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https://www.linkedin.com/pulse/sandy-decrescents-impact-motion-pictures-industry-paksy-plackis-cheng

That was a really nice interview.

There would be something satisfying about Williams recording what he thinks should be the whole score in June and telling JJ on the way out: "That's the score. You're welcome."

Awesome news! So MM was actually referring to the recording sessions when he said the schedule was still being worked out and suggested June was Williams' start date. So if we assume Williams has written ~50 minutes thus far, he should be well over an hour by the start of June. That means enough score for a two day batch of 2x3 hour sessions (based on Sandy's estimate of John averaging 15 minutes recorded per 3 hour session). Just think, an hour of new Star Wars music is only a month away from being performed by the Maestro's hand. Brilliant! ... and that leaves him 4 months to finish all JJ's rewrites!

"Track the rest with 'Escape from Naboo.'"

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Well that’s it really - having the short cues cleanly presented means that anyone with even a very basic knowledge of audio sequencing can edit a listening experience that best suits them. That’s not so easy to do when the cues are already merged into each other

I take nothing for granted.

Gustavo Dudamel will helm the recording sessions of Spielberg's West Side Story: https://amblin.com/press/renowned-conductor-gustavo-dudamel-to-helm-recording-of-steven-spielbergs-west-side-story

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Mike assembles the albums the way he wants them. They are then sent to JW for approval, and JW can certainly asked for things to be moved around, separated cues to be joined, joined cues to be separated, whatever he wants to ask for. As for the original intentions of the Meeting Aragog / Spiders Attack stuff when he was writing for the film, I cannot recall off the top of my head any details about that area, and the original sketches haven't leaked which usually have segues written into them when intended (the orchestrated conductor's score sheets that leak seem to never have segue notes written on them)

The death of the CD, together with decline of good taste? And of course, a lot of it is probably somehow Hanz' fault!

Here’s 25 minutes, baby. Peace!

As part of of the ongoing series "Legacy Conversations", here's an exclusive interview with one of America’s most talented, lively and creative living conductors: Leonard Slatkin. https://thelegacyofjohnwilliams.com/2019/05/16/leonard-slatkin-podcast/ In this interview, Maestro Slatkin offers his own insightful comments about the music and the legacy of his dear friend John Williams. Hope you'll enjoy!

