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Found 235 results

  1. Black Sunday - worth obtaining?

    While we're nearing Black Friday, I found it fitting to give Black Sunday another listen on Spotify. I've found it offered for an OK price at a Scandinavian music store, but I'm not sure I think it's an essential JW score. What do you think? PS: I'm not a completist - I only buy soundtracks I'm actually going to listen to.
  2. On my copy of the (mostly) excellent Rhino release of Superman, there's a glitch in the left channel of the concert version of the Superman theme at about 22 seconds in. I've always thought this to originate from the analogue tapes instead of a fault on my particular disc or the particular batch that my disc comes from - does anyone not hear the glitch?
  3. The trilogy that forever shattered a fanbase in two. The trilogy that, arguably, scarred the reputation of one of Hollywood's greatest storytellers. The trilogy that, whatever its shortcomings may be, features some of the most badass music John Williams has ever composed. Which film and score do you prefer from the divisive Star Wars prequel trilogy?
  4. There is a little video on the Star Wars instagram about dogs dressed up like porgs - anyway, it features some music reminiscent of the introduction of 'Knight Bus' with some pizzicato strings. Is this music familiar to anyone? (Before starting the discussion 'could it be Williams??)
  5. Bargain JW soundtracks is currently selling the 2 CD Intrada release of Jaws 2 for 5.25 Euros:
  6. I am happy to announce the latest collaboration between the London Symphony Orchestra, the European FilmPhilharmonic Institute and conductor Frank Strobel: "Tribute to Steven Spielberg" December 10, 2017 @ Philharmonie de Paris, France London Symphony Orchestra Frank Strobel, conductor Repertoire to include excerpts from BACK TO THE FUTURE by Alan Silvestri BRIDGE OF SPIES by Thomas Newman INDIANA JONES AND THE LAST CRUSADE by John Williams JAWS by John Williams JURASSIC PARK III by Don Davis POLTERGEIST by Jerry Goldsmith SUPER 8 by Michael Giacchino THE ADVENTURES OF TINTIN by John Williams THE BFG by John Williams and other works
  7. News from someone in attendance at the CE3K 40th anniversary discussion panel
  9. Recently, the question of how much of the CoS score was done by William Ross came up, and I said I'd do an analysis basen on what we have. Well here it is! There are also a lot of misconceptions thrown around about how much of the score is just retreading the first one, I hope my final numbers can put an end to that. Any thoughts and corrections on calculating errors, typos and unnoticed references are most welcome! I'm using the leaked PS and CoS sessions, so the main analysis will only take into account the final intended version of every cue so far known to be recorded for the movie, no unused/not recorded music from leaked sheets and no tracked cues. I will assume satisfactory knowledge of the movies and all major themes at least. I've also decided to have a look at the OST and recommend the best cues not on it, and also to break down the major tracked cues appearing in the cue list, just for completion's sake - look for the Appendix at the end of this post. The Analysis My custom terminology OM - Old Material, used in PS, similar tempo, similar orchestration - will reference PS session cues, slates and timecodes if relevant, won't if unnecessary (I don't have to point out where Nimbus 2000 is in Hedwig's Theme) AM - Adapted Material, themes/specific cues used in PS or other movies, but adapted/orchestration and tempo changed significantly enough (like Nimbus 2000 in Cakes for Crabbe and Goyle, for example) NM - New Material, thematic and melodic material first heard in CoS From Reel 3 onwards, I'll be using contractions for frequently reappearing themes with long and tedious names : 3NL - 3-Note Loop (original Philosopher's Stone motif here repurposed as a generic danger/mystery theme) HWWO - Harry's Wondrous World Opening N2 - Nimbus 2000 Reel 1 Reel 1 Old Material: 05:52 Adapted Material: 03:19 New Material: 06:07 Complete: 15:18 Reel 2 Reel 2 Old Material: 5:56 Adapted Material: 3:22 New Material: 8:40 Complete: 17:58 Reel 3 Reel 3 Old Material: 2:49 Adapted Material: 3:51 New Material: 5:43 Complete: 12:23 Here I must also stop to say the movie must have been criminally overspotted, because a lot of good and new bits have been left out. Normally, lots of bits and pieces go missing, because the picture gets trimmed after the recording takes place, so the music goes with them, but here most scenes are intact and the music is taken out from under them, for example the beginning of Transformation Class (I guess they wanted the 3NL to be more sudden and dramatic in its appearance?) or the Whomping Willow and some Spiders material (probably tension and "jumpscare" reasons). This could potentially be forgiven had most of Reel 8 not been tracked - a lot of important action score, mysteries and big revelations to never see the light of day because JW had to spend his time writing minutes of unrecorded music, and writing and recording several more minutes that were not used. Kind of like The Arena vs. The Battle of Geonosis all over again! Reel 4 Reel 4 Old Material: 3:40 Adapted Material: 1:54 New Material: 8:46 Complete: 14:20 Reel 5 Reel 5 Old Material: 1:25 Adapted Material: 4:30 New Material: 7:07 Complete: 13:02 Reel 6 Reel 6 Old Material: 1:49 Adapted Material: 1:27 New Material: 3:15 Complete: 6:31 Reel 7 Reel 7 Old Material: 3:36 Adapted Material: 1:54 New Material: 11:18 Complete: 16:48 Reel 8 Reel 8 Old Material: 00:00 Adapted Material: 1:39 New Material: 9:35 Complete: 11:14 Reel 9 Reel 9 Old Material: 4:13 Adapted Material: 3:24 New Material: 4:14 Complete: 11:51 Conclusions Standout NM cues: All Dobby material, Magical Household, all Lockhart material, all Flying Car material, all Fawkes material, Writing on the Wall, Transformation Class, Petrified Colin, Dueling Club, The Spiders Pt.2, Ginny Gets Snatched, Reel 8 Standout OM cues: Escape from the Dursleys, Letters from Hogwarts, Harry meets Lucius, Introducing Colin / Mail, Flying Pixies, Dumbledore and Harry, Reunion of Friends Total Numbers: Complete: 119:25 Old Material: 29:20 (24.56%) Adapted Material: 25:20 (21.21%) New Material: 64:45 (54.23%) Discrepancies between the final numbers and the cue list numbers can come down to podium changes, or the fact that I couldn't be bothered to count the seconds of silence on the beginning of every sessions track or in the middle of some cues. The final percentages would not be impacted in any significant way. So on an expanded 2-disc release, counting with 78 min. max per disc, there would be at least 36:40 left for bonus material, probably a few minutes more, since the aforementioned silences and properly joined tracks would make the score shorter than my estimate. I believe we have no idea how many alternates exist/were recorded/were even written, if not many, this could probably house the Children's Suite (24:11 if we count Harry's Wondrous World as the finale, 18:50 if we don't). We'll 100% get HWW as the HP1 Credits, so on HP2 it'll either be the Credits or the Suite (and thus the CD2) finale, if the suite or even the HWW is on there, of course. Appendices Appendix A Reel 10 (Additional material, I don't consider these part of the score) Appendix B The tracked cues - what do they consist of? (An editing guide) Appendix C A complete intended score editing guide This includes every single sessions cue (even ones removed from the movie) and tracked cues. Note: this is simply a guide to my preferred way of listening to the score, not an attempt at a complete film edit recreation with all edited out bits and pieces tracked down; that exceeds even my patiance and tolerance levels, it's work for another year - and probably another user. (A Remixed and Restored trilogy á la Jurassic Park based on the Black Friday John Williams Harry Potter Collection, perhaps? :P) I consider two types of edits: hard and soft. A hard edit means two cues were written to be joined/overlapped, but recorded separately. Listening to them separate worsens the listening experience because you get a buildup to an unsatisfying climax, a few seconds of silence, then a sudden out-of-nowhere climax and continuation. Temple of Doom, for example, is filled with these types of transitions. A soft edit just means one cue is winding down/a note is held, while the other starts or winds up without there being a gap between these. Not joining these cues does not necessarily worsen the listening experience. Hard edits I always recreate, this means I had to split a few tracked cues in half in Reel 8 to avoid overstuffed, non-focused 15 minute tracks. Soft ones I'm more liberal with - if it makes sense musically and thematically as one track, I'll even join cues separated by seconds of silence in the movie. Since there are way more soft edits than hard ones, I'll only indicate hard edits (+ and +h instead of +s and +h). The final track names are my own creations, sometimes I'd reference the edit I've listened to for years, sometimes an original session name since I like it better, sometimes it's completely made up. Appendix D So what is on the OST? Personal comments incoming, feel free to ignore them if you happen to like inexplicably random and non-chronological presentations! OST Old Material: 21:06 (29.94%) Adapted Material: 6:44 (9.55%) New Material: 42:39 (60.51%) Complete: 70:29 Appendix E Which unreleased cues can I look forward to most in a future expansion if I don't touch bootlegs and session leaks? (Personal favourites, recommendations) Yes, I've got way too much free time.
