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From Doug Adams's Twitter

LLL waking up this morning: John Williams waking up this morning: Us waking up this morning: https://drive.google.com/file/d/1d7YdbGzdhSrh6IL_bNL_f4iZjRBHeEoV

I had a go at restoring 'The Speeder Chase' from The Rise of Skywalker, filling in missing footage with some concept art and storyboards as placeholders: https://drive.google.com/file/d/17-D5f9NIfu6U4UCH8RcjfTT5RYMNPRJy/view?usp=sharing

Roger says http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=8759

Guys, John Williams looked great. I swear he's in the better shape now any time I've seen him. What a legend

I've done a bit of digging... and think that the film is going to have really cool aesthetics: The "Wolfenstein" opener: Wolfenstein Pt. 2 Cool locations: Fancy old-fashioned interiors: Old-fashioned New York, with an All-American parade: Actors looking really good, wearing suits or uniforms in many scenes, which reminds me of that polished feel of Tom Cruise and Henry Cavill's M:I: Fallout More vehicle / action eye-candy Other things: Mangold is doing a good

Sorry, had to be done.

Every once in a while, deep down, I think there really is nothing new to add to the existing musical literature (classical, pop, whatever). It is just new spins on old material. But then Williams brings me back. He did it six years ago with Rey's theme and now, in terms of contemporary classical, this concerto--particularly the second and third movements. I am warming to the first as a true "prologue" and really like the fourth, but my goodness are those middle two just perfect.

Why do they have to be rectangular anyway?

So in a terrible corporate conference in my company today (zoom only), I nearly spit out my coffee when one of the pieces of music used between sessions was this - They played a middle portion for about a minute and I was like holy shit that's random. So I had to listen to the full cue again and it is of course absolutely glorious. Gotta track down the intern that put it on. They sure have great taste.

https://filmscoremonthly.com/board/posts.cfm?threadID=144674&forumID=1&archive=0

Stop that!

The Rise of Skywalker Indiana Jones 5

JNH’s score has been hugely lauded, even by mainstream critics. But first, acknowledgement from the main star:

While I was trying to sync all Battle on Naboo stuff to the movie, I found fun thing. If the Gungans retreat scene is divided into two parts (split at the moment when Jar-Jar is on the tank), and in the first half a sketch is cut out where JJ is running from the cannonballs, then the scene is well syncing (as it seems to me) with the second half of 6M6 Up the Wire cue. If this is true, then the scene has been heavily reworked, and now it's impossible to neatly cut it (balls appear out of nowhere), but I like this sync. In this video included the ending of 6M5 Droid Battle, 6M6 Up the Wire an

A lovely work! The cantilena that also closes the piece sounds almost like a contorted version of "Moonlight" (from Sabrina). Makes me wonder if it could have been intentional? As much as I love his first violin concerto, this is (obviously) the more mature work of the two. Bravo, Maestro.

I think there's some truth to this, but I also think Tolkien's dislike of Dune comes from much more basic level. Tolkien's characters are largely mythological archetypes. He's interested in morality, grace, and virtue, and thought his stories should reflect those things. He wanted to tell heroic tales, and if he has characters with shades of grey (mostly in The Silmarillion), it's typically because they were on their way to falling from grace. Tolkien didn't have "anti-heroes" as we'd think of them today, at most he had heroes who were flawed and Tolkien made clear they were flawe

An attractive woman in a tight outfit and my mind naturally gravitates to how good JW looks.

Couldn't see any pictures of the CD so here they are: Karol

What a great way to ensure that all of us will forever re-buy every new re-pressing of each release just in case!

An orchestral piece of music I wrote in the "spooky" style of Dukas, Lyadov, Berlioz et al. Enjoy!

Mike is just super busy working on Star Wars, that's the most logicial explanation...

The year is 2077. Humanity lives in a techno-dystopia where robots replaced humans for most of the activities. The world is controlled by large corporations that exert their domain over the remaining goverments. The biggest corporation is Disney/Apple/Amazon/Google, who controls every aspect of human life. In amidst all the poverty and despair, one prophecy makes humanity hopeful for a better future: that when the next eclipse occurs, Disney/Apple/Amazon/Google will release the complete John Williams scores for Star Wars Episodes I-IX in a 20 CD box produced by the robo

Since no one posted pictures of the new set (I think?), here it is: The booklet and back cover are exactly the same as the 2015 set, with some mistakes fixed I believe.

Anyway, I decided to collect all cues from Battle of Naboo sequence in one video. In fact, there is nothing new here, just wondering how it looks and sounds all together. All unrecorded/unreleased fragments are my mokaping. Many thanks to @Permanent Waves for the restore videos (especially for Take To Your Ships, I wouldn't have guessed how to sync it). Important notes: The most unclear sync of the second half of the 6M4 The Big Army cue (the appearance of Darth Maul), this scene has clearly been heavily reworked. I had to skip the beginning of the duel, because it's not clear what should

My gut instinct is that his two most recent masterpieces are War Horse in 2011 and Lincoln in 2012. But when it comes down to it, The Force Awakens and The Rise Of Skywalker are masterpieces too, BUT we only have their woefully incomplete albums and fan edits to judge them by currently, so it's a bit more nebulous. I think the eventual complete releases one day we get for each will raise them up in estimation considerably

https://thelegacyofjohnwilliams.com/2021/07/26/stephen-erdody-podcast/ I'm honoured to have another legendary LA musician joining the podcast. I hope you all enjoy!

