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  1. 37 points
  2. 23 points
    !!!!!!!!!!!!!!!!!!!!!! https://www.facebook.com/lalalandrecords/photos/a.181243738754/10158012784688755/ This is so cool! I can't wait! I love this score!
  3. 22 points
    Blame me for any typos in the booklet!
  4. 14 points
    All of you imbeciles have been so focused on decoding any information relating to the music that none of you noticed that THERE'S A FUCKING ALIEN IN THE BACKGROUND!!!!1
  5. 14 points
    Crap, I think you're right!
  6. 13 points
    In this article, I explore Williams' early days as a composer of concert stage music, taking a deeper look into his works written between the 1960s and the '70s, including an closer look at his almost-unknown "Symphony No.1". It's a fascinating journey into some of Williams' lesser-known works, his friendship with composer/conductor André Previn, and the overall approach to art music. https://thelegacyofjohnwilliams.com/2019/10/08/john-williams-early-concert-works/ It has been a thorough and long research for me, but absolutely fun and full of discoveries. Hope you will enjoy reading it.
  7. 12 points
    The state of this thread right now is the reason why I love this forum
  8. 12 points
    We all have our favourite scores and our favourite cues, but one of the best parts of Williams' scores is his detail to syncing with the picture itself. He regularly writes short, throwaway ideas that perfectly accompany a specific shot or handful of shots, as if something in the visuals specifically inspired him to write something out of the box. I loved this short 10 seconds of score in The Last Jedi from the first viewing: It's deceptively simple but incredibly clever. Williams repeats this three note fanfare but it never reaches climax. The first note is strained and dragged out, over dramatic shots of fast moving objects and panicked characters, yet the drama is focused squarely on this slow-moving bomber drifting towards its target (such excellent visual contrast). Cleverly, these 3 notes appear to be the first 3 notes of the Resistance March. Perfect for a scene that depicts the Resistance at their most desperate hour, unable to 'complete' the theme given the uncertainty of the events unfolding. Combine that with the orchestra swelling on the third note with increasing drama, building towards that fantastic final shot (from the reverse of the bomber hovering over this enormous ship) and you just know Williams wanted to plant something very specific for this short segment of the sequence. So what are your favourite short little moments like this, where Williams departs from the flow of a cue and just dives into a cool one-off idea?
  9. 12 points
    Cue names and numbers from the live-to-projection version (usually pretty accurate, though may not reflect revisions, tracking, etc.): Act I 1M1 Main Title—Starry Night—The Invasion of the Village 1M2 The First Order Approaches 1M3 The Arrival of Kylo Ren—Landing 1M5 The Scavenger 1M6-1M7 One Quarter Portion—Lunchtime With Rey 2M11 BB & Rey Meet 2M12 Poe Under Torture 2M14-2M15 I Can Fly Anything—The First Escape 2M16 Finn's Trek 2M17 That Lady with the Stick 2M18-3M20 Who's Luke Skywalker?—Follow Me—The Falcon Still Flies! 3M21-3M22 What's Your Name?—Kylo And His Sword 3M24 Hiding Under the Grate 3M26 You're Han Solo? 3M27 Rathtars Appear 3M28 The Rathtar Attack Part 1 3M29 The Rathtar Attack Part 2—Snoke 4M31 The Map Scene 4M32 Green Planet 4M33 You Got A Name? 4M34 I've Found The Droid 4M35 Maz On The Table 4M36-4M38 I Ran Into You—Into The Cellar 5M40 Rey's Dream 5M41 I Have To Get Back Act II 5M42 Entr'acte [live-to-projection only] 5M43-5M44 Sunbeam Strings—Find Rey!—Kylo Arrives At Battle 5M47 Good Guys Shooting—The Resistance Theme 5M48-5M49 The Abduction of Rey—Han & Leia Reunion—Finn and Poe, United 6M52 R2 in Hibernation—Parental Discussion 6M53 We See Rey 6M54 Bring Her to Me 6M55 You Will Remove These Restraints 6M56 Kylo's Rage! 6M57A Council Meeting—Preparing for the Mission—Ren In Cockpit 6M57B Ice Landing 6M58A Hey! 6M58B Rey On The Wall 6M59 To Lightspeed—The Bombing Run 6M59A Group Startles Rey 7M60 Hug Later 7M62 Shoot Out—On The Inside 7M65 Father and Son 7M67 It Is You—Scherzo For X-Wings—Rey vs. Ren 7M68-8M73-8M74 Flying Home—The Complete Map—Climbing The Mountain End Credits
  10. 12 points
  11. 11 points
    Who is the sexiest young celebrity these days? Anyone else dark and disturbed? Is the MCU cinema?
  12. 11 points