  10. Hi, I'm hoping someone could help me with a question. I have a ticket to hear John Williams next month conduct the Nashville Symphony, and I'd very much like to get his autograph (I have a vinyl of "Accidental Tourist" I'd love for him to sign. I know, it's not one of his "big" scores but it's a favorite of mine.) But here's the situation: I just have a general seating ticket, and not one of the $750 VIP tickets and I'm curious, does Mr. Williams still take time to sign autographs for people in the general audience, or does he only do this for the VIP people? Thanks!
  11. The Duel of the MacGuffins, or Williams scoring the god of the Old vs. the New Testament. (don't know how prone we are to religious flamewars, so I'll just stick to this) The Ark theme is very enjoyable with many great renditions. I consider it the villain theme of Raiders. To me, it communicates "You're meddling in things you should not be meddling in. If you so much as blink wrongly I will smash you like an ant." Uncovering the Ark is not a triumphant moment, it is quite dark and foreboding, like Indy and Sallah just released an ancient evil. The only semi-nice version is the finale of Miracle of the Ark, when the nazis are dead, and Indy and Marion finally submit to the rules, so the Ark benignly does not strike them down. The Holy Grail is the penultimate goal of any adventurer, the perfect career peak for Henry Jones and Jr., and I think Williams communicates this perfectly. The theme is very reverent and distant at first, not even played too many times, but becomes triumphant, warm and embracing once Indy makes the wise choice, then heals his father, and the final, full rendition as they leave the temple is a combination of these two. I personally prefer it over the Ark. Any other thoughts?
  12. That's it, score's gonna be ruined, everyone despair!
  13. Looks like 3 releases have been set and approved for release in La La Lands mid August batch. And Mike Matessino's comments while discussing THE COWBOYS on the FSM board seem to suggest and hint a certain Williams title looks ready to be released. MM: Meanwhile, La-La Land's August is starting to look good. A lot of recent administrative hiccups have at last been resolved.
  14. Hey guys! So I got this Gold CD with my purchase of the Laser Disc and thought you Guys might want to see. It comes with a neat little interview of Williams being interviewed by Laurent Bouzereau in the pamphlet How Diffrent does this sound compared to the expanded? I noticed it says Expanded, Remastered, and REMIXED? So any pointers?
  15. I am curious I have never seen anything about Williams commenting on them. I am curious to see what he thinks, anybody know?
  16. So on November 16 Close Encounters will be 40 years old, do you guys think we will get it complete? I have the Original Vinyl Pressing, The Expanded edition from 97 I believe, I also got the SACD from 2015. If anything this is a job for La La Land or Intrada. Do you guys think it's time for the complete release? Does anybody have any news on it maybe coming out? Anything?
  17. Reposting this here from @mrbellamy Looks like Williams will be composing (or rather, has composed) the source music (diegetic music) for The Last Jedi! Very exciting news!
  18. Jaws Theme Comic

    The other day was Farts and CLose Encounters Today let's laugh at some JAWS!
