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A turkey, huh? OK, try to imagine yourself in the 2000's. You get your first look at this turkey as you enter a clearing. He moves like a bird he is, lightly, bobbing his head. And you keep still because you think that maybe his visual acuity is based on movement like T-Rex - he'll lose you if you don't move. But no, not Meleagris gallopavo. You stare at him, and he just stares right back. And that's when the attack comes. Not from the front, but from the side,[makes 'whoshing' sound] from the other two turkeys you didn't even know were there. Because turkey is a pack hunter, you see, he uses coordinated attack pecking patterns and he is out in force today. And he slashes at you with this... [he produces turkey claw from his pocket] A half-inch claw, like a razor, on the the middle toe. He doesn't bother to peck your jugular like a lion, say... no no. He slashes at you here, or here... [he lightly 'slashes' across the body with the turkey claw] Or maybe he pecks you across the belly, spilling your intestines. The point is, you are alive when they start to eat you, all the while keeping that horrible gobble-y racket turkeys always make. So you know, try to show a little respect.

Nice thread on FSM: Source: FSM

The Age of Innocence - Elmer Bernstein Endlessly grateful to Martin Scorsese for hiring Bernstein for this. My favorite of his late-period scores. I mean for pete's sake, this is criminally beautiful. Fantastic melody, aching arrangement. And shout-out to the great performance of the theme on the Williams/Perlman Cinema Serenade release (which I only discovered last year!)

Yes. Though I think its time for some rum in a short while.

We've got a revolutionary, non-conformist here, daring to discuss John Williams in General Discussion. We'll have to sic @Jay on ya.

Totally agreed That was one of the biggest problems with the Hobbit films; Apart from a few gorgeous shots clearly shot outside in New Zealand, EVERYTHING looked like it was obviously filmed indoors

Roger F has posted that they are going to release an expanded Willow!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! http://filmscoremonthly.com/board/posts.cfm?threadID=118173&forumID=1&archive=0

Watching the film currently, Claire said they wanted more teeth. I laughed, cause of the JP collection booklet...LOL

Here's my spreadsheet, all corrections welcome! https://docs.google.com/spreadsheets/d/18FZLTVE9jy989tqo3IdhksrdD0aosxx60vtfNdqmtGg/pubhtml

Women generally have no idea who Williams is. Thats why this place is such a huge sausage party.

Have people seen this one? (it's old) They just read out Wookiepedia articles (I think). It's absolutely hilarious and shows just how nerdy SW fandom can get.

Dracula is all film cues, some are just alternate compared to the film version like any other OST CD With ET 3 tracks are film cues - 6 Million Light Years From Home, ET Phone Home, Adventure on Earth - 2 are concertized versions of film cues (like The Forest Battle or Adventures of Mutt) - Abandoned and Pursued, ET's Halloween - and 3 are concert arrangements of themes - ET and Me, Flying, and Over The Moon. There's no reason to include any kind of unique notation for either OST. All of Johnny's OSTs are a combination of film cues and stuff he records just for the album.

Good question. Completely forgot to check that, given that most Blu-Ray players and Blu-Rays are now region-free, so that's not as much of a problem as it was when DVDs were around... But, hey, look, CDJapan provides us with an answer: http://www.cdjapan.co.jp/product/COZX-1293 Well, there you go.

But it's an arrangement of the film's opening, right? Don't make Jay slap a spreadsheet on you.

We in AltJWFan take a more level-headed approach. We realize that recognizing the brilliance of his most popular works takes nothing away from his less approachable scores.

This is top 10 all time material for me, always has been. It's earth shattering.

The visual scan helps you quickly locate where differences in music might be, but there's still a ton of listening required. The really tricky stuff can be tracked music. Sometimes I've listened to a cue a dozen times before realizing some chunk of the middle was actually tracked in from another cue (usually when both cues were not on the OST)

Something just becomes less holy if there's a complete sessions leak out there. Can you imagine if we were still listening to only the original soundtrack album of Harry Potter and the Philosopher's Stone and a complete score release was announced tomorrow? Or if the Star Wars video games hadn't used all that unreleased prequel music and we were still listening to the albums with the incomplete Battle of Coruscant and that glorious fanfare from It Can't Be never coming to its resolution and we'd still be wanting that music? I remember recording Jurassic Park off a VHS copy onto a cassette, complete with dialogue and sound effects, just to listen to the music. I knew a CD must be out there, but local stores just didn't have it and there was no online shopping to get it. And DVD wasn't even around, so no ripping the rear channels either. You just had to make do with the stereo mixdown. Jesus Christ. I'm fucking old.

