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I liked that bit. For me, that wrapped up a good portion of Rey's arc. She began TFA as "nobody." Kylo Ren played on this and affirmed it. Luke's big question to her throughout the first half of TLJ is "who are you?" specifically in the context of "why YOU?" Her mission was to bring back Luke to use the force to lead the heroes, and instead she herself is assuming that mantle. Her lifting the rocks, and Poe responding "I know" when she introduces herself, is a nice, low-key resolution to this.

That's so cool. I've met Joe a couple times. I try not to say anything about his dad as i'm sure that gets old. But at one of the Toto concerts i went to in late 2015, a Toto fan asked Joe about Force Awakens and he said his dad was working on the score at that exact moment and was talking to Joe about it. And at another concert someone asked if John Williams had listened to the new Toto album (XIV) and Joe did an impression of his dad. He said something like "it sounds good for that particular idiom/genre". Everyone had a good laugh. Actually Toto has a lot of family ties with John Williams. I believe Johnny Williams played piano on some Marty Paich albums (father of David Paich who plays lead keys and sings - think Africa!). And Joe Porcaro was a great percussionist in Hollywood (father of Jeff, Mike and Steve Porcaro) and played on many film scores including John Williams, Jerry Goldsmith, etc. And of course, we wouldn't have Lapti Nek or those great SpaceCamp songs without Joe! I love me some Toto as much as I love John Williams. And love the connection.

What you describe would be downright depressing, as far as I'm concerned. I only asked for a little bit more upbeat. Why must upbeat undermine anything anyway? Sometimes, a massively happy ending can be more impactful than anything else. Doesn't hurt to broadcast some hope into this world, I think.

Tink's Theme is the unsung hero of that score for me. Every time it plays, I'm seven years old again. I don't know if it's complex enough to support a full suite, but gosh, do I love it whenever it shows up. It also appears in a lovely string-and-woodwind rendition at 6:15 in "Hook Challenges Peter."

I'm happy with them dragging out forever and ever. Keep making fun movies about wizards and rogues and hopeful fantastic situations in space. Of course, I want IX to be a satisfying capper to the 'trilogy' in the same way that Jedi was for the OT. But when I first got into Star Wars in the mid-1990s, there was never an Ending to Star Wars. Luke and Leia and Han and Occasionally Lando were always off fighting the next threat - Thrawn, Isard, the Vong, etc etc etc, starting like one minute after their "happy ending" on Endor with The Truce at Bakura. I derive a lot of fun out of these movies being a series of serial adventures, and less in some super-serious statement of finality.

@kaseykockroach is very thirsty

They already explode. Every day.

Or Finn can be polyamorous and date Rose, Rey and Poe.

Extended conversation to be seen in boxset release: Finn: "How did you know her name?" Poe: "She talks in her sleep."

I didnt mean to be rude, but i just randomly asked (just really curious) Well you got confirmation from the man himself! God, he's so active in this media. Really, no boundaries! i should've known better. A moment wasted...

Problem is, the noisy fanboy (always men) of today is neither. He's a creature trained to feel entitled to his every whim served, going off on extreme tangents with an almost comic ideologic devotion and has seen the light: now he's strong through the existence of 5 million other nincompoops bringing huge companies like Disney to their knees, or at least Bob Iger a lot of headache what to do to make them happy. The results are inevitably boringly safe and given how relatively small that special demographic is, it's sadly a loss for all.

...then the people who ban it are ignorant idiots, by their own design. One look at the first scene after the credits, and you can clearly see and hear Moff Jerjerrod giving the sermon on the mount. What these people object to is their own parochial mind-set being mocked.

No, actually I meant JW scores that were released in a year that starts with a 2. So The Patriot is still included.

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No IMAGES? Classic FM, Smashic FM, the Philistines.

I hope the final scene of Ep. IX uses the Ewok Celebration music...

Luke thought they were in there so he was going to burn the tree. Yoda toyed with him by burning the tree after Luke had changed his mind, and said that Rey already had everything she needed (i.e. she stole the books).

They're on the Falcon at the end of the film...

Since this trilogy is aiming at slightly less black-and-white heroism, it would indeed be fitting with a bittersweet ending. Disney would never "undo" the force... After all, they paid four billions for it.

I had completely forgotten this theme. It’s lovely. It’s like a something out of Home Alone with a pinch of The Terminal (in the B-phrase) in there. I wish there was a greater expansion of it.