    A key element missing musically from the post-Williams Potter films (aside, of course, from Williams himself) were scores that didn't just support the films they accompanied but that also dared to interact with and engage in helping to create the visual narrative as well. I think a great example of this is in the first film when Harry first discovers the Mirror of Erised and looks into it to see his dead parents standing alongside him. The scene shows Harry's entire approach towards the mirror and his revelation. Now, Williams could have easily, and quite logically, chosen to start playing his wonderful family theme for the film right when we first make the discovery alongside Harry of what the mirror can do (i.e. when we first actually see his family - at 1:04) and it would have fit nicely and hit the proper emotional beats and what have you. Instead, Williams holds off, instead scoring Harry's approach and discovery with something a little more somber but still effective. It isn't until Harry himself reaches out and touches the mirror (1:40), physically both reaching out with longing for something he can't have and seemingly summoning the next bit of music in the process, that Williams allows the family theme to be heard. It's so subtle but so incredibly genius. You don't even really notice it if you're not paying attention to it. On one hand, you have the visuals dictating the score in that it isn't until we see Harry touch the mirror that we hear the theme. On the other, we also have the score interacting with the visuals and, by extension, dictating our own emotional experience because by delaying the usage of the theme Williams is picking and choosing when we, the viewer, get to feel that maximum emotional impact. On an even larger level, Williams doesn't use the theme until Harry himself, by virtue of being so overcome with longing that he is moved to physically react to what he is seeing, reaches his most emotional moment of the scene, and, by waiting until then to play the theme, so also allows us to share with Harry in that emotional moment. Just sublime.
  13. 10 points
  14. 10 points
    For me honestly, these new expansions of scores always makes me re-evaluate them, and I always end up loving the scores more than I did before. As much as I've loved JW's music most of my life, there's still a bunch of his older works that I, for whatever reason, didn't ever make part of my recurring listening routine. But then the expansions came out, for scores like The Cowboys, Stanley & Iris, Dracula... and now they are absolutely part of my regular listening rotation, and I can't believe I didn't listen to them more before. Minority Report falls into the same category! I actually listened to that OST a lot more than the other 3 I mentioned, mostly because it came out when I was going to movies and listening to new scores, not some older score from before I was born like the others. But after an initial burst of excitement, I feel off. Then the session leak came out, which re-interested me again for a while... but then I fell off again. But now with finally a proper presentation in properly mastered sound, I finally *get* the score top to bottom, and listen to it regularly. Seeing the film again helped a lot, as I had forgotten most details about it after I initially saw it. Seeing the emotions on-screen of Anderton and his wife grieving over the loss of Sean and how that experience ties into the entire story being told really help gel the whole score together, at least for me. It's also impressive to me that JW did this directly after Attack of the Clones and just before Harry Potter 2 and Catch Me If You Can. What a fertile year!
  15. 10 points
  16. 10 points
    But I do have a life. I have a great job, great friends, a family, a cat and a dog... And I also like to discuss Williams, movie scores and the parts of it that are obscure to me - that was the reason why I joined here.
  17. 10 points
    I was fortunate to arrange for Ms. Mutter to be on the IndyCast Magic of John Williams specials that I co-host. The show went live this morning. http://theindycast.com/the-magic-of-john-williams-45-anne-sophie-mutter/ During our interview (which is the first 35 mins of the special), we briefly talked about Marion’s theme - although she gave nothing away about encore that happened at the concert. (Our interview as on Wednesday, 11 September.) I do not think, though, based on her chat that this Raiders March was a specific Williams arrangement. I think she might have been more specific about that, and in listening to it, I feel she was just playing on top. I will see if I can find out more. She also hinted strongly about a possible violin concerto. She was a charming person to speak to, and she loves this music as has been evident in the album, at Tanglewood and on the Saturday Munich concert.
  18. 9 points
    And here's the track list! http://www.jwfan.com/?p=12572
  19. 9 points
    After listening to this release a ton over the summer, I became a massive fan of Williams' brooding sound and wish he had opportunities to explore it more across his career. And this score so perfectly balances it with outbursts of action music, and heartbreaking emotional music
  20. 9 points
    Disco Stu