Get Giacchino to write the main theme ( like Goldsmith did for Voyager) and then have random unknown composers do the episodes underscore. Perfect way to get a solid and (with the times) theme, and to give many unknown composers a chance to get on the radar.

Fun scenario: Disney restores the Star Wars trilogy and releases the original theatrical versions on DVD, Blu-Ray and 4K in a glorious new transfer BUT omits the 20th Century Fox Fanfare and replaces it with a modern digital Disney logo. The outcry will be hilarious.

Skyy? Can it be? It's good to have you back, my old friend.

okay satire of the people who really do give vapid reviews (ColliderVideos etc.). but my fucking God just take a look at that comment section to see the people coming out of the woodwork finally validated by their favourite review site (oh look, it's almost as if it RLM fanboys can be as equally worse and hypocritical as Star Wars fanboys) and hyperbolically proclaiming that Rogue One is the worst thing ever. I saw multiple people saying it was worse than The Clone Wars movie which is unfathomable to me. this pretty much cements the fact that the Internet is ruining my enjoyment of movies - in particular the discussion part of them - because a lot of people aren't thinking for themselves. did you not like Rogue One? great! are your reasons for not liking it linked to the commonality of not being able to connect to the characters and thus invalidating the whole movie? also fine, characters are the most critical parts of a movie. but here's the part that people can't distinguish from. is your personal opinion that you couldn't connect to the characters an objective truth that everyone must share or else they're deluding themselves? fuck no. I'm no shmuck when it comes to movies and I'm pretty aware of what constitutes an engaging character to myself. I don't believe that a character can be objectively good or bad however. I know people that don't care about Han or Leia or Luke, and hell some people like Jar Jar Binks. Jyn was the most confusing to me in terms of motivations but literally all the others are pretty vivid in my mind to the point I had a big emotional response to the final act of the film. and no, I didn't give a standing ovation to every reference as if acknowledging Star Wars exists is reason for praise - they were the icing on what was to me a delicious cake, as Plinkett put it. for Episode 8 I'm going to shut myself off completely from the Internet hype machine, the speculation and horribly pointless nitpicks of small moments in trailers that don't end up meaning anything in the end. I'll even ignore all discussion for a year until I've made up my own mind and it'll have sunk in enough for everyone else in order for them not to hyperbolically declare it the best or worst thing ever. I'm only going to watch the Teaser trailer as I believe that's the most modest view of the film that'll allow me to keep my expectations in check like with the Force Awakens teaser. additionally, I probably would've enjoyed Rogue One a hell of a lot more seeing those amazing shots and moments for the first time that were spoiled in the trailer all for the sake of generating hype at the detriment of your enjoyment of the actual film.

I would love to hear him do that for Carrie!

They made it worse with an "extended version" haha.

I didn't think it would have either but it seemed to be a major step in the right direction for Netflix Original productions, which have had poor-to-"meh" music up to this point (Stranger Things). Oh well. At least we still have John Williams' Lost in Space to look forward to!

Well, assuming you don't want to always be keeping tabs on the endless threads that get started on the forums (although the news will definitely be posted there pretty quickly!): 1) Frequently check the JWFan home page (http://www.jwfan.com/). Ricard, the founder of this site, usually posts important info there, although it can take a couple days. 2) Of course, visit http://www.hollywoodbowl.com/ and you should see when this summer's schedule has been announced. 3) I might be able to send you a personal message which would go to your email -- but no guarantees! There's a good chance I'll forget!

Thank you so much Will. Already more information than I have been able to get so far. What would you recommend as the best way to find out as soon as possible?

