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No. Not that we know at least. Except on the harp, but she usually wasn't included in official group photos of the orchestra. Anyway, I've finally found some time to start going through my photos. Here are some shots from Tanglewood. Excuse the blurry Williams shots, the Shed was a bit dark for my travel zoom lens. Tanglewood looks rather like Hogwarts... The Koussevitzky bust commissioned by Williams. John Williams in his natural habitat. A dendrophile's dream. People queuing for lawn seats. The Koussevitzky shed a few hours... ...and one hour before the concert.

The original is on Youtube, though! I like that Jack Sheldon, who worked with Williams again on The Long Goodbye, sings on the record.

Williams did a couple of albums for Shelly Manne in the mid-60's, arranging Gershwin tunes and My Fair Lady for the Manne jazz combo. Both set of arrangements have enjoyed re-recordings in the 00's, the My Fair Lady one with Williams conducting at Tanglewood, was released digitally through BSO Classics, but it seems to be OOP.

I don't think there was ever such a distinct change in sound between two Star Wars scores within the same trilogy. With The Force Awakens, I forgot there was music in the film until the very end. With The Last Jedi, the music was a presence from the very first minute, and really throughout the picture. Delightful.

Danny Elfman: *looks at Mission:Impossible CD* *looks at last five years of film scores* *sighs, pours straight rum, tips glass to Mission:Impossible, slams entire thing, then gets to work on Fifty Shades spin-off trilogy*

Yes, it's both incredibly respectful of the original music and yet it sounds absolutely like nothing else in this genre. It's flamboyant and witty and there's a sense of dance-like quality to the heist sequences that's very different from anything else in the series. It's bit too quirky for an American action thriller type of film and I love that. It's also amazing how many little themes and motifs Elfman uses on top of the two Schifrin themes and how they're stacked one on top of another as the film reaches its climax in Train Time. Karol

Lessee...Black Beauty, The Nightmare Before Christmas, Sommersby, Batman Returns...I guess Mission: Impossible might just barely squeak in at #5 for me, though it's got a lot of good competition certainly. Top 10 is easier to say. Yavar

He's still very active. He does concerts for Danny Elfman (he's right now in Paris for a few Elfman concerts at the Philharmonie de Paris). And he still conducts frequently classical music concerts.

While I find the performances on TFA and TLJ to be top-tier, my dream would be for William to fly to London or the LSO come to LA and record a definitive 2 (3?) CD set of all the SW concert pieces.

http://secure.campaigner.com/csb/Public/show/4our-1btmti--mfh5c-ag4f6q0 Instant purchase for me! At first glance has everything from the leak. I guess the life bit of score in the end credits was tracked/edited after all.

I'm seeing Alice in Wonderland LTP this saturday and Elfman will be there. I'll try to post some pictures if anyone is interested. https://philharmoniedeparis.fr/en/activity/cine-concert/20244-alice-au-pays-des-merveilles Also attending on Sunday DANNY ELFMAN SYMPHONIQUE https://philharmoniedeparis.fr/en/activity/concert/20245-danny-elfman-symphonique

There it is, finally: https://podcasts.apple.com/it/podcast/the-legacy-of-john-williams-podcast/id1479008139?l=en This is direct link to the RSS Feed: https://feed.podbean.com/thelegacyofjohnwilliams/feed.xml You can also use the PodBean app to listen to the show: https://www.podbean.com/podcast-app-iphone-android-mobile

I can see where @Montre is coming from. Hearing TFA live was a revelation. All those classic Williams Star Wars flourishes are all over that score, but are practically inaudible in the film thanks to the terrible sound mix (and the music mix itself does no favours to balancing all the voices in the orchestra). TLJ was a huge improvement on both fronts. Score was treated far better by the sound mixers (no doubt JW's public comments helped his cause), and the mix of the score itself was greatly improved and less weighted towards the punchy dry brass.

You people are fucking insane!

It didn't take long at all to compose the NBC News theme. He just listened to The Blue Max and had his theme already composed.

I bought that album at an actual record store when I was in my late teens just because I wanted to hear Dizzy's take on "Desafinado." My one bossa nova hot take is that the definitive version of that song is the Getz/Byrd recording not the Getz/Gilberto one.