THE POST THE FILM 2017’s The Post marks Steven Spielberg’s and John Williams’ 28th collaboration, and it stands as their most recent collective project. While it’s certainly not the most famous or memorable of their movies together (although it needn’t be anyways), the venture offers a top-tier film and score. I was disappointed in The Post upon my first viewing; it felt like a lacklustre showing on a few levels, but this was an opinion based merely on poor circumstances. I had hit play on the movie at 11:30 pm one night in December and fell asleep before things could get too interesting. I eventually finished it, but something about the nature of the showing disrupted my reception of it. So, after a few months I decided to give it another shot, after I gave it a dull two and a half stars out of five. I assure you that my thoughts have changed, and for the better, no less. It was terribly hard to initially push back the Oscar-bait stigma that seeped into my mind from various comments and articles. In fact, the first time I completely believed in this notion, and I still must admit that The Post carries all the characteristics that would support such a claim. I mean, come on! Spielberg directing a pro-press drama starring Meryl Streep and Tom Hanks, released in a time where the media is being depicted by some (or one) of the world’s most influential person(s) as an enemy to society? It’s screaming for golden statues, especially the way the Oscars seemed to have turned in awarding socially relevant cinema despite the craftmanship perhaps being subpar to that of other flicks that don’t make such statements. However, this time I’ve learned to look past that, because such an ensemble as this should be embraced rather than scorned. The Post follows The Washington Post, then a local newspaper for the upper class, in a debacle against the Nixon administration after an information leak revealed 22 years of government secrets regarding American involvement in Vietnam. Owner and publisher of The Washington Post, Katharine Graham (Meryl Streep), prepares to launch her business in to the stock market as a means of strengthening financial assets. The mantra is that quality and profitability go “hand in hand". Streep is certainly an incredible actress, and I feel that this was a very strong performance on her part. Editor-in-chief Ben Bradlee (Tom Hanks) knows what he wants to cover and who he wants to cover it. His introductory scenes see him as being quick-tempered and sharp. He’ll tell you what to do, not the other way around. I used to feel that the big names weighed down their surroundings, at least in this case, but my views have changed in that regard too. The two leads are the front runners of the cast, obviously. Supporting actors include Sarah Paulson, Bob Odenkirk, Tracy Letts, Bradley Whittford, and Bruce Greenwood, whose role as Secretary of Defense Robert McNamara is spot-on. Visually The Post is not particularly striking, at least not at first glance. However, there are plenty of camera movements (eg. following shots to perfection, gradual facial zoom-ins, etc.) that make up a delightful aspect of this movie, which is no surprise coming from Spielberg and Kaminski. There was one steady shot that really stood out to me, where the camera would continuously circle around a conversation in perfect harmony with the movements of the actors and the energy of the scenario. In brief, many of scenes were executed splendidly. The lighting, often distinct whites, warm yellows, or electric blues was quite appealing, and did its job well enough. There’s a general air of visual ambience to each scene. Kaminski states in an interview with Matt Grobar, “As filmmakers, we had to reflect that energy in the way we photographed the movie, knowing that the camera was going to move a lot. I had to create an environment where the actors were not inhibited by the lighting equipment within the frame, so they could go wherever they wanted, and the camera would follow them.” (See: https://deadline.com/2018/01/the-post-janusz-kaminski-cinematography-interview-news-1202230114/) The script, which I previously dismissed as tiring, is solid. At times, there’s hardly any room to breathe though; there are multiple scenes where characters talk over each other, which can either be a handicap or a tension creator. Other times, there’s a little more space. There’s a fair amount of good, constructive dialogue, and a smaller number of throwaway lines than I recalled. I would even go so far as to say that there were a few bold statements, but that was certainly to be expected. Spielberg’s typical integration of the troubled or dysfunctional family is not at all a major theme. Although there are very minor family traits, they don’t really depict the same honest human struggle that we’ve come to expect. It’s more of an independent personal journey for Graham to find her voice and for Bradlee to make a choice (granted, Katherine, as publisher and owner, has the final say). Of course, Spielberg can only press the family point so much, and he doesn’t have a great choice when it comes to basing a film off historical fact rather than entire fiction. Nonetheless, he somehow managed to do so with, say, Bridge of Spies and Lincoln, but those were certainly more allowing for such a thing compared to The Post. It’s easy to understand ways that some may not enjoy The Post, because I probably had similar thoughts at one point. But there’s a delightful appreciation of energy (a refreshing, non-action energy that we don’t often get in cinema nowadays) that’s consequential of Spielberg and Kaminski behind the camera with Streep and Hanks in front of it. It should be elaborated upon that there is next to no action, save the opening night battle in the Vietnam jungle, which is very concise, but reminds one of Spielberg’s impeccable on-screen battle brilliance (a la Saving Private Ryan). Of course, the coined Spielberg transition, which never ceases to be deliciously clever, is one of sound rather than images, and it’s quite good (although it may go unnoticed at first). The sonance essentially carries over from firing weaponry to the whir of a helicopter’s propellers, and it does so quite splendidly. The Post is well directed, and it is evident without watching any behind the scenes clips. It’s a far cry from being Spielberg’s best, but it’s just as far from being his worst. On a directorial level, as far as Spielberg himself is concerned, it’s a pretty spot-on average showing, and yet it’s still a better film than others best. RATING: **** out of ***** THE SCORE *Please note that all John Williams quotes are copied out based off my own hearing (aka they may not be word for word) from the "Arts & Entertainment: The Score" bonus feature on the DVD or Blu-Ray release of the film. There are some gaps and some edited out parts because I couldn't make out the words. The score to The Post is an enduring favourite for me. Since its release I've listened to it many times, and I always enjoy it. Williams noted that: "...We don't think of it as a particularly music-driven film as an adventure would be. But there are situations and scenes in The Post where the orchestra does provide a rhythm and even, you could say, an atmosphere of the printing process." Beginning with The Papers, a low and brooding cue that even throws in some quiet retro synths. Williams said that: "A couple of scenes have very light computerized electronic effects which are used […] where we see Ellsberg reading the Pentagon Papers, and in that 4 minutes or so, you hear orchestra again and then you hear electronics again, and your hear orchestra again, and electronics- it isn't as precise as electronics for the former Presidents and orchestra for Ellsberg, it's more […] a (morph?) shaping for computerized effect and what the orchestra's doing." The pinnacle track, The Presses Roll, embraces warm and vibrant string passages and an orchestral sound. Nixon's Order takes the energy down a tad, and begins to usher in shades of Williams familiar Americana scoring style. The Oak Room, 1971 and Two Martini Lunch are two lovely piano pieces that are so very warm and welcoming. Who can deny the energy and vigor of Setting the Type, which introduces an allegro con brio motif, which I feel had potential to be developed into something more stylistically fugal. It certainly bounces around the string section to great effect. Mother and Daughter is perhaps the most "Williams - Americana" track on the album, employing a lovely piano melody before bringing in the strings for a final passage. Scanning the Papers and Deciding to Publish make up another facet of the score's personality, one that includes a bit more suspense. It's really one of my favourite Williams cues of this nature. Williams said: "Among other things, this film has, to my eyes, a near perfect performance by Meryl Streep. There's one particular scene where she makes the decision to go ahead and print this material, and the camera's on her face, which tells a lot of story. We don't have to do much music, but we have to do something. And there's a long, very quiet accompaniment to her telephone call, and Steven was crazy about that: how much could we increase volume and speed as the camera pulls in to here eyes? And it becomes a very, very important part of the physiological aspect that takes place when we have to deal with something like that." The finale, The Court's Decision and End Credits, is an appropriately arranged culmination of the score, although I believe the End Credits are just edited segments from other cues. The Post has been one of my most frequently listened to scores of the last year. Williams writing for the string section, the rest of the orchestra (as Tom Hanks said when he visited the recording sessions, "More French horns, John."), and the piano make the album very relistenable. To close, Williams reminded me of his wonderful humility and great friendship with Steven Spielberg by saying: "I hope that what I've done for his projects has been and will be remotely worthy of what he offers me." RATING: ***** out of *****