Hi! Welcome to the forums! Last year the Williams Hollywood Bowl concerts were announced on February 9 (http://www.jwfan.com/forums/index.php?/topic/26098-john-williams-at-the-hollywood-bowl-sep-2-4-2016/). We don't know for sure if he will make an appearance this year. (he didn't in 2015, for instance, although that was a year in which he had some health troubles which have long since been resolved)

I think Lincoln will stick around in the US but almost more for the idea of it being a great movie. Nobody really loves watching it but it looks and feels like an American masterpiece and people will admire its intellect and craftsmanship impersonally and reverentially, because it's Spielberg and Day-Lewis taking on this iconic figure and in a pretty definitive way. Any future biopics about American presidents will be compared to it, US politicians will reference it in their speeches with a near-religious tone like Hillary, while most American citizens will only really remember seeing Lincoln in 8th grade history and being bored, but they'll all have seen it! Movies that are available on Netflix, Hulu etc will probably be a factor, yeah. I see The Social Network and The Wolf of Wall Street as particularly zeitgeist-y movies that will continue to be brought up more and more over time, looking back at the 2010s. They broke into mainstream successes at the box office, Oscar-nominated for Best Picture/Director/Actor/Screenplay, notable big-name directors, strong lead performances and ensembles, very popular with 18-35s who will keep watching and finding new things to reference, acclaimed screenplays with quotable lines, memorable beginnings and endings, relevant to pervading cultural/political/social issues, play really well as fast-moving comedic entertainments but have a dark underbelly with some intellectual heft. The Tree of Life comes to mind as something that will continue to be divisive but whose fans are much more passionate than its detractors, so it'll eventually emerge in a positive light, like Blade Runner or Brazil. I think that film's stylistic approach and Malick in general will influence a lot of future filmmakers. The Master and/or Inherent Vice might sort of end up the same way, the former especially with its powerhouse lead performances, and I would probably put something like Drive in that group too. Hip film-loving teenagers and 20-somethings love these movies and they'll continue to champion them, to where they might break into more of a mainstream classic status in a few decades. This is compared to something like Cloud Atlas which has admirers but also is routinely called a flop and makes a lot of "worst films" lists, so it can probably only ever be a cult film. Inception is pretty much a no-brainer, that Nolan and DiCaprio combo is rock solid. Made a truckload of money, obviously, and the great reviews and Best Picture Oscar nomination along with its lightly philosophizing nature gives it an air of prestige. Pop culture touchstone, it's still referenced like it was released yesterday, I hear "inceptioned" used often enough as a joke for "things within things". Zimmer's "BWAAAAHM","We need to go deeper". That and Mad Max: Fury Road would seem to me this decade's popular action classics. I feel like Quentin Tarantino's movies will probably all end up pretty much in one big stew as classics under his name, he's become his own brand at this point. Inglourious Basterds and Django Unchained stand out as Oscar-winning box-office hits with big movie stars, memorable lines and scenes. The Hateful Eight wouldn't seem as big of a deal, but it has all the same things people love about QT and I think it'll be one of the handful of movies from this decade that people remember. And I think with the franchises, it'll be the brand that's remembered more than the movies themselves. People will remember "Marvel movies" or "Harry Potter movies" without really singling out any one in particular, basically like how James Bond movies are looked at. Sure, there may be one that generally sticks out on top like Goldfinger (I guess the equivalents would be The Avengers and Prisoner of Azkaban?), but really it's the whole enterprise that stays in the consciousness. People will just re-watch and re-rank the movies and everyone's personal lists will be different. Probably the same deal with Hunger Games, Pixar, etc. And Frozen will simply join the collage of classic Disney musicals. I'm sure there are other candidates, probably some things we wouldn't expect or normally discuss. I feel like American Sniper hit a really unexpected chord, and its #1 box-office status will stick out amidst all the franchises and sequels. Clint Eastwood's name will keep it around, and it's also one of the few movies about Iraq/Afghanistan that anybody paid any attention to, which is significant. Zero Dark Thirty might stay in the consciousness as well.

That's just the final film edit of the final scene and end credits cobbled together by the music editor. "The Park Is Closed" uses pieces of v1, v2, and v3 of the cue, while the end credits edit together pieces of the Suite and something else I forget now. Essentially, there's no reason to keep this track. It's the same as the OST track, just with a minute long rendition of the main theme before the Indominous music starts, and a longer held note at another part. Well v1 is the OST version. v2 features less choir and more piano, and v3 features even less choir and even more piano John Williams music in the suite? Where?

http://variety.com/2017/film/spotlight/michael-giacchino-rogue-one-score-1201952495/ New Rogue One Giacchino interview - not a lot of new information, but a quick read.