  19. Which film and score is your favorite from the classic Star Wars original trilogy?
  21. A question and response re: temp music in TLJ.
  22. Harry Potter and the Philosopher's Stone In Concert Oulu Sinfonia, 3rd of March, Oulu Finland A Review by Mikko Ojala Film music fans are living in an exciting era right now as more and more of the famous and beloved scores from equally popular films are making a transition to the concert halls around the world via the live projection/in concert tours where the full film score is performed live to the movie. While such an event might be a hard sell for a wider audiences if there were just 2+ straight hours of music on its own, the combination of film and music makes it a more marketable premise, which has been a growing trend for a decade now and a really welcome boon for film music enthusists around the globe. Entire franchises are now being presented this way and Harry Potter In Concert tour which will eventually span the entire eight film saga is making rounds of performances around the world. Harry Potter and the Philosopher’s Stone (or Sorcerer’s Stone to the North American fans) is now touring in several countries across Europe and two such sold-out concerts performed by the Oulu Sinfonia orchestra conducted by John Jesensky took place in Oulu Finland on 2nd and 3rd of March 2017 at the Madetoja Concert Hall packed full of excited fans of Harry Potter and John Williams. I had the privilege of attending the second night and it was nothing short of spectacular. I feel that John Williams’ colorful scores are essentially tailor made for such a concert setting. They employ the full register of a symphonic ensemble with a wide array of percussion and choice synthesizers to complement the standard orchestral roster. More over the scores are intricately orchestrated and thematically expansive and follow the narrative of the film from start to finish, which makes them ideal in a symphonic setting as they are akin to an opera without a libretto to paraphrase composer Erich Wolfgang Korngold’s analogy of his own balletic films scores. Williams’ scores might feel to some people like an oversaturation of sound and almost a distraction in their exuberance but in a concert hall the lengthy soundtrack like Philosopher’s Stone came to life in an electrifying way and with nearly wall-to-wall musical presentation left no dead spots of lengthy silences between pieces and flowed very naturally from one cue to the next akin to a regular symphonic concert. The audience was highly enthusiastic throughout and actually was encouraged by the conductor at the start of the concert to applaud and cheer their favourite moments, characters and pieces of music. And they did, admittedly sometimes to the detriment of the music as the whistling and excited clapping drowned out a few moments of Williams’ score. I know this is supposed to be something of an event but I personally went to enjoy the music rather than to make huge giddy noises at every appearance of a well-known actor but all in all it was a minor inconvenience and it was nice to see people enjoying the music and the film so much. For the usually reserved Finns this was a surprisingly strong reaction which speaks volumes of the fondness people feel towards this movie and its music. On a more technical note the In Concert series follows the music of the final film very closely, including replications of tracking (e.g. Entry to Great Hall music is used for the Diagon Alley introduction) and not restoring unused passages of music (like parts of the cue You’re a Wizard, Harry for Hagrid’s initial revelation) but in this case the transitions were seamlessly handled and luckily such interferences with the music are kept to a minimum in the original film without heavy handed editing or cutting of the score. I thought that the mix of the sound effects and dialogue was very well balanced in the hall so that the music received its undisputed spotlight as the main event of the evening and boy did it deliver. From my seat in the middle of the hall I had a great vantage point over the entire orchestra and the big movie screen behind them and I have to admit that at times I was so lost in the whole experience I forgot to pay attention to the orchestra and the music. The reason was simply that they played so perfectly and in-sync with the film that the music just flowed seamlessly with the picture to form a complete experience. And the music truly filled the 800 seat concert hall to the brim as the acoustics of the Madetoja Concert Hall are rather excellent and it was a true thrill to hear the whole venue ring with the sheer orchestral thunder of Williams’ most exciting setpieces like the in turn rousingly heroic and kinetically tense The Quidditch Match, the menacingly marching and percussively brilliant The Chess Game sequence and the malevolently slithering and booming The Face of Voldemort finale. But it was not only the loudest parts that impressed me as the softer and delicate moments throughout shone thanks to the deft and sensitive playing of the orchestra members, e.g. the magical Harry Gets His Wand and the wonderfully ethereal and soothing Dumbledore’s Advice voicing the old wizard’s wisdom or the sleepily serenading harp solo of Fluffy’s Harp. For a keen fan of Williams’ music the evening was full of musical highlights. A live performance really breathes a life and energy of its own into the music as the orchestra responds to the mood and excitement of the audience and there was a tangible feeling of high spirits in the air. I concede that there is that certain Max Steiner spirit