Yes I will now

Edit: 11 April Since Jay has now created a separate thread for covers, guess I can put mine up again.

Those are terrific. Thank you!

Yep!

...and the Biker Hounds music from A.I.!

My review (in Norwegian -- so use Google Translate) here: http://celluloidtunes.no/ready-player-one-alan-silvestri/

It's certainly the best of his STAR WARS scores in the 2000s. But I find TPM superior.

Yeah, I knew about these connections. But nice story about Joe mimicking his father. I would have loved to see that!

Arrival of Tink?

My least favorite part of a new movie release is the constant “zomgz!! Is dis new musics?!?!” From every TV spot and promo and usually it isn’t

I was in the navy, not the Navajo!

In not-so-surprising news: Finn and Rey will stick together in Episode IX

Took me about 3-4 days just for my OST-FYC Hybrid.

Only professional filmmakers are allowed to critique the work of their peers. The masses must love it unquestioningly as they have no idea what goes into making a film.

Prince of Foxes Watched this with Newman's isolated score with stereo headphones. For an early stereophonic score, it still sounds phenomenal with an impressive dynamic range, vibrancy, and clarity for 1949. It really allows Newman to really tell the story musically, especially the rapturous love theme.

I acknowledge that people have a right to voice their opinions, but I have a question for those TLJ-haters: Have you written and directed a multi-million dollar film called THE LAST JEDI, that made over 1.2 billion dollars at the world box-office? If you have, then I would be very interested to see it. If you haven't, please do one of two things; either go to film school, and make successful yet lionised films, or shut...your...hole!

Its a fking bore.

Not even Powell music makes Denny's seem worth eating.

The 10 best JW scores from 2000->present, IE, the ones that are his greatest achievements from this era and show his diversity as a composer 1) A.I. Artificial Intelligence 2) Harry Potter and the Sorcerer's Stone 3) Lincoln 4) War Horse 5) Catch Me If You Can 6) Memoirs of a Geisha 7) Minority Report 8) The Adventures of Tintin 9) War of the Worlds 10) The Force Awakens That being said, my personal 10 favorite JW scores from 2000-> present, IE, the ones I've listened to the most often: 1) Attack of the Clones 2) Harry Potter and the Sorcerer's Stone 3) Harry Potter and the Chamber of Secrets 4) Harry Potter and the Prisoner of Azkaban 5) The Adventures of Tintin 6) Indiana Jones and the Kingdom of the Crystal Skull 7) War Horse 8) The Terminal 9) A.I. Artificial Intelligence 10) Lincoln I'm just a sucker for his big action adventure romps! Out of all 22 scores he's done from 2000-Present, the ones I've listened to the least amount of times are EASILY The Patriot, Revenge of the Sith, War of the Words, Munich, The Book Thief, The BFG, and The Post. The other 15 scores from this era I've spun many many many times and are all great!

Yes, I recall reading some old article mentioning that Williams spent a lot of time in England in the early 70's, working both on Jane Eyre and Fiddler on the Roof.

One sure-fire way to record the 5.1 version is to play it through an HDCP compliant home theater setup such as a Roku hooked up via HDMI to a 5.1 AV receiver, and then use a computer to record all six pre-Out RCA outputs from the back of the receiver as it plays. As far as I've seen, no one's figured out how to actually rip the bitstream coming from the Movies Anywhere server directly, only various ways to record it as it plays live.

Joseph is looking more and more like his old man. I didn't know they actually owned an apartment in London at the time, but I wouldn't be surprised -- given the amount of time Williams spent there. And of course, his financial ability to have homes everywhere.

I believe Williams did have a London apartment at one point.

Speak for yourself! The film is utterly captivating.

Fun (late-ish) WB swashbuckler (1951). Top production values, on par with 'The Sea Hawk'. Just right for easter monday!

I wouldn't want to dismiss anyone who hated the film by saying they were just adverse to risk-taking. There are probably some people out there like that, but for the majority of people who were dissatisfied it was less the fact that risks and subversions were made and more the individual story decisions. And I say this as someone who really liked the film, even loved it in some places. But I recognize it has some significant flaws, and if there is to be any peace in the fan community we would do well to not generalize too much.

Jerry Goldsmith's swan song... Looney Tunes Back in Action

You mean it needs to be re-arranged? Well, I guess you're doing that already with your brexit.