Loert

I think it's more like:

Been nice knowing you all!

I think we're missing the forest for the trees a bit...I don't claim to have the full scores for KOTCS and Dial of Destiny so I can't say for certain whether each instrument is playing exactly the same notes. But the basic musical idea is clearly the same.

The one that jumped out at me the most is the similarity between the very ending of the clip and 1:52 from Indy's Great Escape (KOTCS): It's note-for-note self-plagiarisation. But then, this isn't the first time JW has done this...like, erm, the first 34 seconds of the track linked above is a good example. Though on the other hand, that seems more of a deliberate throwback, whereas the ending snippet in the new clip seems more like a "lift". There is no answer to this question. What is certainly true is that action music tends to have more notes per second than, say, a love scene. Therefore it might be more strenuous to write out/orchestrate/make parts for an action scene. But how much time was put into coming up with the notes in the first place? That's entirely up to the composer.

Sounds like it was written by an AI pretending to be John Williams. (In seriousness, I like it.)

I am most looking forward to the Cuban salsa source cue in the middle.

"We wanted to make Hogwarts Legacy our own"...yeah, Hiccup and Toothless would like to have a word!

They're gonna need more than 34 players to play my pieces (but damn, would've entered had I spotted this earlier )

I so love these sorts of pieces which sound like they're teetering on the edge of total chaos.

And I am sure that Rodrigo did not steal from absolutely anybody, nuh uh, of course not...

IMO the reason why some melodies "fall naturally into the ear" more than others is partly because they resemble spoken language in some way. It's hard to say that a composer deliberately constructed melodies to sound like language, it's more like an inevitable property of these sorts of melodies. This is probably due to some ancient part of our brain... I think on your point specifically about these motifs matching words specific to the theme of the motif...I agree with @A Farewell to Kings post that mostly it's just coincidence since there are so many phrases you can construct, although I'd allow that the "Superman" example is perhaps deliberate. And perhaps "Star Wars, welcome to Star Wars, no place like Star Wars, please come again." But anyway, it has never crossed my mind to add lyrics to JW's themes...I prefer them wordless Is that The Hut On Chicken's Legs?

Interesting piece...reminds me of some of JW's aleatoric writing.

I mean, "woke" has been the past simple of "to wake" for longer than that. If we can let one group of people "hijack" a word's meaning then we can let others "hijack" it too. (Btw I don't think EEAAO had anything "woke" about it, seems clear to me that that wasn't its driving force)

So, none of the films I was rooting for won anything. Great I didn't like EEAAO at all (fascinating how a single movie can be so polarising), but I think Ke Huy Quan and Michelle Yeoh fully deserved their wins. Those were not easy roles to pull off. And All Quiet for best original score?...Those Three Notes reminded me in terms of effect of Fiedel's Terminator motif (dun dun dun dun), but it just didn't work as well for me. Oh well. Until next year. Here is recorded footage of his reaction:

I agree, and I felt that Cate Blanchett's description of the film as a Rorschach test was extremely apt. It's very much a "show don't tell" film.

