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There is no "dark side", he's just a top professional who requests a certain kind of behaviour and attitude from the people who work for/with him. He doesn't fire musicians just because they accidentally drop a pencil on the floor. What Don and Dan Higgins said in the clips above is that, if you're recording with JW, you as a player don't call to stop the take for any reason. JW might even ignore a performance error, a pencil dropping, or a noisy pageturn because he might like the energy and the feel of that particular take, so he might want to continue and get to the end. He's the "commander in chief" on the recording stage, so it's up to him calling the shots and decide if the take has to be stopped or not. He might prefer to do a full take, even if there are performance errors, check it, address the various issues, and then doing another full one. If you ends up making a zillion of stops during a single take, you lose more time, hence more money. And you also lose the musicality and the feeling of the actual performance from the players.

Williams has already loaded the Rogue One master tapes into a cannon and they're aimed at the sun.

SOURCE: THE RISE OF SKYWALKER: Rumored PHANTOM character revealed in THIS surprising behind-the-scenes photo

See, @Jurassic Shark gets it!

Chen will now discuss with you the 3 part structure of the story arc.

Not the Throne room again, mercy!

I love this, he slips in theme after theme, making it seem so effortless—

THIS rendition of the Force Theme! (at 4:43)

I agree with that. I just don't think Williams fired a person, Harvey Weinstein or Donald Trump-style, over a single incident like that. Like Don said, he reprimanded said concert master with a strict "I'll have to have the floor". If he was fired, someone else in the project must have done it to accomodate Williams, or he must have transgressed repeatedly. Anything else would be absurd. It would go against everyhing we know about Williams as a person.

Again, people here are not focusing on what was the point of Don Williams speaking about that episode: when you record with JW, you just focus on doing your best performance, because that's what you're requested to do. It's not up to you (even if you're concertmaster) to stop the take for any reason--"iron fist in a velvet glove" is probably an apt definition when it comes to JW (or any other great conductor) on the recording stage.

I prefer the Fifty Shades trilogy.

I liked that movie.

Finally, I opened my sealed copy of this magnificent 3CD set. I know Iam late, had the set since ages but never found the right kind of moment to enjoy the score untill I forced myself at 11pm last night. Wow what a journey. Gorgeous and breadthtaking. The sound is so improved here. The notes mention that it was also recorded at UCLA's Royce Hall. I suppose the Barbara Bonney vocals were recorded there as well as 'David's Arrival' cue. The sound is so vibrant in these recordings that it reminded me of the Williams Spielberg III recording (Alas that album never recorded the AI Themes) The plethora of unreleased material is riveting. Fabulous assembly by Matessino. Too bad this set is now sadly OOP. Hope everyone got their copy. BTW, my cover of the booklet seems a bit having a few printing smudges on it. Do you think LLL might have a few extra booklets? I remember reading once they replaced a few to those who had the same problem.

Anyone who dies off screen in anything is never dead!

Star Wars: Revenge of the Sith (OST) by John Williams The prequel OSTs continue to prove interesting in terms of the music they display and the way that it's compiled. The Main Title is cut off near the end by the exuberant Boys Into Battle cue, and while the transition isn't the most graceful, it's probably a lot easier than trying to fade it into the quieting strings (believe me, I've tried to do it!). Of course, while Attack of the Clones offered the most diverse musical palette in the saga, Revenge of the Sith has a number of uncharacteristic fancies that also set it apart. This is evident in the deft beauty of Anakin's Dream, especially the violin solo in the first minute (insert heart eyes emoticon). Battle of the Heroes and Anakin vs. Obi-Wan provide coverage for the sprawling action setpiece of the third act- the climactic lightsaber duel. It's not quite on the level of some other cues in this film, but I feel it's serves its purpose just fine. When listening in "complete form" it can get kind of repetitive though. Anakin's Betrayal is a two-part deal, opening with the lament for Order 66 and closing with a segment from the Orff reminiscent It Can't Be cue. Palpatine's Teachings is another peculiarity, throwing a line forward to the Snoke material from The Force Awakens and providing grounded support for a number of fan theories. I quite liked Grievous' theme when I first heard it, but now perhaps I think it's a little too much. I mean I love to hear the choir just go for it, but in terms of how it suits the character it might be a little overkill. The Immolation Scene continues the sorrowful adagio for strings idiom that seems to be something of a distinct attribute of Revenge of the Sith. The Birth of the Twins and Padme's Destiny always had a mysterious feeling to it, and the funeral procession closes the track quite nicely. Can't say I approve of the Throne Room in the End Credits, which is otherwise just a platform for Princess Leia's theme and more Battle of the Heroes. Attack of the Clones may very well boast the best album presentation of the Star Wars saga, but Revenge of the Sith isn't too far off. There are a few brief moments whose omittance is unfortunate (I'm thinking Arrival on Utapau and Droids, Swimming, Yoda Farewell), and perhaps some editing decisions could have been better, but this OST passes as sufficient in my books.

Also some Pachelbel!

Uh-huh.

The older I get, the sillier I find these comparisons. I'm perfectly happy enjoying The Lord of the Rings for what it is, and Star Wars for what it is. While they have many similarities (the influence of the story of The Lord of the Rings on Star Wars runs very deep indeed) they also have many distinctions. Star Wars has the space setting, it has familial ties across both sides of the conflict (an element that admittedly gets soapy if played too often, see Sequel Trilogy, The) and it introduces us to a world under one centralized rule: a good one, in the prequel trilogy; an evil one, in the first trilogy. Personally, I like The Lord of the Rings series much more. It has a greater sense of heft to it. There's not a single moment in Star Wars that touched my heart in a way that's anywhere near that of Sam picking Frodo up. Its just more profound that way. Even moments like the opening of the Hidden Door I find immensly moving to this day. Star Wars very rarely aims to move its audience, and its generally aiming at a younger demographic, anyway. I also find the fact that all six movies were made by the same producer/writer/director and the same core creative team, and that each trilogy was essentially produced as one big movie in three parts, to be more conducive to a sense of an overall arc than the Star Wars approach. The way the films change styles (in terms of direction) between entries like Star Wars and The Empire Strikes Back or between The Force Awakens and The Last Jedi is quite jarring, and you also get rather egregious continuity issues like Leia being Luke's sister all of a sudden, which is bollocks.

It's all about the meta commentary these days Richard.

They have crappy grab-and-go type of food. Burgers, fries, etc. They do have a salad bar also. But I think there's a nicer cafe somewhere too, if you go out of your way to look for it. There are also restaurants along the road leading to the venue, though I haven't tried many of them. The grounds are beautiful, and definitely worth taking extra time to walk around. You can also picnic there... some people go all out. Plus you can try and communicate with Highwood's ghost. Enjoy!

Huh huh. You said blow.

Best parts of the book!

It's been 30 years......I seem to remember a little bad synth in the Earthquake track. Pretty sure Jaws 2 was End Title/End Cast (or at least some of it.) I got rid of it when I bought the Varese Earthquake & Jaws 2 in 1990 (I was in the navy in San Diego - I used to hit Tower Records every weekend)

This one's for the forum. It will either save us or destroy us. @Kasey Kockroach you too.

Star Wars is filled with robots and yet it's Fantasy. It's Lord Of The Rings put in space. Well, I agree. I've always been was a bit baffled with why that movie is considered to be one of the best sci-fi works ever made. Not that it's bad, mind you, but to rank it amongst the very best science fiction movies?! Heck, can we even call it sci-fi? Maybe it arrived at 101? Personally, if I was Slant, I would have forgotten about it too. Slant ... Alex Slant.

It'd be funny if, while we're here talking about how the quote is getting blown out of proportion, the score to TROS actually did somehow have every single Star Wars theme in it.

Though I wouldn't put it past them to revive somebody else first as a semi red herring, and keep Hopper as a (sort of) surprise for a later episode.

Star Trek is neither!

And if not, then he certainly has enough now to have prevented Disney from re-issuing same ridiculous 40+ minute sequence in 2018 when LP time constraints are no longer an issue. It sticks out like a sore thumb next to the other five 70+ minute presentations. Help us Mike Matessino, you're our only help.

It's an opinion. Let's not start this.

More than the information about the upcoming STAR WARS score, I find it far more fascinating to observe Don speak. I've seen several of these videos before, and it's always interesting to see how similar he is to John in terms of voice colour and mannerisms, but with a rather different personality. More direct, more acerbic wit. It's like two worlds colliding.

I also have the Szell set of the Brahms symphonies. But I've never been able to really connect with most of Brahms' orchestral works. His 1st symphony is lovely, and the rest are (to borrow KK's term) appreciable enough, but most of the time they leave me rather cold. For some time I thought I might just not be a fan of Szell's interpretations, but I've come to accept that it's just how I think of Brahms, the recordings themselves seem very fine (and for Beethoven's 9th, Szell's recording might still be my favourite). I keep being positively surprised by Brahms' a-cappella choir works though (but I guess I'll never be a fan of his Requiem). On a different note, one of my favourite Michael Daugherty works has finally appeared on YouTube, or at least three of its four movements have: Sadly, the Jefferson movement is missing - my favourite along with Roosevelt.

Basing my list on known concert arrangements that have been performed live at least once: The rest of the Lincoln suite Circus Train Chase from Indiana Jones and the Last Crusade The full JFK suite The Sea Battle from The Adventures of Tintin Escape from the City and Epilogue from War of the Worlds

1:09 - 1:23

The piano embellishments at 1:00 and 1:06 Same vein. The piano counter-melodies

@Chewy @SteveMc

When hearing Raiders March and Short Round's Theme, nobody in their right mind would think "yeah, let's counterpoint these!". But the crazy bastard somehow made it work. In two different ways.

The last minute of this brings back some wonderful memories for me.

Well, I could just reply "Because it's fucking awesome. That's why" followed by this: Not much thought involved!

I'm sure this one has been mentioned already, but 2:13 to 2:44 of Anakin is Free is so effortlessly beautiful. It is a sound that I wish Williams had explored more because he always seems to nail it.

Speaking of JP, I always loved the part at 3:29 so much! When the cello make an ascension… just wow.

Indeed. And the ending fanfare is incredible

The short heroic statement of Anakin's theme that Williams squeezes in at 1:28:

That's a great one! Reminds me of this awesome moment from the same score (which I heard first):

The bit where he counterpoints the Force Theme with Duel of the Fates here. No idea why he did that, but personally I like it.

Yes, absolutely! They couldn't go back and change Murphy's original mixes but Matessino did a brilliant job remastering the score, cleaning up that omnipresent hiss on the OST while enhancing the finer details. The score will never have that crispness and clarity of several other JW scores from the same era, but that's a result of the recording (and was presumably intentional). The score has never sounded as good as it does here though; I can't imagine there's any improvement left to be made.