FILM MUSIC RECORD LABEL OF THE YEAR CALDERA RECORDS, Stephan Eicke INTRADA RECORDS, Douglass Fake and Roger Feigelson LA-LA LAND RECORDS, MV Gerhard and Matt Verboys QUARTET RECORDS, José M. Benitez TADLOW MUSIC, James Fitzpatrick FILM MUSIC COMPOSITION OF THE YEAR “End Credits” from WAR FOR THE PLANET OF THE APES, music by Michael Giacchino “Finale” from STAR WARS: THE LAST JEDI, music by John Williams “Growing Up in Londinium” from KING ARTHUR: LEGEND OF THE SWORD, music by Daniel Pemberton “Justice” from MURDER ON THE ORIENT EXPRESS, music by Patrick Doyle “Love” from THE BOSS BABY, music by Hans Zimmer, Steve Mazzaro, and Conrad Pope ####################################### The International Film Music Critics Association (IFMCA) is an association of online, print and radio journalists who specialize in writing and broadcasting about original film, television and game music. Since its inception the IFMCA has grown to comprise over 65 members from countries such as Australia, Belgium, Canada, China, Denmark, France, Germany, Greece, Ireland, Italy, the Netherlands, Norway, Poland, Romania, Spain, Sweden, Switzerland, the United Kingdom, and the United States of America. Previous IFMCA Score of the Year Awards have been awarded to Jóhann Jóhannsson’s “Arrival” in 2016, John Williams’s “Star Wars: The Force Awakens” in 2015, Hans Zimmer’s “Interstellar” in 2014, Abel Korzeniowski’s “Romeo & Juliet” in 2013, Mychael Danna’s “Life of Pi” in 2012, John Williams’s “War Horse” in 2011, John Powell’s “How to Train Your Dragon” in 2010, Michael Giacchino’s “Up” in 2009, Alexandre Desplat’s “The Curious Case of Benjamin Button” in 2008, Dario Marianelli’s “Atonement” in 2007, James Newton Howard’s “Lady in the Water” in 2006, John Williams’s “Memoirs of a Geisha” in 2005, and Michael Giacchino’s “The Incredibles” in 2004. For more information about the International Film Music Critics Association go to www.filmmusiccritics.org, visit our Facebook page, follow us on Twitter @ifmca, or contact us at press@filmmusiccritics.org.

In the spirit of obscure Williams: Star Wars: Storia di una Wampa Star Wars: The Secret Reys Star Wars: Poe-nelope Star Wars: Darthy's Gone A-hunting Star Wars: Rose 'n' Finnie Star Wars: The Screaming Wookie Star Wars: Finnswilly I'll stop now.

Oh will you fuck off with your perpetual state of anti female shtick, it's gotten ridiculously monotonous at this point and you just sound like a sad and frustrated little prick.

He didn't call it Han's theme, he mentioned "Solo's music". In that more broad sense, yes, the theme also applies to Han Solo, because its the theme of Leia's and his love affair. But it isn't "Han's theme", per se. Its really such a fleeting comment, and in an interview so far removed from the time of Williams' work on the first three Star Wars films, that you can't really read too much into it. The next sentence he says is: "it’s one thing really in my mind, a lot of it[...]You’d be testing my memory to ask me how I used them all and where [laughs]." I get it, people really like Han Solo in the Empire Strikes Back and they marvel at the fact that Williams didn't dignify him with a theme. But all this re-interpertation of his work in order to find such a theme is getting a bit silly. Musically, its so heavily based on Princess Leia's theme (itself a love theme of sorts) that there is really no point connecting it specifically to the character of Han Solo. If anything, its a secondary theme for Leia, first. Look at the way its used in the Last Jedi, as well as multiple other applications throughout the series: its used just as often (if not more) with the princess, herself, than it is with her and Han, or just Han. As I said, this new arrangment even reminds me at times of Rey's theme. Why? because both her and Leia are feminine characters and they get feminine music. Han Solo - not so much. I think the cause for this new arrangment is Fisher's passing (which, if its true, would weaken your argument further), and it sure as hell can't be the new theme for Han Solo because, as it is, its the very same theme from Empire Strikes Back. Sure, its varied. But its the same leitmotif nonetheless. So, the fact that Williams is writing a new Han Solo theme that isn't this theme, is all the evidence we need to put this "Han's theme" nonesense to rest.

