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  1. http://disneystudiosawards.s3.amazonaws.com/ <ListBucketResult xmlns="http://s3.amazonaws.com/doc/2006-03-01/"> <Name>disneystudiosawards</Name> <Prefix/> <Marker/> <MaxKeys>1000</MaxKeys> <IsTruncated>false</IsTruncated> <Contents> <Key>coco_original_score.zip</Key> <LastModified>2017-12-21T23:49:37.000Z</LastModified> <ETag>"c64d0bad138ba84f4ce188b905626b6a"</ETag> <Size>89914426</Size> <StorageClass>STANDARD</StorageClass> </Contents> <Contents> <Key>thelastjedi_original_score.zip</Key> <LastModified>2017-12-26T19:05:24.000Z</LastModified> <ETag>"a5ab0609bb431feb417ea6c35e9ab191"</ETag> <Size>91544958</Size> <StorageClass>STANDARD</StorageClass> </Contents> <Contents> <Key>thor_original_score.zip</Key> <LastModified>2017-12-21T23:49:33.000Z</LastModified> <ETag>"d6d9e08bb5ff9f13601d92441d1226f2"</ETag> <Size>81109784</Size> <StorageClass>STANDARD</StorageClass> </Contents> </ListBucketResult> If you do this: http://disneystudiosawards.s3.amazonaws.com/thelastjedi_original_score.zip and hit enter, you get an 87 MB Zip to download. You get a collection of mp3s at 192k.
    9 points
  2. Enjoy JWfan maniacs! P.S.: Not my performance
    6 points
  3. BOOM!!! Great job, @NL197 http://disneystudiosawards.s3.amazonaws.com/thelastjedi_original_score.zip
    5 points
  4. How many new themes did Williams need to write for TLJ to compete with the existing themes? The First Order didn't really need a theme since Kylo and Snoke already have their own themes and are also the biggest threats of the First Order. Having two big bad guys themes (one for Kylo and one for the First Order in general) would have been way too much. Two new and most prominent characters, Rose and Holdo, were given themes to represent them and their situations. Rose's theme gets a lot of attention for a secondary character. Even Luke got a secondary theme. I guess the Porgs could have gotten a theme of their own or the caretakers but they weren't in the film that much so why bother. Maybe DJ could have had a musical identity as well. I'm not sure why people were expecting Williams to expand or change existing themes for characters when he hasn't done that in past. In fact, he sometimes drops themes or minimizes them in later installments, such as Anakin's theme. In a way, we're lucky there's some music continuity between TFA and TLJ while still offering something new.
    5 points
  5. 4 points
  6. Thank you so much! At it's heart, this is a fan project of my highest attempt! I just wanted to be more formal as I'm new to this forum. I've been respectfully reading it for years. It was done by me! The originator of this project. Sorry if it came off as impersonal. See above... Yes! And thanks Rick, for your willingness to support something, which on the surface, may seem weird, but if you dig deeper, is yet another example of a serious artist's work, in honor of JW. If you look here: https://jimnova.com/about/ You'll hear about my history with JW. I sent him a recording of my Superman recording: and JW sent me this letter: I agree with you that much of the less prominent pieces JW wrote, are quite potent and powerful to the narrative. I hope you all enjoy this project! Please let me know your thoughts and of course I understand some may not approve of this. I hope you all view it in the lens it was viewed and recorded: as a musician who loves JW's artistry and even though I play in a major orchestra, I wish I could play his music much more often than I do!
    4 points
  7. Pretty standard post from someone with that username. Carry on.
    4 points
  8. Tim Burden, famous radio and film music host has interviewed Mike Matessino in London, England.The first excerpt of this interview laced with John Williams music. Film Music Historian and Soundtrack Producer Mike Matessino speaks with me about the recent La La Land Records 35th Anniversary release of John Williams' E.T. The Extra Terrestrial. Discovering an exciting alternate take of a key scene and cue is one item discussed. The full-length interview is coming soon . P.S. A clip about the equally brilliant CE3K will be posted this weekend.-Tim Burden on Facebook.
    3 points
  9. Made a simple OST/FYC combo playlist based on CGCJ's Analysis, and shamelessly ripped off the formatting from Jay's OST/FYC playlists for TFA and Rogue One (Sorry Jay ) 01) OST 07 The Rebellion is Reborn (Concert Arrangement) 02) FYC 01 Escape 03) OST 02 Ahch-To Island 04) OST 03 Revisiting Snoke 05) OST 04 The Supremacy 06) FYC 04 Admiral Holdo 07) FYC 05 Fun With Finn and Rose 08) OST 06 Old Friends 09) OST 08 Lesson One 10) OST 09 Canto Bight 11) FYC 09 The Master Codebreaker 12) OST 10 Who Are You? 13) OST 11 The Fathiers 14) OST 12 The Cave 15) OST 13 The Sacred Jedi Texts 16) FYC 12 Rey's Journey 17) FYC 13 A New Alliance 18) FYC 14 Holdo's Resolve 19) OST 15 "Chrome Dome" 20) FYC 16 The Battle of Crait 21) FYC 17 The Spark 22) FYC 18 The Last Jedi 23) OST 19 Peace and Purpose 24) FYC Finale Runtime = 1hr 31m
    3 points
  10. YESSSSSS "The Last Jedi" features that fucking awesome statement of Rey's theme at the start!!!
    3 points
  11. Indeed! Thank you. We simply have no idea how "inspired" Williams was and how it expressed himself. Assumptions should be treated as just that.
    3 points
  12. It's awful nice of Disney to assemble these FYC releases purely for us at JWFan. In fact, I finally worked out what FYC means! For You, Crumbs.
    3 points
  13. I felt this album needed the 3 pivotal statements of Rey's theme - the lightsaber cue, Rey's Journey, and the start of The Last Jedi. The latter 2 are on the FYC so I am plenty happy. Did not expect to get any one of the three.
    2 points
  14. I'm really glad Rey's Journey is on it. It sounds amazing. That awesome version of her theme at the start of The Last Jedi is really cool too. Just a shame the training music is missing.
    2 points
  15. Duel of the Fates, Anakin's, Darth Maul's, Qui Gon's, Jar Jar's, The Trade Federation - that's more than enough for a Williams' score. Here, there's three motifs, and maybe another one hiding somewhere but I doubt it.
    2 points
  16. It's not the lack of new themes that bothers me. It's the reliance on music that is pasted directly from old cues. consider ROTS, which used the force theme a lot but in very interesting ways IMO. Or the set pieces (ie ROTS opener) that don't introduce many new themes but are still different than previous music we've heard. Instead of just tracking in TIE fighter attack. which is not to say there is no new music in TLJ - there's just less. Some of it is good, some is not
    2 points
  17. My guess is there's a vocal minority who has a beef with the film. But Disney can easily ignore those.
    2 points
  18. In this respect, the backlash is missing the point because it focuses too much on what this film does with the "mechanics", so to speak, of this fictional world, where it should be focusing on the dramatic development of the story arcs. This is why I think people who are criticising the backlash and saying that, when the dust settles this film will be considered great, are also missing the point: this film has NARRATIVE issues. Not just fandom-related ones. Its too long, it has at least one subplot which is entirely useless, and some of the characters don't feel fulfilled. Those are not petty criticisms, they are important drawbacks that this film unfortunately suffers from.
    2 points
  19. Sometimes the quiet pieces such as 'The Cave' would eventually become skipped in a future listening experience, but the quiet pieces of TLJ are still captivating. I love what Williams does in those mysterious Ren/Rey exchanges and Rey's exploration of the island.
    2 points
  20. Fuck, I can't wait for all these self-proclaimed know-it-alls, who clearly know better than Rian Johnson and John Williams on how to score a Star Wars film, to discover that Williams himself approved of and wrote all these returning ideas. Like, fuck, what would John Williams know about writing Star Wars music? The guy clearly has no fucking idea! Thank fuck we have the armchair critics on JWFan who know better.
    2 points
  21. I think the prequel scores were always regarded as one of the few redeeming qualities of the prequels. People are just bitching that Williams hasn't written DOTF MKII for the ST.
    2 points
  22. Having listened to the album a few times and seen the film once, my initial impression is...not great. There are some strong moments, but overall this probably the weakest John Williams Star Wars score in my view. The main reason is there was far too great a reliance on existing themes and cues. There are so many characters in the Star Wars universe, that the impression I got was JW (or perhaps Rian) was using every excuse he had to lean on music that had essentially been written for the previous 7 films. "Oh this scene involves Leia, let's essentially cut-and-paste from her concert theme. And now the Resistance is fighting, let's do the same for them. Oh look, Leia is talking about Han, we'll have to use their love theme." And some of the pasted material doesn't really make much sense (I won't say which to avoid spoiling anything). As many have pointed out, the end credits piece is hopelessly scatterbrained. The best piece is by far "The Rebellion is Reborn" which is very strong. The best new theme is the one for (I think?) the Resistance that shows up in "Rebellion is Reborn." Although I think it might have been better suited to represent the prequel's Republic - it sounds very regal and tragic to my ears. And I must say, the fact that JW is able to lean on his preexisting work is a testament to the incredible library of themes he has developed over the decades. He could have easily written a passable score without creating a single new theme. I was not blown away by TFA, but at least there was a fair amount of newness and cohesion there. Maybe TLJ will grow on me overtime, we'll see. My hope is that this is more a result of Rian Johnson's direction than JW's (lack of) inspiration with the saga. If so, perhaps Episode 9 will be more inspired. And for the record, I love the prequel scores and think they easily stand shoulder-to-shoulder with the original trilogy.
    2 points
  23. So you prefer one note being banged on endlessly and ad nauseum to actual virtuosic orchestral writing and playing. Well, they do say music is subjective, lol
    2 points
  24. I like this fanart. Reminds me of Dune.
    2 points
  25. I found The Post to be a minor entry among the Spielberg/Williams collaborations. A few great tracks (e.g. The Presses Roll and Setting the Type) but to my ears the score on the whole isn't all that exciting on album. Alas I even found most of the stately Americana of the finale a bit too familiar and thin worn to be truly emotionally resonating. By comparison the Last Jedi OST works like gangbusters despite its entirely familiar Star Wars-ness.
    2 points
  26. It may not be as tight as Raiders, or as fun as Temple, or as emotionally satisfying as Crusade, but I get such a kick out of individual parts of Crystal Skull. The appearance of the flying saucer in The Departure is probably one of my favourite Williams moments. Those bells! But more on topic: can't remember if this has been pointed out yet, but is that a little snippet of 'Luke & Leia' in between the two phrases of the Force theme in Peace and Purpose?
    2 points
  27. 1 point
  28. Big statement of Poe's Theme in "Escape". Brilliant!
    1 point
  29. Escape has a totally different opening even with the main title removed. Finale is extended to 9 minutes....lots to discover to be sure.
    1 point
  30. Compare the track lengths, there are minor differences there as well. Cheers, everyone.
    1 point
  31. 1 point
  32. Where the hell did I say that? And even you "blame" Rian Johnson for the rehash that is a large part of this score, it doesn't change the final product. You can find creatives ways to write new thematic material to keep the score fresh. You can write new themes for existing characters that are derived from the existing themes but are nevertheless separate, signaling the character's transformation, of which this film had a lot; Finn, Poe, Luke and even Rey and Kylo could all have had new themes to co-exist with their pre-existing ones, to signal the development of their character. Think about The Two Towers: on paper that fim didn't require much in the way of new themes, everything that's new about it are Rohan and the Ents, but Shore wrote over a dozen new themes, giving two new themes to Gollum, who already had a thematic identity, giving the Uruk Hai two new themes, etc... In Wiliams' catalogue, how may new themes did Revenge of the Sith really require? Really, the only new character to require thematic material is Grievous. But he wrote a lament for Anakin's fall to darkness, which he derives from "Across the Stars" so the assocations of that melody carry over to the new one, he wrote a motif for the duel, a motif for Mustafar which he wove into the duel material, etc... With each score in this series and others, Williams always stressed that "90% of the thematic material is new" or something like that. Always. And that's understandable: composition is a creative process and how creative are you really being when you're just rehashing existing material? To see him all but abandon this rule with this sore is disheartening. Even if Johnson made him do it (which I believe may be the case) that doesn't change nor excuse what we got.
    1 point
  33. Everytime a track from the last two scores is uploaded on YouTube, there's that obnoxious comment that questions why there's no Duel of the Fates or how nothing compared to it.
    1 point
  34. Its one that is based on the composer's self proclaimed (and very vocally so) desire to base each new score in the series predominantly on new thematic material, which - for the first time - doesn't apply to this score.
    1 point
  35. Would love to watch JW composing music for one of those big action sequences
    1 point
  36. Lord Zimmer: I don't think you're allowed to have an opinion here other than that Williams can do no wrong and every score of his is genius.
    1 point
  37. Lord Zimmer Well your name says it all. You have no idea of great action music. Generic noise in background. That is some 50 years of making it more perfect and now it is amazing!!! And the orchestra!!!!
    1 point
  38. They used to just be cool flicks we'd watch on tape every so often. Now they're revered in this creepy cult-like manner.
    1 point
  39. Thanks for saying this KM. I come here less and less these days because the atmosphere can be downright toxic sometimes. It's usually the same few posters who seem to enjoy putting others down out of what seems like sheer boredom. I used to come online to escape the anxieties of life but now it's become the source of them. I find it easier to just leave.
    1 point
  40. Millennials are an easy lot to fool,
    1 point
  41. Today I have finally published my latest blog post for The Last Jedi. If you're interested, this way. As a teaser, here's my latest (but not final) piece for TLJ: (sorry if I spam some of you on my various social media channels. I'm only advertising...)
    1 point
  42. Disney executive: “sir shouldn’t we upload the FYC tracks to website? Williams: “No, thats just what they’re expecting us to do.....”
    1 point
  43. I don't think the same. Just look at The Phantom Menace. It was, let's say, not that great, but the soundtrack made it 10 times better. Sometimes a soundtrack is the only thing that makes a movie watchable (at least for me).
    1 point
  44. I think it's more just the desire to assemble a more complete version of the score right off the bat, before becoming accustomed to the incomplete OST. I don't think I've ever listened to the TFA FYC in isolation, just mined it for music to expand the OST with.
    1 point
  45. It's a masterpiece and one to throw in the face of those who think Williams is only about late romantic stylings. A clear 5-star and must-have for every serious Williams fan -- even if it's a challenging listen. It's a brilliant film too (photograped by the late Vilmos Zsigmond), and to hear the score in context is quite a marvel.
    1 point
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