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Hey Luke, there's something important I need to tell you... ...you're it!

My turn... I do undestand why there is so little ATS is ROTS. After this is a fading love. By the end of the film, when Padme lands on Mustafar, there is an almost an ironic feel to it. Karol

Jedi is stronger than the prequels. One thing I love about it is the reprisal of themes introduced throughout the trilogy. The prequels did NOT do this. You got the force theme, Imperial March, the Emperor and Yoda's themes. But those are themes that have existed since the originals. TPM's Anakin and AOTC's Love were the only major recurring themes introduced in the prequels and they took a back seat in the subsequent scores. Jedi has thematic overload, new and old. It's loaded with the typical JW whimsy, romance, drama and action of the era. It may be over-scored, but **** it. So many spectacular moments that I feel are unmatched by the prequels. The start of The Droids are Captured is more dramatic than anything I've heard in those. Vader's theme at the end of Faking the Code is surely one of JW's coolest moments ever. Brother and Sister is some of his most dreamy enchanting stuff. Yoda's Death, The Emperor Confronts Luke, first appearance of the Ewok theme, the 30 minutes or so of action and resolution. The Final Duel, which Williams busts out of nowhere, the Emperor's theme during his climactic moments, Vader's eerie death...this is great Williams music. The prequels are generally good, but comparatively forgettable.

I don't know if it was just my neck of the woods (southeastern U.S.), but we frequently sold out the 3:25 and 6:45 shows of Lincoln on the weekend. Even today, the auditorium ended up being 75-80% full for those shows. And what really annoyed me was the clapping at the end. It's not like Spielberg or any of the cast members are in attendance, so why bother? It's not a live play or performance. I get people appreciate a good movie, but clapping just feels... unnecessary. you've never experienced a great true blockbuster then? In Jaws the audience exploded back in 1975, figuratively of course. In E.T. the audience stood and appauled. But that was at a sneak preview. Star Wars, people were cheering...to this day the single greatest movie going experience of my life. Great films often elicit great reaction from a full theatre. Schindler's List had women screaming during the shower scene before they knew how it would actually end instead of the way the thought it would end.

I only stay for the credits if it's a Star Wars movie or if I know that Marvel or POTC tacked something on after the end credits. You know it's true. How nice. Weird. I know it's weird.

Very interesting "listening guide" of some of the key tracks, courtesy of Tom Newman himself: http://www.empireonline.com/interviews/interview.asp?IID=1578&fb_action_ids=10151255078652229&fb_action_types=og.likes&fb_source=aggregation&fb_aggregation_id=288381481237582

I think at this point it seems reasonable just to relax and loosen up. You know it will happen, why make it hurt? Karol

Hey I hit the "like" button as soon as I saw it! I'm hip, I'm cool!

The more I listen to this score, the more striking is the gentle and tender nature of the music, Williams really aiming to find the humane essence of the man, finding it more in the reserved yet warm pensive moods for smaller ensemble than trying to glorify or score the icon he has become with grand posturing gestures. Undeniably there are a few of these bigger moments on the album but the general feel of this score is gentle simplicity. A good portion of the praise has to go also to the truly expressive and beautifully emotional soloist writing and most of all performance by the Chicago Symphony Orchestra members. In their playing even the pauses between the notes come alive.

Yes! That trumpet/piano duet is a marvelous moment of gorgeous and -for its seeming simplicity- highly inventive scoring. Lincoln is an exquisite and utterly masterful score. How lucky we are!