Right right. He added orchestration, but it’s essentially the same adaptation of the original structurally.

Just checking now. So for the 1965 recording he wrote it for the usual big band-ish ensemble he was doing at the time (see albums like "Gillespiana"), whereas the 2005 one, as I suspected, is more a straight-up orchestral piece in line with the rest of the series, utilizing strings, woodwinds, etc.

Now I don't understand you. Did I claim anywhere the themes were hard to hear? I just said it was nice to see Jeff talking about them in the notes. Most booklets don't even have a cue-by-cue section these days!

By the way, that one was available on CD in Japan. And yes, I also greatly enjoy Sheldon performances.

I forgive him as long as he produces interesting concert works to atone for those. Karol

"Let's hear this kitten purr!" With the case of Picard, I honestly feel the seeds of his character getting all loose was planted in the series. I love Picard but it got irritating to see just how multi-faceted and skilled he was at...well, everything.

I think for most people the appeal of a television series being adapted into a movie is the opportunity to see the characters and settings tell a story larger in scope and chutzpah than an average TV episode could allow.

I’m gonna stick with this side too. Just because it sounds Korngold-like doesn’t mean it’s a direct adaptation of that exact piece.

I just pretend to be an American!

I allowed myself to correct your post!

Our @Marcus?

Good point! One point to Disco Stu.

A wonderful episode, Maurizio! Congratulations!

Thanks to the internet, every movie is great now.

Anyone else think Generations is not only the best looking one, but the most emblematic of everything missing from modern Star Trek? It's really the antithesis of the Prime timeline movies. It's also better than Star Wars movies.

Generations is the best looking Trek film. The Enterprise was never so inviting.

Early Pink Floyd isn't quite as ravishing as late Pink Floyd, but still darn fascinating.

Generations is one of my favorites and First Contact is a good sci-fi action flick. Insurrection is troubled and mostly feels like a letdown after the previous one (They really switched gears from a badass slick suspenseful space Die Hardian adventure to the lame hippie planet) while still watchable and Nemesis is a weird yet also watchable mess.

Will Poulter will always be that kid from Son of Rambo to me! I think he'll do a fine job whoever he's cast as - some are already speculating he'll be playing Elrond!

Yuck, only Giacchino would have such poor taste to ruin chocolate and vanilla ice cream with strawberry.

UPDATE: September 9, 2019 THE FLAG SHIP SHOW: HIDDEN SOUNDTRACK GEMS http://www.cinematicsound.net/the-flag-ship-show-hidden-soundtrack-gems/ “I’m back in the saddle again” – Aerosmith It’s been seven months since I last prepared an episode of CINEMATIC SOUND RADIO. I apologize for those that were interested in hearing the rest of my favourite scores of 2018. I’ll most likely just publish a quick blog post with the rest of my list for those that are interested. The reasons for my absence has been well documented on social media (everything ranging from depression to anxiety to work to just basically burning out). Yes, I almost quit completely but the outpouring of support showed me that you deserved better and that I should keep this show going. First of all, I just want to thank Jason Drury, Brandon Shea-Mutala, Eric Silver, Robert Daniels, and Randy Andrews for keeping the content fresh during my absence. This isn’t the first time they’ve saved my bacon and it probably won’t be the last. Without them, this show, this site would be dead. By the way, I just published a new hosts and talents bio page. We’ve never had one so take a peek and learn a little about your favourite CINEMATIC SOUND RADIO talent. And of course, thank you, the listener for stick by me and the program. Even in my absence, you’ve managed to make 2019 a record-breaking year for downloads/listens. As it stands right now our downloads/listens is up 8% from last year. Unfortunately, our audience size has dwindled in my absence. Let’s remedy that. This show took me months to prepare but it’s finally done and I’m eager to do more. Therefore, I thought I’d present something special for you to celebrate my return to podcasting. Today you’ll hear music from albums that are a bit difficult to acquire. On the program, you are going to hear selections from hidden soundtrack gems like SLIPSTREAM (Bernstein), U-571 (Marvin), PHENOMENON (Newman), CAPTAIN POWER AND THE SOLDIERS OF THE FUTURE (Guttman), INSPECTOR GADGET (Debney) and WHITE FANG 2: MYTH OF THE WHITE WOLF (Debney) Enjoy! ----- The show is available via iTunes, Spotify, Google Play & Stitcher http://apple.co/29zAyyL | https://spoti.fi/2PfYHPb | http://bit.ly/1ZrG6Lf | http://bit.ly/2bIQlM3 Social Networks http://www.facebook.com/cinematicsound | http://www.twitter.com/cinsoundradio Enjoy! -Erik-

Anyone else remember that brutal robot boss in Xizor's castle that eventually was just a floating head creeping around the maze shooting a deadly beam at you?

