Not Mr. Big

Orange/brown. A quintessential fall movie

The first was pretty lame but this actually looks fun.

Stepmom doesn't need an expansion. OST is already perfect

Completely disagree with the notion that understated drama scores are inherently lesser projects with a "one size fits all" approach that any composer could fill. Williams' fingerprints are all over stepmom and it contains some of his finest melodic work

Rushing to write music for Ready Player Two

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

Thank god Dan Schneider wasn't involved in the production

I thought Alan Menken did that one...

That's what I call "Spongebobbing" where shows use their own fully orchestral stock tracks to score silly or mundane things. Nichijou is my favorite for this type of style I've been working my way through Apothecary Diaries too. Solid show/music

Stepmom

I still don't really see there being a strong correlation here for "new JW project" but we'll see...

Tom Sawyer Often gets overlooked in favor of JW's original works or the more acclaimed Fiddler on the Roof. Despite not being as well researched as Fiddler, it feels more through and through JW to me, with lots of stylistic callbacks (or call forwards in this case) to his Americana sound. By virtue of being an original musical rather than Broadway adaptation, there's also a lot more room for Williams' voice to shine through in the songs. The brass interlude in Hannibal Mi Zoo Ree brings to mind a similar moment from Exhultate Justi. The sentimental reharmonization of the "Tom Sawyer" song in "Aunt Polly's Soliloquy" is basically hinged entirely on JW's layered string work. The Sherman Brothers' songs are solid with only a couple stinkers (How Come & "If N I Was God"). Hannibal, Freebootin, Gratifaction, and A Man's Gotta Be are great upbeat, audience pleasing songs, with the first three getting fantastic renditions in JW's overture and exit music. River Song is the most emotionally impactful, written from a nostalgic, omniscient POV (perhaps an elderly Tom Sawyer or maybe God). Despite having no original JW melodies and only a couple underscore tracks, it feels like a decent entry into the JW "canon" as it's one of the only from-the-ground-up musicals he worked on.

His music had a background cameo