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I don´t understand the aversion in this thread. Tintin is a brilliant score which showcases the orchestration palette and intrinsic motiv construction of John Williams at his best. The main titles track alone with its combination of element of totally disparate musical styles is genius. The only thing missing is a knockout longdrawn theme, but nothing is perfect and it would probably not fit the style of the film. Tintin is one of the few Soundtracks i can listen over and over and never get tired of it; always discovering new small interesting details.

Seems like a piece that starts off quietly and slowly, maybe with some solo passages - before building up later on. At least, from what I can see.

John Williams

Gorgeous Anne-Sophie is now studying the "new cool piece by JW":

This is probably the first time in many years Williams has composed a score for a movie with a near-final edit while scoring.

Have we ever seen new Williams sheet music snapped in almost real time before? I like how Williams adds the personal touch of "for Kobe Bryant." This piece could be special.

Mid-April is going to be awesome guys. This and Last Jedi trailer!! I love Williams fanfares so I am absolutely hyped for this. So glad to be finally 100% certain that it hasn't been cancelled.

it's fun to see famous people young photos. TV programs do it all the time to embarrass their guests...for example. These are all public photos i think..it is not as if someone just got into Williams house and stole a box of old photos....

100% confirmed: Rey and Poe Dameron are in the film.

Angels in America by Thomas Newman: Contains all that is good in the composer with a killer main title theme, which sadly isn't used throughout the score apart from one track.

More: Nice that Kobe doesn't follow the Disney method of treating recording sessions like National Security Council briefings.

He conducted this piece once at a Tanglewood concert I attended too. I love that piece and completely agree that is underrated.

I don't see it that way, necessarily. Like, I wish he could get that Moctezuma film going more than anything, but I don't see this as the thing that's replacing or delaying that or any of his more ambitious projects on the horizon. We all know Spielberg could do a grand epic and still easily crank out stuff like this in 6 month intervals. To me, at least with these dramas he's been seeking out world-class writers like Tony Kushner and the Coen Brothers and digging in with fine actors he's never worked with before like Daniel Day-Lewis, Tommy Lee Jones, Sally Field, Mark Rylance, now Meryl Streep (yeah I know she was in A.I. but that doesn't really count.) It's not like he's bringing David Koepp in on these too. If cinematically they lack the kind of vinegar that we know Spielberg is capable of, at least the craftsmanship is never lacking and the core material -- while sometimes lacking in bite, depth, or ambiguity in its drama -- is generally stronger than the genre stuff he's been picking IMO, at least since Minority Report. I mean, if anything, Lincoln and Bridge of Spies felt like movies he's never really tried to make before? Yeah, they get stuck in a kinda dull rhythm as they approach 150 minutes, but after overly blowing his load with the expected Spielbergian melodrama on War Horse I think it's been interesting to see him try out this muted side of his classical craftsmanship, it's quite elegant at times. I think he could be going somewhere with that if he can just figure out how to engage his newfound understatement a little more into an accelerated pace, and some more interesting staging than a few too many shots of Honest Abe sitting down monologuing with the camera slowly pushing in. But the silent opening of Bridge of Spies following Rylance around New York for example is masterful Hitchcockian suspense, except reminding me more of the reserved momentum that influenced the French New Wave rather than the kinetic genre techniques that Spielberg always made his mark with. It was kinda like his version of the chase in Le Samourai, awesome! So I'm open to seeing if he can pull off something compelling with this and Edgardo Mortara. That said I obviously love his big, exciting, emotional audiovisual feasts and desperately want to see him truly succeed with something like that again. But it does seem like the stuff he's been actively pursuing with that kind of potential (or that he's able to get made right now) fall a little too close to his previous movies to feel like he's doing anything but essentially retracing his career highlights. You get these isolated great moments like the first 30-40 minutes of War of the Worlds, the Falcon chase in Tintin, or the Dream Country in BFG but the movies themselves don't really have enough else going for them. Ready Player One could be really neat, I guess we'll see. At this point, though, once again I'm expecting one or two absolutely cracking sequences in an otherwise just moderately entertaining movie. Indy 5, about as promising. And even still, there's something to be said for how something like BFG could have been done with a much more novel approach throughout and yet it's still pretty hit-and-miss. Personally I would have liked to see him take a more modest approach with it, a purer fantasy vision that felt very loving and handmade, stylishly atmospheric. You do get some really lovely passages, but it's kinda marred by pretty garish designs owing to his insistence since JP on pushing the CG envelope....that lead to some splendid results in the early 2000s but lately feels to me like a misguided attempt to be cutting edge? Also his sense of humor which has always been kinda campy and has rarely consistently worked to his advantage. For every Raiders there's 1941, and likewise in BFG for every scene like the surprisingly funny Queen's banquet, there's cringey shit like this: Anyway, honestly, more than anything, as a JWFan I appreciate Spielberg's working process and how he's able to suddenly announce these smaller things and squeeze them into his schedule, since it's always a new opportunity for a Williams score. I still thoroughly enjoy his recent drama scores so the more the merrier for me. We'll probably get a solid end credits piece out of it.