    Star Wars Disenchantment

  21. 9 points
    I love how Williams scores the climax of The Last Jedi. There's a lot of great moments in it! (I'll be using clips from the albums) On 0:56 on The Spark, this sad and mournful rendition of Luke and Leia's theme from ROTJ, scoring their reunion over such terrible circunstances. They've lost Han, they've lost Ben to the dark side, the galaxy is on the verge of becoming ruled by tyrants - which is specially painful, considering how hard they fought against the Empire. Then, on 1:52, there's this brief, but very touching and emotional passage for strings, followed by another sad rendition of Han Solo and the Princess, as Luke gives to her sister the dices Han used on the Falcon - the three were briefly reunited, although on a tragic occasion. On 2:15, the music builds and builds and gets more powerful as Luke walks to the outside of the bunker to confront the entire First Order all by himself. I've read a lot of theories about that passage on The Spark - it's the Imperial March on a new setting, it has this and that theme, but what I know for sure is that Williams music helps elevate the scene and it's perfectly sincronized with the picture. On this unreleased bit, the music builds again, leading to a heroic version of Rey's Theme. Now, a bit of a story: I listened to the OST BEFORE watching the movie, which I did on December 17, its first Sunday. Also, before going to the theater, I was spoiled that Luke was going to die at the end. So, when I listen to this choral passage on The Last Jedi, I found it to be a little similar to Amistad or Schindler's List, and I thought it would actually score Luke's tragic demise - and the fact that the OST track followed with a grandiose performance of Kylo's theme, I was even more sure of that. However, I was pleasantly surprised. The choral stuff is not tragic, actually it is the contrary: it scores Rey lifting the rocks of the cavern and allowing the surviving Resistance soldiers to escape, which is preceded by Luke saying "and I won't be the last Jedi". I've give some thought on why Williams used the choir to score this, well, rebirth of the Jedi. Maybe it's a way of connecting the First Order era with the prequel era, an age during there were a lot of Jedi on the galaxy, and which had some more choral based music? Or it is his way of giving the rebirth of the Light Side of the Force a more religious tone? Then, Kylo attacks Luke at 1:50 on the OST track, but to no effect. And the music that scores the revelation of Luke's trick and that Kylo was fooled and blinded by his own hatred is pretty incredible - almost dance like, with percussion, piano, strings and choir, then concluding with a very indescribable fanfare for French horns. I mean, the music is not heroic neither triumphant, is almost like the score is from Kylo's point of view, expressing his rage and confusion. It's an emotionally complex scene, and I'm not sure how would a less talented composer would have approached it, but Williams certainly nails it.
  22. 9 points
    So here are some thoughts on the bonus tracks: Princess Leia's Theme Simply a gorgeous rendition of one of John William's most beautiful melodies. It really is different hearing it played by violin rather than horn, the new texture evokes a different feeling, perhaps elevating it to heights it never reached before - and that's saying something. The Chairman's Waltz The soundtrack to Memoirs Of A Geisha was never a top 10 score for me, and I've been struggling over the years trying to find the magic in the score, but never quite succeeding. Until now that is! Mutter's playing is passionate and melodic, the orchestra's playing is sublime. Markings John Williams's concert work can be difficult to get into, as it differs quite a bit from how he composes a soundtrack. This recording of Markings, however, changes that. Some of the string arrangements remind me of Empire Strikes Back, and Mutter's playing is haunting, dark, and mournful. There is a lot of longing in the piece and the way she plays it. It's beautiful. A Prayer For Peace I was really glad Mutter played this as an encore in the concert last week. It was quite something to hear Mutter and The Royal Philharmonic Orchestra play this beautiful piece from the movie Munich live in Munich, while the audience sat in awe of Mutter's playing under the setting sun. It's such a somber, well developed melody. This new arrangement is sublime, we'd be hard pressed to find a more beautiful version of it. Remembrances If we were to consider a selection of hidden gems of John Williams' themes, Remembrances would be up there with the best of them. At first glance, it doesn't present the listener with anything shockingly new compared to what we already know and love, but the longer we listen, John Williams and Anne-Sophie takes the listener into unknown territories of new arrangements. The Theme from Shindler's List makes and appearance towards the end, which is beautiful. It is clear that Anne-Sophie loves this piece, and her playing is shows she is a true virtuoso. An amazing performance. In summary, I can say that these bonus tracks won't disappoint anyone. They are more than just "bonus material" thrown together to justify an extra cash grab. They showcase some of the best writing of John Williams and some of the best playing of Anne-Sophie Mutter. From the interviews on the DVD, it is clear that Anne-Sophie has a lot of love for Princess Leia's Theme and Remebrances, so it's a bit strange to see them relegated to bonus tracks, At the very least, these two - together with The Chairman's Waltz - could have easily been on the standard edition without anyone batting an eye. In fact, I think it's a bit sad they aren't. Probably a lot of "casual" listeners will miss these gorgeous arrangements and melodies.
  23. 8 points
    Haven't been paying much attention to this thread, but are the sessions still going? Saw this today: I wonder if these 300 bars could be from TROS? Could be any film though really...
  24. 8 points