The only thing I liked about AQotWF was the cinematography. I really didn't like the ending; in fact, the more I think about it the less I like it. But in terms of pure cinematic experience it is pretty effective. For the record, here's a list this year's "Oscar movies" I've seen and my brief thoughts: The Banshees of Inisherin - liked it very much, the nature shots of Inisherin Inishmore are beautiful and you really do feel like you're there with the characters. The story is a slow burn but worth the ride. Elvis - I'm a great admirer of Baz Luhrmann and Elvis did not disappoint. Though I definitely got more out of it on my second watch. It's a lot to take in. Butler's performance was incredible of course, especially in the Vegas scenes. The shot of the Lisa Marie flying up into the shadows of the clouds is my favourite shot this year. The Fabelmans - quite a subdued film. It's very much a home video for cinema, so I wasn't quite sure how I was supposed to understand the film if I'm honest. But it was pleasant. And the music ain't so bad, either. Tár - as someone who loves classical music I guess I am slightly biased to this film. I do think it's a masterpiece. But I have to say, after my first watch I felt like my memory had been wiped of the last 2 and a half hours. It's filled with layers upon layers of symbolism, you can analyse it until you're blue in the face and you still probably won't uncover half of its real meaning...so it's the kind of film that you can't hope to begin to fully understand on first watch (unless your IQ is 200). But it's a very rich film, in many different ways. It was the only film this year that I couldn't stop thinking about after finishing watching it. I honestly believe it's genius and I do hope it wins Best Original Screenplay, at least, in addition to Best Actress (Blanchett pretty much has it in the bag). Tár is true árt. (Tár? Árt? Get it?) Aftersun - this film, I think, is another masterpiece, and it was the film which moved me most emotionally out of all the films I've watched this year. It's hard to describe what this film is really, but all I can say is that I was a wreck at the end. But I've probably said too much already! Living - it was good enough, not much more to say Argentina, 1985 - as a film about the Trial of the Juntas, it served its purpose, but didn't go beyond that IMO. Nice production value, but other than that it was just OK. EO - an odd little film, human "realism" through the eyes of a donkey. Or are we all just donkeys? I found it...interesting, more than anything else. The scene with the turbines definitely sticks in your mind. And I thought the music was great. It had the best soundtrack out of all the Oscar films I've watched...apart from The Fabelmans of course. The Quiet Girl - a simply beautiful film. The story is nothing earth-shattering but the beauty lies in how the story is told. Most cathartic ending this year (with Living a close runner-up). (Btw, the ending reminded me a lot of the ending to , another beautiful film). If I were to rank the films, it might be something like this: Tár Elvis Aftersun The Banshees of Inisherin The Quiet Girl The Fabelmans EO Living Argentina, 1985 AQotWF (I really wanted to like this but I was disappointed) I still would like to see Everything Everywhere, might get a chance this weekend... EDIT: Ended up seeing it...it started out promising but about halfway into the film my patience started wearing thin, and by the end I had stopped caring. Not for me.

JP has quite a distinctive use of percussion, and it's become very much part of his style. I think it would be a mistake to group him with other composers who really do just add a basic drum loop to make up for their lack of orchestration ability. Rather, Powell's percussion is quite intelligently written and constantly adapts to the orchestra, and almost always feels like it adds some value (to me at least). E.g. It's clear to me that the four-to-the-floor in the excerpt Jay posted "plays off" the crazy staccato trumpets and violins - one would't work without the other. Anyway, JP obviously has a thing for percussion (Horton Hears A Who, Robots etc.) and I remember in an interview he once did that he mentioned how he used to listen to a lot of vinyls of world/tribal music as a student. (I think the question was actually in relation to his use of percussion). But I can understand why some people would be put off by it. For one, when I ever write for orchestra I know I would never do this sort of percussion because it would likely come off as cheesy. By the way, the first time I ever actually listened to How To Train Your Dragon was when I heard the first few seconds of Test Drive, and I remember thinking "Eurgh, electric guitar and those awkward drums...? I'll pass" I didn't come back to the soundtrack until about a year later, and now it's one of my favourite scores (though not because of the percussion, mind you )

Hehe, would love to see him flip the red chair

That track sounds fantastic in game, I couldn't help but grin during that moment. The OST overall reminds me more of Elfman than Williams, but there are some moments in there which definitely have that HP-Columbus-era sound. Here's another example:

At least they can play in time!

"Maybe if I keep repeating this story over and over again...all these journalists will finally leave me in peace." - JW probably

I think JW is the one you should be telling that to.

I know John Williams mentioned the whole escape velocity issue in a Q&A he did at UCLA (or USC?). It was a multi-part upload on Youtube but I can't seem to find it anymore. I remember it distinctly because I remember thinking "Dafuq?". Seriously, JW, stick to your day job...

I really love the original Entr'Acte that Rozsa wrote for Ben Hur: