artguy360

You all are putting more thought into TPM than George Lucas did when he wrote the script.

5m3 and 7m1  🎺 📯  
 
 
 
 

1M3
 
 

Oh! I must listen to The Village because it is so much better Autumnal score. Thank you. So many good scores not by JW that I almost cry, so emotional.

I agree, THE VILLAGE outshines STEPMOM as far as autumnal scores go, but only by a tiny margin.

Released 4/11/2024:


https://www.thirdeditions.com/first-print/603-l-oeuvre-de-john-williams-le-chef-d-orchestre-des-emotions-first-print-9782377844371.html

Press release pdf (in French):
https://www.thirdeditions.com/index.php?controller=attachment&id_attachment=199
 

The track title ‘Inner City’ on the 1977 SW OST has always bemused me.

Looking slightly crazy can make you look slightly crazy.

In 1983, the Return of the Jedi OST track "Rebel Briefing" actually contains music from the end of the movie.  The cue for the rebel briefing is not on the album.
 
In 1988, the Accidental Tourist OST track "Wedding Scene" actually contains an alternate Main Title cue.
 
In 1989, the Last Crusade OST track "Escape From Venice" contains the music for a boat chase that happens entirely within Venice, a place they continue to be in for a while after the chase.  The cue for when they leave Venice for Austria isn't on the album.
 
In 1997, the Lost World OST track "Rescuing Sarah" is for the second half of the trailer sequence, after Sarah is already rescued from the glass and they are working as a whole to get out of the trailer together.  The actual cue for her being rescued from the glass isn't on the album.
 
In 1997, the Amistad OST track "Mr. Adams Takes the Case" combines the start of the cue for Adams' introduction scene with a cue for later in the film when he's talking to Joadson in his home.  Both of these scenes take place before he's decided to take the case (he decides to take the case off-screen, there is no cue for it).
 
In 1999, the Phantom Menace OST track "Star Wars Main Title and the Arrival At Naboo" only contains the very start of the the arrival cue, almost immediately segueing to music from later in the film to end the track.
 
In 2002, the Attack of the Clones OST track "Star Wars Main Title and Ambush On Coruscant" only contains the very start of the ambush cue, almost immediately segueing to music from later in the film to end the track.
 
In 2005, the War of the Worlds OST track "Confrontation with Ogilvy" combined music from the "bodies in the river" scene (which is before the group has met Ogilvy) and the "Red Planet" scene (which begins after Ogilvy is already dead).  The actual cue for Roy killing Ogilvy isn't on the album.
 
In 2015, the Force Awakens OST track "Rey Meets BB-8" combines the "Finding The Map" cue from the very end of the movie with the "I've Found The Droid" cue from the middle of the movie.  Williams recorded 5 different cues for the scene of Rey meeting BB-8, but none of them are on the album.  (The film did track in "Finding The Map" into the scene where they met, so this is sort of an exception I guess).

A 5 minute track was recorded to play throughout the scene, the walk through Diagon Alley was meant to be scored by the woodwinds and witchy fiddle. Then a "Reveal insert" was recorded to change the start of the reveal into an orchestral swell because it wasn't magical and awe-inspiring enough. Williams liked the music he wrote and expanded it into a longer, slower tempo concert piece in his Harry Potter Children's Suite for Orchestra, "Diagon Alley". For the original 1 disc soundtrack album release, Williams replaced the opening portion of his full recorded track with part of the Diagon Alley concert piece, this is "Diagon Alley and the Gringotts Vault" as you know it. For the movie, the filmmakers decided the reveal needed more of a warm happy reveal and excitement than a weird new world, so they replaced that same opening section with a latter track that Williams wrote for entering the Great Hall. (Confusingly, the track on the 1 disc soundtrack album called "Entry into the Great Hall and the Banquet" does NOT contain this entry music, only the banquet music.) The film also appends part of "Hermione's Feather" to the start of the track for the bricks moving out of the way. The LLL expanded release linked above has the original recorded track combined with the Reveal Insert in Disc 1 track 7, "Diagon Alley and The Gringotts Vault [Extended Version]", the Great Hall entrance in Disc 1 track 13, "Through the Doors", and the concert piece in Disc 3 track 8, "Diagon Alley". The original recorded opening of the track for Diagon Alley, the Reveal Insert, the full unedited concert piece and Through the Doors all premiered on the set, they were never before released, they were only available in a recording sessions leak with the exception of the Reveal Insert. I've done two videos about how the original opening and the reveal insert opening would've worked in the film:
 
 
 
 

I'm another who hears Williams fine craftmanship and sensibilities all over this. And since I play a little guitar - well, a normal sized guitar a little - I especially like to hear Williams writing for guitar. I certainly have a softspot for Taking Pictures and The Days Between arrangement which features more guitar. In my mind, they're up there with Williams most beautiful pieces. I hope Williams writes a guitar concerto one day. A nice one like Elmer Bernstein's - not a weird one!