Ok. Also, the biggest reason they are safest to opt for writing Leia out is that Disney/Lucasfilm comes away from it maintaining the moral high ground. Even if the rewrite is a bit clumsy and awkward, what other choice did they have? You can't replace an icon?

I wish they had this technology when making Prisoner of Azkaban. The new actor they took for Dumbledore ruined all my interest for the series. Then for the next episode, they changed the composer. The end of the world, you say? Don't ask why Daniel Radcliffe started to drink!

I think there may be an opening, though, based on what very little I know about 8's plot, to reshoot some things and use some CGI to have Leia off in "retirement" due to injury or something by the end of the film. Maybe give her an off-into-the-sunset kind of moment that's sort of a proper goodbye. It would be very difficult, I'm sure, though ... and this late... And then in 9 say she passed away, and have some of Leia's friends look at a picture of her and say "I miss her" or something, kind of like how that dealt with Nimoy in Beyond IIRC. I was thinking at first that they should kill off the character on screen, but that might not be appropriate. Giving a "second death."

Wow! I hadn't realized that ... but here it is: So I guess they really do care about these releases. Cool! Bodes well for the future! When you have Kathleen Kennedy and Steven Spielberg on your side, there is not much in the film business that can stop you, I'd think.

Well I'll be having nightmares tonight.

Hard to believe we're as far from Jurassic Park and Pulp Fiction as they were from Gone With the Wind and Metropolis.

I could watch videos of the live-to-projection last reel of ET All. Damn. Day. Although it's a little disappointing that these latest LTP concerts sub in the concert arrangement of Flying Theme for the beautiful, perfect piano part that opens the credits in the film.

Not from a JWFAN.

Dracula (1979) By John Williams On the CD I found at a thrift store and paid 75 cents for!

A few odds and ends picked up from used CD stores in Orlando...

http://www.goldderby.com/article/2017/john-williams-ennio-morricone-grammys-best-score-star-wars-the-force-awakens/

Obviously he didn't get carte blanche and he wasn't part of breaking that original storyline with Knoll/Whitta, but these movies aren't written in a vacuum either. If anything, I would say Edwards probably had a little more involvement than usual for a non-writer/director since he was on the film when it was still in development, and he was working on screenplay drafts with Gary Whitta several months before Chris Weitz was even brought into it. There was a recent interview where he talked about being involved in the early discussions around the fates of the main characters as well, and it seems like he was part of pitching that to Disney/Kennedy. So it's not like they just handed him the script that we saw in theaters. I think the most we can say and the main distinction is that Edwards' creative input to the story/screenplay would have been primarily through informal discussions, not anything in writing that could be submitted for actual credit. I feel like if we could sift through it all, it would have been similar to Spielberg's contributions in those Raiders conferences: some notable but disorganized original ideas affecting the narrative, characters, or set pieces; a lot of just reaffirming and reshaping things with a different perspective; and plenty of crap to spare.

It's increasingly obvious who Rey is: Jar Jar Binks' illegitimate daughter.

The film needed less Saw Gerrera!

I've basically given up attempting to compare Plinkett's views to my own. I often disagree, but I find the videos absolutely hilarious, and that's all that matters to me. I don't think we're meant to take Plinkett completely seriously. For example, he kind of has to be super negative or it's not funny. I don't mean to discredit his opinions, though. They often are quite logical.

Unconnected on a note-by-note basis, sure, but everything in his Star Wars scores seems connected to everything else purely by his writing. Modalities, orchestration, thematic identification, repeating motifs, dramatic key changes... not to mention how many themes are derived off other themes already established (Luke and Leia off Main Title, Anakin's Theme off The Imperial March, Augie's Great Municipal Band off The Emperor's Theme, etc.) Even all of Rey's various motifs are connected via Rey's Theme, which in itself is connected to the Force Theme. The Jedi Steps is certainly an original melody but it only exists as a result of 7 scores worth of musical evolution and expansion from a solitary composer.