I once had a dream where a hamburger was eating me.

One of the most important films and scores of my life. I've written two articles, one on the film and one on the score, that elaborate a bit. The latter just a month ago, as a celebration of its 30th anniversary. Both in Norwegian (Google Translate required): Film: https://montages.no/2011/12/the-abyss-1989/ Soundtrack: http://celluloidtunes.no/the-abyss-alan-silvestri/ THE ABYSS is one of three scores for which I credit my interest in film music and soundtracks. A cornerstone.

Definitely at least one coming. Great post.

You can just imagine the outrage if this sophisticated ping pong of rape drama, societal satire and character study would have been made in Hollywood today. But Paul Verhoeven has always been the master of the ambiguous which is not in vogue right now and in his old adage he's probably better than ever - less flashier, but as extreme. Verhoeven didn't find an american actress for 'Elle', none of Hollywood's female stars wanted to play a middle-aged woman who is raped but not only refrains from reporting it, she actively refuses to be a victim. She checks for HIV at lunch, buys pepper spray and only a few days later tells her ex-husband and business associate between champagne and appetizer that she has been abused. Which is of course an invitation to outrage, how a movie could dare to play down the traumatic violence of a rape. In fact, at the first portrayal of the rape (it cold-starts the movie) is irritating. But the attack will be shown two more times, and each time it's filmed a bit differently, reflecting Huppert's changing reflection of reality. But this movie goes much further, not only with a tangled web of interpersonal relations but deft satire of modern bonhomie, french in this incarnation. I was intrigued how the movie would resolve this and came away chuckling. 'Elle' reveals the shallowness of the old accusations of misogyny against Verhoeven (whose weary worldview more than anything exposes weaknesses of both sexes, male more so): none of the male protagonists amount to much, they all hide behind offensively displayed masculinity - and sexuality - but in reality suffer from of self-doubt and weakness. All the more fitting that at the end of the film, it is two women that go together into the horizon, leaving the men behind (matter-of-factly and figuratively). That Verhoeven is able to 'hide' this pointed satire in a deliberately exaggerated thriller construction is 'Elle's claim to fame: only through its sharpened depiction the movie is able to expose the ill cracks of relationships in modern western society - and there are a myriad of interesting images going on, on top of it. As such, it was a refreshing change of pace to the behavioral codes attached to such things in many tv shows and dramas. As Verhoeven is 81 years now, i sincerely hope there's another one or two movies in him.

Learning to play a theme from The Book Thief on piano a few years back (Five years ago tomorrow!) really increased my appreciation for that theme and for the score in general.

It's not that hard to follow when it's basically delivered in major exposition scenes. Although, as much as I love the film, Khan's motivations and presence in the film were severely lacking like we somehow missed a whole film's worth of why we should care about him to begin with.

Yep, I prefer the sound of ROTJ-ROTS more than SW/ESB/TFA. TPM is as close to a perfect recording as I've heard (as heard on the UE, not the muddier OST). A shame all the scores have been treated so poorly on album when it comes to AQ. Hopefully I'll be able to re-evaluate my stance once I hear SW and ESB more accurately (please help us, Mike). TFA is probably my least favourite recording & mix of the lot. I'm not sure if that's just Sony (TLJ is a huge improvement in the same room) or was a creative choice, but it doesn't work for me on the OST.

Yes! I'm with Hamill on this. Star Wars deserves American musicians! *salutes* *single tear runs down cheek*

Fixed And added Empire and Jedi as well:

Series based on the art of Ralph McQuarrie. Alternates:

Regarding JW's symphony: I can tell JWfan, with complete confidence that it either will be released, or it won't. More than this, I am unable to say.