He wrote a wonderful little solo piece for the Christopher Parkening Prize, "Rounds", premiered by Pablo Villegas. The piece's score was published and Villegas also recorded it.
 

Gonna go with my two favorites:
 
Crystal Skull trailer #2.  the syncing of the 'rocket sled timer' with that fanfare part of the Raiders March, still get chills to this day.  the hype for that movie back then was palpable.
 
 
 
and of course, War Horse.  i will still tear up to that theme
 
 
 
War Horse crushes me, man 

Although a rarity, from time to time, JW has written music to score the trailer to films he's worked on. Other times, his music for the film is used in the trailer for said film. What do you consider to be the best and worst of the bunch?
 
Not at all a hot take, the best has to be the HP1 teaser trailer:
 
For me, runner up would be Nixon, the music truly does capture "the turbulent years":
 
What are your picks? Which are the worst?

Although a rarity, from time to time, JW has written music to score the trailer to films he's worked on. Other times, his music for the film is used in the trailer for said film. What do you consider to be the best and worst of the bunch?
 
Not at all a hot take, the best has to be the HP1 teaser trailer:
 
For me, runner up would be Nixon, the music truly does capture "the turbulent years":
 
What are your picks? Which are the worst?

Both good, but it’s Hook Prologue for me, every time.

It's between the War Horse trailer and the Lincoln trailer.  Both were peak "JW score anticipation" events

Although a rarity, from time to time, JW has written music to score the trailer to films he's worked on. Other times, his music for the film is used in the trailer for said film. What do you consider to be the best and worst of the bunch?
 
Not at all a hot take, the best has to be the HP1 teaser trailer:
 
For me, runner up would be Nixon, the music truly does capture "the turbulent years":
 
What are your picks? Which are the worst?

Fantastic. A long overdue project. Congratulations Frank! 
 
Karol

The happy news I cryptically alluded to last week is now something I can make official: I just signed a book contract with OUP for 𝘛𝘩𝘦 𝘚𝘬𝘺𝘸𝘢𝘭𝘬𝘦𝘳 𝘚𝘺𝘮𝘱𝘩𝘰𝘯𝘪𝘦𝘴: 𝘔𝘶𝘴𝘪𝘤𝘢𝘭 𝘚𝘵𝘰𝘳𝘺𝘵𝘦𝘭𝘭𝘪𝘯𝘨 𝘪𝘯 𝘚𝘵𝘢𝘳 𝘞𝘢𝘳𝘴!   It's a book it feels like I've been writing in my head for a long, long time -- since middle school, kinda? And unless Williams somehow returns to write another entry in the series, I'm treating it a chance to provide a properly 𝘴𝘺𝘯𝘵𝘩𝘦𝘵𝘪𝘤 investigation into these scores, all nine of them.   Even Rise of Skywalker?? 𝘌𝘴𝘱𝘦𝘤𝘪𝘢𝘭𝘭𝘺 Rise of Skywalker!   My hope is this book does some justice to the complexity, challenge, and sheer magic of this music.   Now, back to the grindstone!   https://www.facebook.com/Falstaft/posts/pfbid0L6wUjeDDxj6AmhwHh1f9obrVMJfYbPx4GJM8YaEWiZtqxwp37A88monPFVDxBQ26l  
Congratulations, @Falstaft!

This lovely performance popped up on my YouTube feed...
 
 

The mix is all over the place in the new "Remasters". Some of the tracks are hard to listen to. Thank god I have rips of all my old CDs still.

Frank Lehman has uploaded this to Youtube.  Nothing new, but nice to have a direct link:
 
 

Tonight partner and I saw Joe Hisaishi live in concert with the Seattle Symphony! It was incredible! The first half was programmed with his minimalist contemporary concert music including music written during the pandemic, reflecting on the pandemic. Very cool stuff, very dramatic, lots of layered repeating figures, and some really fun, bouncy stuff. The second half was the revised Princess Mononoke suite which featured soprano voice in two pieces and had no breaks between movements. It was like a fast forward playthrough of the score. Lastly, there were 2 encores: Spirited Away theme on solo piano performed by Joe Hisaishi himself and Howl's Moving Castle theme with him on piano again! Seeing Joe Hisaishi play solo piano live rivals seeing JW conduct the Imperial March live. A great concert!