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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.

Enjoy JWfan maniacs! P.S.: Not my performance

BOOM!!! Great job, @NL197 http://disneystudiosawards.s3.amazonaws.com/thelastjedi_original_score.zip

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.

I'm late for work.

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!

Pretty standard post from someone with that username. Carry on.

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.

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

YESSSSSS "The Last Jedi" features that fucking awesome statement of Rey's theme at the start!!!

Indeed! Thank you. We simply have no idea how "inspired" Williams was and how it expressed himself. Assumptions should be treated as just that.

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.

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.

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.

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.

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

My guess is there's a vocal minority who has a beef with the film. But Disney can easily ignore those.

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.

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.

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.

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.

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.

No.

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

I like this fanart. Reminds me of Dune.

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.

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?

Getting back to some specifics on the OST, I thought the statement of Leia's theme when she and Kylo Force-sense each other in battle was exquisite (the later harp statement is truly poignant, but this one's good too!): The thing I most like about it is how differently it is treated from more typical Leia statements, even ones in battles, where it tends to be involved in creating a very dissonant polytonal setting, the accompaniment doing something in one key, Leia's theme doing another. Overall, these are so harmonically disconnected from the accompaniment that they create a feeling of beauty amid surrounding chaos. In this track from TLJ, we still get something polytonal, but now the two keys are as closely related as one can get. Leia's theme is in a major key as usual (here, Db major), but the bass note against it is the tonic of its relative minor (Bb). Not only this, but there's a mid-range cluster chord against it as well. Major against minor is a musically fitting way of representing the conflict in Kylo at this point - will he come down on the good side here and not take the shot on Leia, or will he treat her as he did Han and go ahead with it? The cluster chord adds that haze of dissonance that provides a clear tension between these two sides as well, making it musically even more nail-biting at this crucial moment. It's these sorts of scorings of old themes that I really enjoy in TLJ. This is just one example among many.

Nice mournful brass rendition of the Resistance March in 'Admiral Holdo.'

The scatterbrained term could be applied to all of them. And i find at least the minor mode training motif in TLJ dramatically strong enough to be counted as a worthy entry. Be that as it may, the theme counting seems overly pedantic to me, important are how successful those are applied to the movie and i just don't see how this was the case, force theme indulgence aside.

What we got was another first rate score, one which displays a technical proficiency and talent that is rare. What we got was a score with as many new, well-integrated identities as Williams and Johnson saw fit, not the fans. I guess we'll have to wait another decade before we can have the discussion about how TLJ was a misunderstood score like RotS was a decade prior... What about the rest of the score, as a whole? Surely one's preference isn't solely based on the virtuosity of a finale? The message at the end of TLJ was built on the same yearning and inspiration for something larger that is present in Binary Sunset; in the case of TLJ that's the return of the Jedi and Luke Skywalker's legacy. Who knows what Williams could've wrote for the finale, but could you fault him and Johnson for the poetic use of that theme again?

@TheGreyPilgrim Did you hear about THIS yet? Leaked yesterday, on Christmas Day. The Reddit post has now reached the front page there. Read the comments, Marty is over the moon about it. A lot of the music was in the game, but only excerpts were used. This is the entire score and what was originally intended as a 'symphony for the Destiny universe', the musical foundation to be elaborated upon for all of the subsequent game releases over the ten year plan. That was before O'Donnell's big work/legal spat with Activision and Bungie kicked off, and the first game was completely overhauled at the last minute - trashing much of the original ideas (and music).

TLJ will do fine and it will certainly be no failure from Disney.

Not enough BWAMS for your liking I see.

Here's a two piano arrangement of "The Fathiers" I made. Apart from my dodgy playing of Rose's theme I think it turned out pretty well!

No, not really. Think of it like this. In mid 1960's America, a very idealistic serviceman joins the military and through his heroism and exemplary service, becomes a hero and ultimately a legend to his fellow servicemen. Though through his experiences, he finds the cause to be ultimately unjust and full of deception, corruption, unjustifiable losses, etc. Disillusioned, he ultimately throws away his metal of honor and valor and wants nothing to do with the code he once truly believed in. Then a young idealist tracks him down when he clearly doesn't want to be found and gives him these discarded reminders of the hero he once was. He makes it clear he wants nothing more to do with the "legend" of who he was to this idealistic young warrior who is still inspired by his now mythical heroics and code of honor until he bumps in to his original commander who was an even greater legend. He learns what he has become does not serve his intentions as well as he thought. What makes this story so compelling is that he ultimately comes to terms with his status as legend and joins the fight for a cause he does find purpose and meaning in thereby guaranteeing the legend status he sought to avoid. Luke's story is still very interesting and deep. Now the problem comes down to execution in the film. JTWfan77, how would you have preferred the luke story to have gone in TLJ?

Entitled fanboys are a vocal minority that Lucasfilm should try to ignore.

Some of the that dissonance and curiousness in The Cave and elsewhere reminds of the type of underscore Williams wrote for Potter. Even when there is nothing melodic I can still find those cues enjoyable just to delve into those eerie textures.

thanks, your making it pretty clear you hate everything I post .You always seem to reply to my posts in this manner and it's getting really annoying If you hate The Last Jedi or don't think it's any good that's fine, but you don't have to go out of your way to put me down all the time And if there's some kind of "KM is the most annoying poster" club out there, please let me know I usually try to ignore this kind of stuff but I can see why some members stop posting for a while

It's precisely because of the dissonance that Rose's theme becomes more interesting. If it were a simple I-II shift, how boring would that be? I don't really understand Lehman's gripe, Williams is obviously experienced enough to know what he's doing.

Scene at Disney shareholders meeting now...

I don't see how old themes can't be included in a FYC album considering there are plenty of scores submitted as FYC with ZERO themes, or basically just noise

Same - I love the highlights of this - Swimming, some great action material, and some awesome usage of his main themes, but overall even the OST feels overlong to me. I don't know why - the rest of it doesn't do much for me.

Didn't you know that Hollywood is a true meritocracy where only the most talented rise to the top? /sarcasm

Lockhart's performance of the "Theme from The Patriot" on the new Lights, Camera, Music cd is really phenomenal. I can't get enough of it -- but I have been hoping for a decent recording of the Signature Edition. This has finally appeared on the Japan Philharmonic's new "Film Spectacular" cd set. Check it out!

Hard to put against other scores as it's so different. But for that reason it's worth getting.