MV on FSM: https://filmscoremonthly.com/board/posts.cfm?threadID=144674&forumID=1&archive=0 New spectacular releases by Williams and Horner (and even more Goldsmith)

It's crazy to think that at 89, he is creating new works as rich and demanding as this. I found it to be a virtuosic work worthy of the soloist and her formidable talents. One of my favorite aspects of John Williams is his sense of long form. I loved this from the earliest film scores how they develop their themes over time but in concert music, it is especially apparent. He has an innate sense of drama. How to tell a story or how to reveal ideas over time. This is gorgeous music. Something he clearly put much care in to and I look forward to revisiting and studying. JW is

Williams' deep love of Claude Thornhill is well known, as he mentioned him as the source of inspiration also for Heartwood and one of the movements of the Conversations piano suite. I think it's almost moving to see JW keeping his passion for what he loved as a youngster so much alive even in this late phase of his artistic life. He's definitely an artist very much in tune with the deepest parts of his soul.

Elliot Goldenthal would've been such a perfect fit for this

I love Williams' eloquence with the written word--it does surely makes you want to read more thoughts about music in general from him! From his description, it seems another work very much in the vein of his more recent concert pieces. Wistful and contemplative, with the occasional virtuosic outbursts. I very much envy all the people who will experience this live on Saturday

For the past 6-9 months my listening has more and more been dominated by jazz of the 20s-50s, so it's gratifying to see that Williams still keeps that music of his formative years in his mind. Thornhill is interesting because so much of his output is nakedly commercial but for the attentive listener (as I'm sure Williams was in his teen years) the Thornhill arrangements often have ear-tingling features of harmony and orchestration. By the end of the 40s Thornhill was also using Gil Evans as an arranger and started recording some less frivolous tunes by bebop pioneers like Charlie Parker, Diz

It's kinda crazy to me this 3CD set is OOP. A masterpiece of motion picture scoring that deserves to be in print forever. I thought maybe we'd get a reissue in 2019 for its 40 anniversary w/ that extra cue from the 50th anniversary box set added in or something. Maybe the new director's edition remaster coming to Paramount+ will lead to a reissue of this music set?

Ok, Attack of the Clones... I only recently realized that the cue 6M5 "Padme Falls" (the end of track "Love Pledge and the Arena") has 3 versions at once, since 2 inserts with a Force theme were written for it (it seems, with the exception of Across the Stars, this is the only case in the prequel trilogy). I tried to figure them out... In the first version (original, without inserts) there is one more rendition of Love theme (during the dialogue between Anakin and Obi-Wan), and then a sudden "chorale" with a funny counterpoint of trumpets and oboes/clarinets, which underscores t

So, I've been curious about how the Oracle would have fit into the Mustafar scenes. There's actually two quite different versions of the scene in the novelizations: the Rae Carson novelization has a longer version featuring Hux and Pryde and with more dialog between the Oracle and Kylo, and Kylo wades into the pond the Oracle appears in to find the Wayfinder on some kind of island or platform in the middle. In the junior novelization, the Oracle talks to Kylo, but he never says a word in return. The Wayfinder is instead in Vader's castle or at least the ruins of it. There's also a

I'd watch Harrison Ford in anything anyway but I want anything that gets John Williams to write a ST era Indy score to go with the PT era Kingdom and the OT era originals. Indy deserves to have a score in all three periods as well as Star Wars. If that requires an 80-year old Indy then the production can go with god.

The DG Stage (Deutsche Grammophon's digital stage with paid ticketed events) will be broadcasting the July 24 concert from Tanglewood. From the email I just received: "In the second half of the month we’re delighted to present the world premiere of John Williams’ Violin Concerto No.2 with Anne-Sophie Mutter from this year’s Tanglewood Festival 2021..." https://www.dg-premium.com/dg_stage_video/world-premiere-of-john-williams-violin-concerto-no-2-at-tanglewood-2021/ Cost is €9.90 and the ticket is valid until July 27 for repeat viewings. The event

That Williams delivers a product he is pleased with, both on its own legs and the way its treated in the film.

I hope he gets to finish writing it in good health. Karol

And it's here! What a great thing it is to discover a John Williams score directly with an expansion done by Matessino! I'm totally in love with what I'm hearing, this man really never fails anything

I actually have put off listening to this score until it got a CD release and I have to say it has really grown on me in the past week I have been listening to it. Really loving it. While Powell sometimes inserts various pop music riffs, progressions and stylings into his How to Train Your Dragon scores, Call of the Wild uses them fairly regularly which gives it along with the colorful orchestrations a very individual character but never becomes annoying. Powell is one of those composer's who can walk the fine line to make these pop influences palatable to my ears. And again the ea

It's hard to tell where you are in a piece when it is completely brand new to you. You might enjoy Aaron Copland's "What to Listen for in Music" or Leonard Bernstein's Young People's Concerts tv shows from the 1950's and 60's which are on youtube and very well explained walk through of elements of music and some masterpieces. Classical music doesn't always come quickly or easily but rewards effort.