    *Gimli voice* Yessss. YESSSSSSSS.

    You can't possibly think the Marvel movies are even in the same league as something like Raiders, and the level of craftsmanship that went into making what is an actual classic - and no doubt well regarded by Marty.
  25. 8 points
    The whole score is quite Herrmannesque in its suspense scoring I feel. A lot of those climbing and falling ostinati figures and dark and cool textures. While certainly not exclusive to Herrmann they seem to convey his style a lot and Spielberg even cites Hitchcock's and Herrmann's collaboration as a sort of inspiration in the OST liner notes. What really ties the whole score together is Sean's theme which Williams himself mentions as somewhat atypical for film noir where everything is usually so detached emotionally. Here it forms the emotional and thematic core of the whole thing with a few central motifs supporting the action and some great setpiece material of which I think Spyders is my favourite. Williams remarked in the making of documentary how he wanted to convey the effect of something creepy crawling on you and you just wanted to get it off of you which I think he achieved admirably. It is interesting to see if they include the short alternate percussion passage for that sequence on this new release. That was one of the pieces missing from the sessions. On the whole the action music is a fine melding of Williams' own sensibilities and more modern action/thriller aesthetics. And as @Marian Schedenig said on the previous page, I hope that the sound is improved from the OST. But if it is Mike Matessino at the helm I think we can expect great things. Also this was very unexpected but so welcome news. I hope this bodes well for the likes of Amistad for future expansion.
  26. 8 points
    Our long nigh on unbearable drought of 4 months without a Williams expansion is finally over!
  27. 7 points
    Whoa can’t believe how much time has passed since the last time I logged in here! Waiting for this boxset has been a hell of a ride... and yeah, the fact almost every HP fan I know is still unaware this set exists, or doesn’t consider it a big deal honestly baffles me. Anyway, how are things here in JWFan? The funny thing is, I still haven’t put any disc in my CD player yet. But as soon as I put my hands on the FLAC files while I was still waiting for my package to arrive, I immediately created three continuous and chronological mixes of each HP soundtrack for me to listen to while I go out for a walk. HP3 was the hardest to put together because of all the alternates and overlapping source music, but I like how it turned up. I almost never listen to the separate tracks in the albums. I got married this June and went to Scotland afterwards with my wife. I must say, driving 900 miles through Scotland with the HP boxset blasting from the rental car speakers made our trip even more magical. When we stumbled upon the place where they shot the Hagrid Hut scenes in HP3, I was freaking out. It was perfect!
  28. 7 points
    The agent’s visitation will be on Sunday evening, with funeral to follow on Monday morning. The family asks that mourners donate to the charity of their choice in lieu of flowers.
  29. 7 points
    Once again must applaud LLL for their efforts at putting definitive presentations of scores out there. As an enthusiast of this later era Williams they've been especially generous to me. There is so much material in film music that deserves to be heard but sits in a drawer. Glad they're making it happen.
  30. 7 points
    Telling someone on the fan forum of a composer and his music to get a life for discussing said composer’s music. Makes sense.
  31. 7 points
    I just watched the CBS interview and it brought a tear to my eye ffs I love this man so much.
  32. 7 points
    The DVD is, as we expected, the interviews with John Willliams and Anne-Sophie Mutter. It's split up in two segments: a 30 min feature before recording has begun, and a 10 min feature two days into recording. They go through the tracks, talking about each piece's origin and how it makes them feel. It's light hearted and a bit go-by-the-numbers, but there are some good tidbits here and there. Whatever the conversation lacks in substance, they make up for with charm. They have great chemistry together and Mutter is super charming throughout the entire thing. There's really nothing said between them that I could divulge here that could be considered a spoiler, but I guess you can skip the next few paragraphs if you want to see the DVD completely unspoiled, as I thought I'd go through four or five points that I thought was interesting.
  33. 7 points
    I know *exactly* what you mean! Keep listening and it will happen And yea, I really love that ending rendition of the familiar Hedwig's Theme arrangement, it's performed just differently enough to make it feel fresh IMO
  34. 7 points
    Hi, everyone! I know many of you have been awaiting the arrival of the "Golden Age" of my podcast, and that moment has finally arrived! The "Jaws" episode (Episode 41) premiered earlier today. Listen to the episode here. I'm joined by music teacher Jeff Owens, who provided some very wonderful insight into why the main theme is so scary and intense. Though we don't go through every minute of the score, we do talk about some highlights that make this a masterclass in film scoring. I have a bigger appreciation for this score, which I did not think was possible. Enjoy!
  35. 7 points
    It will reveal all kinds of new information and stories we didn't already know, like "we need a better composer -- I know, but they're all dead" and that nobody expected the first STAR WARS film to be a success. So better brace yourselves!
  36. 6 points

