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Jesus dude, chill out...

The Last Jedi FYC (192kbps) >> The BFG FYC (0kbps)

Treble and bass clefs in cut time, no?

I know. He should be making 5 million a movie.

These are solid observations actually. On paper these basic plot subversions are perfectly sound ideas for something as archetypically rigid as a Star Wars storyline, but in effect the nuts and bolts that are supposed to make these beats slot into place in a way which feels smooth and satisfying are all mangled and uneven. As a result the intended emotional impact of these mechanisms completely fails to connect, there is no resonance for the audience to really care about beyond the on-screen moment itself. It's all surface.

Yeah, that's what Star Wars needs, more callbacks.

This point has been raised several times and makes no sense to me You do understand that in a military context the leadership does not owe an explanation to the subordinates, right? During D Day, the troops were actually NOT told the risk they were going to take because if they understood the risk they might have backed out. Basically, what are you talking about? This was intentional to keep the troops in the dark. Your point makes no sense in real life historical context. If you are referring to fiction only, then it is equally a meaningless point since you are describing a fictional situation.

Buy a load of turtle necks.

Escape V2.1: Volume changes have been fixed up, cleaned up the remaining FYC edits and made some changes to the part with Poe's Theme. To my ears, it sounds like Williams intended for the gorgeous strings build-up (as BB8 fixes the X-Wing) to flow straight into the big statement of Poe's Theme (sadly cut to shreds in the FYC) but I've recreated what I think was his original intention. Edit: Refined the sections around Poe's Theme, which sounded a little clunky. Don't think I can get it much better than this due to the crappy overdubs they've slapped into the film mix (unless someone can find me a clean boom-tsh I could add over the top, which would smooth it out). At least all the tracked music from Battle of Crait is gone.

https://www.billboard.com/biz/articles/8085427/billboard-200-chart-moves-star-wars-the-last-jedi-soundtrack-the-beatles The Last Jedi OST debuts at #12 on the Billboard 200, #1 in Soundtracks. It sold 44000 units (41000 traditional album sales) in its first week of release. By comparison, The Force Awakens debuted at #5 on the Billboard 200, selling 100000 units. $100000000 net worth and rising!

If the salary was paid by the note, Williams would be a trillionaire. Zimmer would be earning 12 dollars a film. 😎

So when Jay says he went on vacation last summer, I hope he doesn't expect to DIE before next summer.

Hopefully not, there is a reason for these standards.

I figured Yoda's new look inspired Luke to get some quick work done, too.

Give us the hook!

Hopefully this fit the bill

Ah, must be Justin.

Actually, so yes! So offence intended, Belgians are generally awful people, so I understand.

There are just too many of these subversions, and quite a few of them are packed together. The midpoint is where you'd normally have somekind of twist, and at the midpoint of this film we have Snoke's death, and the reveal involving Holdo's motives, and all of this hot off of the heels of the reveal of what went down between Luke and Kylo. And once the midpoint action setpiece is over, we dive into the third act and we have yet another plot subversion with Luke's astral projection. Its just too much.

After doing a lot of research and re-ordering my playlist countless times, here's, according to me, the best way to listen to the entire Titanic score. The source music is included in the main score and unused source cues replace tracked ones. I added explanatory notes to cue names where appropriate. If you want to follow this list, I'd suggest you assemble the LLL set, OST track 14, Back to Titanic and CD4 from the 2012 Anniversary edition in one folder and remove the track numbers to easily find the tracks. My goal was to have a complete main program that preserves film versions without the need to edit anything. Feedback very welcome. The score: 01 Logo - Main Title 02 2 « Miles Down 03 To the Keldysh - Rose Revealed 04 Distant Memories 05 My Drawing - Relics & Treasures 06 Valse Septembre 07 Southampton (alternate) 08 Leaving Port (alternate) 09 Margueritte Waltz 10 Wedding Dance 11 Take Her to Sea, Mr. Murdoch (alternate) 12 First Sighting - Rose's Suicide Attempt 13 Jack Saves Rose 14 The Promenade - Butterfly Comb 15 Poet and Peasant 16 Oh, You Beautiful Doll 17 Blue Danube 18 Song Without Words 19 Estudiantina 20 Blarney Pilgrims 21 John Ryan's Polka 22 Kesh Dig 23 Drowsy Maggie Dance 24 Vision of Salone 25 Rose (alternate) 26 Come Josephine in My Flying Machine 27 Piano Theme-The Portrait 28 M‚ditation de Tha‹s 29 Titsy Bitsy Girl 30 Lovejoy Chases Jack and Rose 31 Lovemaking 32 Hard to Starboard (extended version) 33 Alexander's Ragtime Band (from Back to Titanic) 34 The Merry Widow 35 Song of Autumn 36 Sphinx 37 Rose Frees Jack 38 Barcole 39 A Building Panic (film version) 40 Orpheus 41 Unable to Stay, Unwilling to Leave 42 Trapped on "D" Deck 43 Nearer My God to Thee (extended version) 44 Murdoch's Suicide 45 The Sinking 46 Death of Titanic 47 A Promise Kept 48 A Life so Changed 49 A Woman's Heart Is a Deep Ocean of Secrets 50 An Ocean of Memories 51 My Heart Will Go On 52 Post Bonus tracks: 53 Never an Absolution 54 Trailer 55 Logo (alternate extended version) 56 2 « Miles Down (alternate) 57 Southampton 58 Leaving Port 59 Take Her to Sea, Mr. Murdoch 60 Rose 61 The Portrait 62 Lovejoy Chases Jack (alternate) 63 Hard to Starboard (alternate) 64 A Building Panic (album suite) 65 Alexander's Ragtime Band 66 Nearer My God To Thee (track 12 from Back to Titanic) 67 Death of Titanic (alternate) 68 Come Josephine, In My Flying Machine (with dialogue, from Back to Titanic) 69 A Promise Kept (alternate) 70 My Heart Will Go On (with dialogue, from Back to Titanic) 71 Hymn to the Sea 72 Leaving Port (with alternate ending) 73 The Portrait (album version) 74 Jack Dawson's Luck 75 Lament 76 Titanic Suite 77 A Shore Never Reached 78 Epilogue - The Deep And Timeless Sea Songs: 79 It's A Long Way To Tipperary 80 Let Me Call You Sweetheart 81 Vilia 82 My Gal Sal 83 Oh! You Beautiful Doll 84 Martha 85 In the Shade Of The Old Apple Tree 86 Waiting At The Church 87 Frasquita Serenade 88 Shine On, Harvest Moon 89 From The Land Of The Sky Blue Water 90 Loch Lomond 91 A Hot Time In The Old Town Tonight 92 Nearer My God To Thee