Oh, right. I'd forgotten I bought the box set to get it.

Re-watched The Post. My thoughts, much changed since the last time, are here:

Judged holistically, I think SW is the greater achievement but it's apples and oranges really.

Damn, wish I had that little piece of information before the magazine went to press. Oh well. Thanks anyway! At least I think I got their first work together right as director and composer ("The Image Merchants" from KRAFT MYSTERY).

It's really happening. Nine Star Wars scores from the maestro.

It's a bit sad that their two best films (Ratatouille and Wall-E) are so low on that list.

From the late 90s through early 2000s, specialty labels releasing scores from the catalog of big film studios was still a new thing, no label was putting out THAT many of them per month, so many releases were snapped up quickly. From the mid/late 2000s onward, more film studios opened up their vaults, leading to many labels releasing scores on a regular basis (LLL and Intrada averaged 4 a month for a very long time) so less individual titles sold out quickly as there was many more titles for people to choose from

There was no oversight. It was a choice. Whenever possible, original OST tracks were kept as-is as long as it still made musical sense. On the OST Meeting Aragog was in its own track with its own clean opening and ending, and had no internal edits, so it made sense to keep it that way. The only other option would be combining Follow The Spiders and Meeting Aragog and The Spiders Attack into one long mega-track, and that wasn't desirable.

Such a great story, I loved hearing Sandy's journey to where she is now, definitely inspiring for anyone interested in the field. I'm also jealous - getting to work with all those amazing artists! Here's hoping Williams can finish the score! You go Johnny!

Cutthroat Island and Lair. God damn it, John, my ears! Karol

ABC Classic FM are doing a "Composer Countdown" this month and next. Each presenter on the station has been given the opportunity to present a program of the composer of their choice. Dan Golding, who presents the "Screen Sounds" program on Saturday nights chose to do a feature on the great Maestro himself. Not sure if it's accessible from outside of Australia, but if it is, then to those who are curious, enjoy! https://www.abc.net.au/classic/abc-classic-specials/presenter-favourite-dan-golding-john-williams/11103476

That was a neat little summary of John Williams' most famous music and an appreciation for him and his diverse talent and I like how Golding managed to include The Epilogue from War of the Worlds among all the usual suspects from Williams' greatest hits. It would be wonderful if someone were to make a show or shows on Williams' lesser known scores that are too often eclipsed by the big blockbusters and show off his versatility and craft in a wider perspective.