I think he's bordering on dementia now, which is mirrored in a lot of these responses. But entertaining read, regardless. And the man's a legend.

The only two source cues that ever made an impression on me are John Ryan's Polka and Nearer My God To Thee. I included the former among the score because I just think it works there, as a nice interlude between the ship setting off and all hell breaking loose. I haven't included the latter because, oddly, it's so effective in the sinking scenes that I just can't listen to it. For the rest of the source cues, it's awesome to have them for those who got attached to something playing in the background of one of the dinner scenes, but they're not for me.

Yeah, I believe I and another poster noted that last month. Very cool - I think it's more or less confirmation that the TFA cue was indeed by Williams (and not just stock music, as some had argued). Here it is (courtesy of Fal): https://drive.google.com/file/d/0BxQSwI5aPja9ZG41dVRqaVlhLWs/view Beginning of that = beginning of "Rebellion is Reborn"! Man, I really love that TFA cue. Absolutely brilliant, nostalgic, heartwarming writing from JW. Yep, that's my best guess as to what it is. Williams did say in that LA Jim Svedja interview that they did multiple versions of that cue -- although it hasn't been confirmed that this unknown cue was indeed for that scene.

Someone changed it back to Joe Kraemer. And then I changed it to no composer, because I'm no fun.

Been up for about an hour now.

Well, it wasn't the worst thing ever. It was too long, there were some really awkward performances and frankly useless characters such as Flynn and Asian Rose, who could have easily been written out of the whole thing. A lot of the humor fell flat too. The only other Rian Johnson movie I've seen is Brick and it was also awkwardly paced and filled with awkward attempts at humor. Okay, so, Benicio del Toro was in this? WTF? I had no idea. He was a welcome respite from the lame Flynn/Rose scenes. I mean, they were just the worst, weren't they? I swear I even heard Flynn say "Why did you do that, Rose?" What is this, JWFan? There were some chillingly effective moments such as when Luke says Darth Sidious (WOW!) and of course his return. Hamill was a bit hammy and he can't pull that sort of thing off like Benicio does with remarkable skill and ease. He was riding the line to where it was almost becoming terrible. I cringed when he did the Matrix bullet time move towards the end, but that was Johnson and his terrible action scenes. I also didn't like how Luke's spirit or whatever the fuck had shorter hair. Just when we had become accustomed to a longer-haired Luke, he shows up with a haircut like Sybock. It was the most distracting thing since Ted Danson in Saving Private Ryan. The main characters AKA Ray, Kyle and Po were mostly very good. They brought a vitality to the movie amid a lot of hamminess (General Hux) and boring performances (the supporting women...terrible, as AOTC Yoda would say). It was at least 30 minutes too long. The score disappointed me. Mostly all I heard was Mickey Mousey music with snippets of leitmotif over and over again. I yearned for some serious music, not 2 hours of Mickey Mousing.

Stupid comments about John Williams? Please add some quotes of James Horner.

Dissapointing cameo by Erik Woods.

Get a red Imperial guard and a can of black spray paint.

Not counting what we have in already expanded sets and leaked sessions Legend of Darth Plagueis, Yoda's Departure,Padme's Funeral and Finale from RotS Unused Finale from AotC The Patronus Chest and Rescuing Sirius from PoA Training with Lightsaber from TLJ Foul things of the Night from Dracula (and all the cues with that unreleased motif) Dear Basketball Fanfare for Michael Dukakis Han Solo and the Princess Revised Irina's Theme Concert Version

The film was OK. If I was younger and hadn't seen similar/better films I would probably rate it higher. The score on the other hand is fantastic. The choral work is great, reminiscent of Da Vinci's Demons. Plenty of variety in this one, not sure whether it beats 10 Cloverfield Lane for me but we'll see after a few more listens. Apparently a fourth Cloverfield movie will be released nearer the end of the year. Would be nice if Bear continues with the series.