This picture has made the entire MCU worth it.

For what it's worth (which, probably isn't much) I've just watched PROMETHEUS, for the 5th time. It really is good, and if Roger Ebert gives it 4/4, then who is anyone to disagree? I can't wait for ALIEN COVENANT, so... !

Clearly you need to watch more animated stuff than just the usual Disney fare!

Star Wars inspired people to become actors?

Elfman's new Violin Concerto will debut next June in Prague: http://www.pragueproms.cz/en/program/danny-elfman

Probably won't be before 2050, though.

Two more stills

Respect the Wind is rather random and meandering. The guitar is implemented extremely well in the rest of the score.

The Accidental Tourist

In believe the guy behind Serena on the second photo is director Glen Keane.

I think there is alot of Takemitsu in JW from the start. Such as this: Check out the Ran suite. EDIT: Ok, Ran was written in 1985 and CEOTK was 1978 but that Takemitsu sound within JW is more of what I meant.

Genetically splice them into Dame Helen Dench, or Judy Mirren... Spared no expense!

Cello 100% CONFIRMED!

This thread is creepy.

That must have been something. I love that film and score -- one of his most underrated in the last 20 years, IMO.

I saw John Williams conduct the London Symphony Orchestra in Hell's Kitchen from Sleepers as one of the encores at a concert in London in 1998.

You assume that there are no links between personal life and musical works, which is simply false.

TESB has great third act action/dramatic music, an AMAZING finale cue, and a GREAT end credits medley AOTC has some really great third act music (Love Pledge and The Arena are both stellar, and the Dooku chase and Dooku battle music is fun too), a PHENOMINAL finale cue, and such a cool breakdown to Across The Stars AND Anakin's Theme AND The Imperial March for its end credits. I might not love it as much as TESB or TFA's end credits, but I'm impressed by it every time. TFA has a mixed bag of third act music, primarily due to the chopped up nature of it in the film, incomplete nature of it on the OST, and the fact we don't have an expanded release to really get everything Williams was trying to do. Then the finale cue is one of the best and most haunting film score cues of all time, and the end credits medley is just astonishingly amazing, so impressed that in this modern age he spent the time to arrange all that, and the results speak for themselves. Best end credits music of the 21st century!

But first, we need Adam Sandler in the MCU.

Absolutely not, and don't let naysayers convince you of otherwise. It is, in fact, quite the opposite. As long as the information is publically available in some form, we owe it to history to assemble as much information as we can on one of the greatest artists of the last 100 years. That includes both professional works and some degree of personal life, and especially where the two intersect. I do the draw line at some point (in fact, I possess several pieces of information on Williams that I would need to consider carefully before I published it), but since there is practically nothing at this point, all we can do is collect the threads ourselves. Photos like the ones you posted are VERY welcome, and I hope both you and I and others can continue to share them for years to come.

I know of no more instances than those listed here, but as far as influence, Jay, Takemitsu is a huge presence in Williams' music.

There are more than a few composers throughout history whose early lives have escaped history altogether or are only broadly sketched out. And there are some living ones of whom the same is true, out of a desire for privacy on their part, and/or a mutual sense that the music is what they have chosen to share with the world, and the rest is not necessary for plundering and study, at the very least not while they still live.

Glen Keane and Kobe Bryant Collab ‘Dear Basketball’ To Premiere At Tribeca

Hagrid / agreed (Yes, I do know the pronunciation is not the same... Anyway I was trying to make a joke aaaaaand it failed )

OK, so NOT written in jest, then. By 'we', I mean anyone interested in and/or chronicling the work AND life of any major artists throughout history. Who do you mean with 'nobody'?

Yeap. Unfortunately I have gained weight!

100% confirmed: Stefancos likes "100% confirmed" posts!

Really.......? I'm all for threads celebrating a particular cue, but I'm a little tired of the suggestion that no other composer has ever written something as complex. Rubbish. I actually find most of the action in this score a bit messy - too many switches of ideas. The start of Clash of the Cranes is nearly unlistenable to me - it's just random bang-crash-boom-tss. Add the jazzy bits (I generally hate jazz) and this really isn't a score for me,

Victory Celebration is a significant improvement on Yub Nub, IMO. It was kind of fitting that the original saga (I-VI) was bookended by diegetic celebratory music, though.

Listening through the Score again and really underestimated 'Scrambling the Rebel Fleet.' A great piece. He does interesting stuff with all instrument groups. I really like what he does with Williams material too, like the Rebel Fanfare and especially what he puts behind it, with the woodwind and string accompaniment from 0:17 - 0:32. And I love the brass flourishes behind Jyn's theme at 0:53 - 0:56. It really drives the theme. And one of his best uses of Williams at 1:02 - 1:12 of the Force theme and the Main Title.

So I was pronouncing both right then. Cause I'm clever like that. Karol

Great find, Maclaine! That being said, I think it's worth noting that the bromance goes both ways, with Williams himself having a picture of Kobe in his office as well.