to the score’s technically admirable and intricate connection to the physical action down to the minute physical detail of Mickey Mousing swish and flick but what is more important is the emotional atmosphere this music creates. From those opening swirling notes that underscore Warner Bros logo to the last giddily triumphant blast of Hedwig’s theme in the end credits the audience held under the enchantment of Williams’ writing that so openly speaks to the heart and imagination. And with a highly thematic score like this it feels like you wouldn’t really need the visuals to be able to follow the story as the music is so expressive, so balletic and so clear in its narrative intentions that it paints the events with an aural ease that still impresses me after all these years. Hedwig’s theme rules supreme over the proceedings in the first score as Williams presents it in countless variations throughout, in a way equating the melody and its airy orchestrations with magic, the theme a trigger for wonder and marvels about to unfold. And though there might be some repetition in this process, music conditioning as it were, there is a reason this theme has become the signature tune of the whole franchise, so well it captures the very essence of Harry Potter’s world and the sheer feeling of magic and mischief. And besides the main theme the score is a treasure trove of musical ideas large and small that all add their combined splashes of colour and texture to the whole and enhance their respective story elements from the weightless whirls of flight to the rumbling motifs for the main villain. One of the rare pleasurable opportunities these events allow for the audience is to see and hear in front of their eyes the connection between the image and the sound in more depth, enhanced by the fact that the music is brought to the foreground. This highlighted some aspects of this score even for me, a seasoned Williams fan, who has heard the music countless times before. Now I could more clearly than ever feel that gradual progression from the opening half full of Hedwig’s theme towards the second half of the film as the music becomes slowly more diverse and gathers darker colours to it for the dramatic final scenes before drawing the musical story to a tenderly cathartic “And they lived happily ever after” denouement of Leaving Hogwarts. It might be a textbook case of how to score such a film but it worked wonders, further enhanced by the live performance's energy. Also an observation I made during the concert is that apart from the celesta (played on synthesizer as per Williams’ original intentions for the singular celesta sound he developed with the piano player Randy Kerber for the first film) there are no really prominent soloist moments in this score and even though there certainly are solo moments they blend very much to the orchestral tapestry. All orchestral sections do get their workout at some point or another whether woodwinds, strings or brass but in comparison this music is rather closer to Star Wars and Jurassic Park than Memoirs of a Geisha or Schindler’s List in the way such elements are handled. The playing of the whole ensemble was exemplary on Friday night with particular praise going to the keyboard player whose numerous celesta solos were flowing and flawless and to the stalwart brass section which in typical Williams fashion had a lot of breathless music to play and came through with flying colours. And after the end credits had finished I could not help but to start a well-deserved standing ovation to them for delivering to us this memorable evening. As I was walking out of the hall after the emotionally intense two-and-a-half hours of music I was thinking how lucky we film music fans are to be living in times like these. Although I have seen such live projection events before and knew what to expect, hearing the music of my favourite composer performed live to the film was simply a magical, inspiring and unforgettable experience that made me more than a bit giddy when I was stomping my foot to the tune of Williams’ music or smiling and nodding approvingly to a particularly finely performed passage. Truly a night to remember. Now bring on the rest of the music from this series! -Mikko Ojala-
  23. JohnSolo: Introduction

    Hey, fellow John Williams fans, this is John. I came across this site a few days ago, checked it out for a while, and I thought I should join. I'm a pretty big film score geek, as most of you probably are. Favorite composers are John Williams, Howard Shore, Hans Zimmer, and Michael Giacchino. I also enjoy watching movies (fav movie series are Star Wars and LOTR), hanging out with my friends and youth group, going to karate lessons, and just enjoying life in general. I'm also a proud non-Trekkie, volunteer firefighter, and hunter, among other things. Well, that's my introduction. See you guys around! You can find me on Instagram @johnlong1226.
  24. Hi, I posted last year of wanting to get John Williams' autograph so much to hang on my wall. I was even willing to travel to get him. Well, I'm so excited that he is finally coming where I live (Seattle)! I was able to get tickets which is awesome! Pretty close too. Row 11. I've never been to Benaroya hall before (I've seen it passing by many times). But I'm wondering what the odds are that he would sign one autograph for me? I'm not sure where they go in or out at Benaroya, but I'll try to find out. That would be amazing! Thanks!
  25. I found this video narrated by Richard Dreyfuss about JW's beginnings and work with Boston Pops and I thought you might find it as interesting as I did.