    *Gimli voice* Yessss. YESSSSSSSS.

    Martin Scorsese says Marvel movies are 'not cinema' Someone in the industry had to say it and I can't think of anyone better!
  37. 6 points
    Nick Parker

    The Quick Question Thread

    That's the most profound thing I've seen all day!
  38. 6 points
    The visible section of 1M14 doesn't appear to feature any known themes: Some sections of the standard end credits beginning appear to be visible on some of the parts they're taping together. This is probably a flute part: As blurry as that is, at the end of the fourth line, I can even just make out the change back to 4/4! (That's where the part says 'A Little More Deliberate'.) 1m1a was 'Starry Night' in The Force Awakens, the music right after the main title.
  39. 6 points
    There is no middle ground here. The cell phone idiot was wrong, Mutter was right. I hope her example is followed.
  40. 6 points

    Black Friday 2019 JW prediction poll

    John Williams was hired to score this little indie film called Rise of the Skywalker. The OST is scheduled for December release but it probably won't get that much discussion.
  41. 6 points
  42. 6 points
    Don't you see that the source is Empire Magazine? Of course they will spread anti-jedi propaganda
  43. 6 points
    Oh Chen. Bless your heart. You're right, you're a big boy.
  44. 6 points

    "Temple of Doom" Question

    Yes, A portion of the 'Sanskrit Sacrifice' ritual-music was recorded at Symphony Hall, Boston, MA in May of 1983. It was reported by The Boston Globe.
  45. 6 points
    Posted it in another thread, but got buried soon. Found this today on YouTube via thx99 facebook: It's the full concert arrangement (Williams performed it once in Chicago in 2009). This is a reproduction made with VST instruments, but it's done tastefully well. It's the first time I hear this version.
  46. 6 points
    They should just reboot it, with Harrison Ford playing the role of a young Indiana Jones.
  47. 6 points

    September 22 JW Story on CBS Sunday Morning

    A streaming version of the broadcast is also featured on that site. Also, an extended transcript including items that didn't make the final broadcast (e.g., a very short bit on The Rise of Skywalker) can be found here: https://www.cbsnews.com/news/extended-transcript-john-williams-on-steven-spielberg-star-wars-and-the-power-of-music/
  48. 6 points

    September 22 JW Story on CBS Sunday Morning

    Session footage for Theme from Schindler's List... https://www.cbsnews.com/video/anne-sophie-mutter-and-john-williams-recording-schindlers-list/
  49. 6 points
    Friday night seems a good a night as any to crack this open.
  50. 6 points
    ...or renounce his attirement. No more turtlenecks!
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