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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 have been creating music for over 50 years. I am not famous, but my creations are still created! I have appreciated Johns music. I had just finished watching and listening to the movie , The Blue Max from 1966. You will note that that motif that was used is the same motif John used years later for the NBC news score! Sure doesn't seem like a coincidence. Just listen to the end credits to this movie. I don't like ripping off motifs.

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.

Longer solos!

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!

Yea, I was glad to see the notes mention which themes are in which cues in the snippet of Jeff's notes on the Warm Butter site

I love love LOVE love Batman, Returns, Scissorhands, and NBXM....but I've probably listened to M:I more than any of those. I might as well call them all tied for first place, but there's something M:I does that the other ones don't that I can't put my finger on. I suppose it's just a little more inventive, original, out there...it was composed on some sort of ridiculously short timescale (can't wait to see what Jeff Bond's notes say about this) and sometimes great art is made that way - with no time to second guess yourself, you just keep the pencil moving, and I suppose your subconscious takes over more and you come up with something you never would under "normal" conditions. Or something like that. I'd be curious to hear what Elfman thinks about the score, these days!

"The Court's Decision and End Credits" is a banger

Yeah but it wasn't even fun in a weird absurdist kinda way. It was just...k

Cukumbuh wawtah faw customah onwy!

This is top 10 Elfman material, easily. Karol

I've been waiting for this since I noticed cool music in the film that wasn't on the score CD!

Point Music was the name of the record label that released the OST https://en.wikipedia.org/wiki/Point_Music

Finally Podbean support!

Wish it could be $10 less without disc 1, but I'm happy to get this so oh well!

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.

Email

But it's not the film version of the cue! We can't relive that scene!

Regarding Star Trek Beyond I for one loved it the most of the three reboot films. I liked parts of Star Trek Into Darkness but over all it was a mess and just pissed me off because it was a re-write of The Wrath Of Khan which is my favorite Star Trek film. Cumberbatch was the wrong choice for Khan although in the comics it explained why he looked different compared to the original TOS Khan. Star Trek Beyond definitely felt a lot more closer to a TOS episode/movie than the other two. I still love all three scores though.

Yeah, I know. I sleep on the lawn because I cannot live in my house knowing a better builder could have followed the blueprint just a bit better.

But why would Chewbacca want to live on Endor with Ewoks, especially now this score gave him his own theme?

Tarantino movies also put me off 5 minutes in. His movies don't "click" for me, whatever that is. The self-indulgent B&W opening segment in Once Upon a Time in Hollywood, for example...

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-

Who Framed Roger Rabbit OST One of Silvestri's best. Maybe his best. Right up there with The Mummy Returns and Back to the Future Part III. The contemplative and cool jazzy Eddie theme, wild Carl Stalling flavored cartoon music and his signature style of zany 80s action and suspense material, memorable and unintrusive toon songs all come together for a very entertaining listen.

Nice! I interviewed Mauceri in Vienna a few years ago. Really nice fellow, with the typical American confidence and eloquence in the way he elaborated on a subject.

I assure you all that this new poster is not me, but, that being said, I can't speak for Ii2.

Here's a new episode of Legacy Conversations podcast: my guest for the episode is the esteemed John Mauceri https://thelegacyofjohnwilliams.com/2019/09/09/john-mauceri-podcast Conductor, educator, writer and lecturer, John Mauceri is an extraordinary artist and one of the great champions of great film music in concert hall. In this long and engaging conversation, the Founding Director of the Hollywood Bowl Orchestra talks about history and aesthetic of movie music of the Golden Age era of Hollywood, how it led to the rise of John Williams and the role of the composer in the history of Hollywood’s film music. I hope you'll enjoy listening to this as much as I did doing it. Finally, the podcast is now available on Podbean and soon will be also on Apple Podcast! Subscribe to the RSS feed and don't miss an episode: https://thelegacyofjohnwilliams.podbean.com/

Dimitri Shostakovich and Benjamin Britten.

Khan's a boring monotone British guy instead of a flamboyant Mexican. They lost me.

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.

Spielberg's mother was an amateur classical pianist, so classical music was part of his everyday family life. Back in the 1950s, it wasn't very uncommon for middle-class families to have a piano at home and also listening to classical music. Now it's definitely a dying breed, especially among American directors.

Thanks mate, must have been a manufacturing defect in a small batch of this set. I sent LLL an email about it and they responded super fast. They sent a replacement disc in the mail almost immediately. First class customer service from LLL, downright legends @Arpy FYI, if you were considering the same. And I wasn't sure where to post this but I made a custom cover art for Batman Returns. I figured the sequel deserved its own artwork distinct from the Batman artwork used for the first score. Enjoy!

I saw that with Hitch in London. We both liked it. Rusty Nail is a great villain. He's like Jason!