I was asked to write a short demo for a short film project coming up. I whipped up a bit of a David Arnold Bond/Giacchino Medal of Honor pastiche. It was a lot of fun, I might flesh it out when I get the chance. Enjoy!

“C’mon baby, come to the session baby” Do you think she called him daddy? I would’ve.

Hahaha, she's got a lot of juicy stories, I'm sure. She also confirms Williams is a filthy sexist.

I don’t see how they could possibly be one-and-done by June.

That John Barry shade!

Unexpected source. So funny how this stuff will sometimes just pop up wherever.

It's not very fun not having a lightsaber when everyone else has a lightsaber and I get these guns that look like little hairdryers!

Yes. It finally became available as a bonus feature on the Blu-ray release of the documentary ALTMAN (2014). It's a charming little piece; I rewatched it recently for my upcoming article on the Altman/Williams collaboration for a Norwegian magazine. John Williams is credited alongside his band, as "John Williams and the Purple Derbys". This used to be the most obscure and hardest-to-find entry in JW's filmography. Now that honour belongs solely to STORY OF A WOMAN.

I listen to the music and find it limits my enjoyment if it ends too quickly. I don't approach the music from the same cerebral angle that you do (which I have no problem with, by the way). However if a short cue serves the film, that is all that matters, that is after all its sole purpose.

This show is too dark and disturbing for me.

Is this a code? Are you asking for help? Do one of the British members need to call 999?

Yes.

Well Intrada got rid of their “limited release of xxxx copies” business model and that radically changed how fast their releases sell. Some people buy stuff just because it’s rare and in high demand. People would buy tens of copies of a long awaited expansion just so they could sell it for $100 a pop once it sold out.

I'm sure he takes that into account. He will still have plenty of time.

The City of Prague re-recorded Hedwig's Theme, Harry's Wondrous World and Nimbus 2000. Stay away from Hedwig's Theme.

Sleepers by John Williams Star Wars Episode III: Revenge of the Sith by John Williams War of the Worlds by John Williams

I should hope not.

Ludwig Goransson - Black Panther (2018) Source: leaked sessions Wakanda Origins Wakanda Origins ALT Njobu Royal Talon Fighter He Is With Us Wakanda Warrior Falls Mbaku Waterfall Fight Ancestral Plane Killmonger Flight to Lab Casino Brawl Busan Car Chase Busan Skyline Questioning Claw Outsider The Lost Prince Is This Wakanda Killmonger's Challenge Killmonger vs T'Challa Loyal to the Throne Killmonger's Dream Stealing The Herb Entering Jabariland Wake Up T'Challa A Moment for Mbaku The Battle on Great Mound Glory to Bast The Return of Mbaku King Slayer A New Day Spaceship Bugatti United Nations United Nations - End Credits

Hey Everyone I wrote Some Horn Etudes in Cinematic Style - This one is Kinda John Barry John Williams Style appreciate the likes and subscribes !

Double Indemnity Julius Caesar Lust for Life A Time to Love and a Time to Die Providence Eye of the Needle

Haven't seen the film but the score is fantastic, easily the second best score of the year (behind Silvestri's Replay Player One). Very VERY easily the best MCU score.

For those who don't know, this is the seventh chapter in the Rocky series, this time presenting Rocky Balboa as a trainer and mentor to Adonis Johnson, the son of his late friend and former rival Apollo Creed. I have yet to hear the score in the film but I have the feeling that Ludwig Goransson has nailed it. I'm really enjoying the blend of styles in most of the tracks on the album, with or without the cameos of Conti's themes, and I absolutely love the main theme! Oh and even at the FSM board there seems to be a consensus that this is one of the best scores of 2015. Here are a couple of examples: (Disregard the dialogue at the beginning)