I liked the bits when Streep is creeping from across the street like some mad stalker. I forgot to mention that about the mum from Poltergeist - I was like "Holy moly!" when she was in the bolliky!

Diane is already in it. Karol

At the age of 38 I've come to the conclusion that I disagree with the deification of anyone (even Mozart). Not to insult anyone here that does it, but at least to me it seems very silly, like those fans I see of a football team cheering at the field.

Edit

I enjoyed The Cloverfield Paradox because it did not act like it thought it was a visionary masterpiece, the precise reason I despised those two films.

Expanded The Book Thief.

I agree with their assessment.

Stop giving them ideas!

I guess they will make a standalone film to explain this important detail.

Good on Jim for this, recognizing greatness and acknowledging it despite past working troubles. An admirable trio of massive talent and influence.

I don't give a crap. Off The Wall, Thriller and Bad are amazing albums.

BREAKING NEWS! "It was announced today that Larry David, creator of the smash-hit, Emmy Award-winning television series Curb Your Enthusiasm, will write and produce a new trilogy of Star Wars films. These new films will be separate from both the episodic Skywalker saga, the trilogy being developed by Rian Johnson, and the recently announced series which will be overseen by the creators of Game of Thrones. According to Disney, David's trilogy will be pretty good."

Horner's Rose theme >>>>>>>> Williams's Rose theme

Guys, Spacewalk. This will be one of those tracks that people reference as top tracks of the year. It pays affectionate homage to Apllo 13 but does its entirely own thing with what sounds like a huge frigging orchestra. The best thing to take from this is the orchestrations. Spacewalk: listen to the main violin motif that drives the piece and then note how it is complemented by an entirely different bed of strings doing a countermelody. The lushness of sound is phenomenal, especially in this era of singlistic sounds by simple sources. Of course, the brass counterpoint is fantastic. Very Goldsmith in parts in fact with the syncopated hits. This is real music. If Abrams etc have any sense, they will hire McCreary for any of the subsequent episodes. The talent here is phenomenal. McCreary is of course known for his instrumental work on Battlestar Galactica and Outlander. The frigging showcase of All Along the Watchtower from Battlestar makes him not only a composer but co-creator. McCreary for Star Wars.

Won't really change much, maybe now that the sale's over Bob can go back to actually making Club releases happen with some regularity.

Great speach. And he confirms that Leia's theme was the first love theme of the SW saga.

Ironically Williams interview with Craig L.Byrds Published in the 1997 FSM magazine-Williams called it Han's Theme. Of course in the very same issue Lukas Kendall even wrote an dissertation that Han Solo doesn't have a theme. But this new arrangement here is devoid of Leia's theme thus making it uniquely rendering it as Han's Theme. Come to think of its its the only motif we have for Han even though it represents a love theme between Han and Leia.

What is the awfulness in these trailers that everyone else is seeing that I'm not seeing?

I think we as an audience are supposed to make the association between Snoke and the Emperor as similar figures, since so much of the film is about the characters recognizing the cycles they (and the series at large) are trapped in and trying to escape from those cycles. Williams was simply supporting that idea. It's really not that hard to draw the connection. You can debate whether or not that is successful, but the intent seems pretty clear to me.

Karol

Across the Stars is such a sleazy and thirsty piece of music. You need a shower after listening to it. Pure filth! Karol

Good, None of the other SW Love Theme concert arrangements have theme cameos, so now they all match And was the old arrangement even confirmed to be by Williams?

Are you kidding? It's an incredibly moving piece

I would say the Prequel Trilogy is an outstanding idea and concept and that is completely botched in its execution. The story is great, even fantastic. The screenplay is shite. The performances are middling. The trilogy undeniably has scope and sweep but its still poorly achieved. It is a noble effort but misses the mark.

Well that is disappointing. I was hoping for The Fathiers as well as a surprise or two.