In Rian Johnson's head, there is an obvious reason: to surprise the audience! And he milks a series of surprises out of it: Turning her from antagonistic to Poe to being the character that performs the most heroic act of the film. Allowing for the surprise of Poe's mutiny attempt. On a meta level, to play with the audience's assumption that she will replace Leia. Again in a meta level, to play with the convention that the authority figure who acts like a jerk is the bad guy, and the young can-do contrarian is the good guy.

While watching, I'd initially assumed Dern's character was being lined up to take over from Leia come the time, and that she would possibly feature quite significantly in part 3. Otherwise, what was the point of introducing this character and famed actress? Turns out there really was no point at all.

It felt unearned because, as with 90% of this film, it was played up to surprise the audience. Surprises only go so far. Really; think about it: how many outright twists and surprises are in your favorite films? I bet not half of the amount of surprises in this.

Laura Dern in this? Just another superfluous addition I thought. Her character's inclusion only added to the run-time and structural problems this movie has. It isn't really a good movie when I think about it.

Blu-ray audio is the thing now.

JFK & The Towering Inferno - would be the holy grails next!

Make them SACDs with multi-channel audio. That's what I want.

They're both treble clefs. The bottom one has some additional marking overtop of it, but it's impossible to say what it is without a bit more context. And hey, I don't get a shout out? What am I, chopped liver?! Kidding. These things can be very hard to decipher. Jaws, anyone?

And Elfman winning a few coins for each time the opening theme of the Simpsons is played in the series for 27 years. http://www.classicfm.com/composers/elfman/news/the-simpsons-tim-burton/ It was a joke. He referred to the affection that John Williams demonstrated by Daisy Ridley and her character in "The Force Awakens."

Hamill is right to defend his point of view, but the people should care less about divisive reactions, especially with this kind of universe, reworked so many times.The reactions of the public are naturals. There are those who are being presented the franchise now, there are those who have known it with the prequels and veterans of the original trilogy. It's impossible to please everyone. And the new always finds resistance to be accepted because there is much material already made that can serve as a parameter for criticism.

FYC 15 Chrome Dome (2:03) OST equivalent: 15 "Chrome Dome" (2:03) This covers the aftermath of the explosion, Finn and Rose coming out of the rubble, and Finn fighting Phasma. The FYC and OST versions are about the same, though the FYC from 0:56-1:00 is a bit longer than the equivalent OST passage (0:53-0:55), the FYC has an edit that removes material at 1:09, the FYC from 1:12-1:18 is longer than the equivalent OST passage (1:15-1:19), and the FYC is longer from 1:27-1:32 compared the OST 1:28-1:30. Overall I'd say go with the OST version, because the bit in the OST the FYC skips past is actually unique material, while all the parts where the FYC is longer are basically just sustaining bits in between the action for longer.

Well, technically they still are bag-pipes; just not Great Highland Bagpipes. And yes, they're a beautiful instrument. Much more lyrical than their highland cousins. That said, their affiliation to Titanic other than "James Cameron loved listening to Braveheart" is a tenuous one.

I love that bit of music at 0:50 in The Master Codebreaker... this FYC is full of great highlights from the score missing from the OST.

It's my favorite Williams score since The Force Awakens. It gave me everything I wanted from it and some stuff I didn't even know I wanted (Williams doing 2010's minimalism is surprisingly epic)

You're just looking for reasons to disaprove of this score and "proof" that the reason you don't like it so much as the older ones is because John Williams' heart wasn't in it. Dude, i've been on this forum since 2000, i've seen this behavior hundreds of times.

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.

So why do you assume the number of new themes is proportionate to the level of inspiration from the composer? Thats a very flawed method of trying to establish something like that.

I have been thinking one of the references for the dramatic urgency motif/music might have been another journalism drama - The Lives Of Others by Gabriel Yared. The motif from 1:52 sounds maybe like a reference for the motif used prominently in Setting The Type and then later in The Presses Roll too. I don't even know what kind of music Spielberg would use it to temp while editing. Maybe Presumed Innocent? Maybe this?

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

Not entirely, this film has all the familiar Star Wars elements and a decent story that has taken some risks. The online backlash and negative reception started like any propaganda, like a domino effect - a game of Chinese Whispers. All of a sudden "True Star Wars Fans" and casual movie-goers on each end of the spectrum seem to become film connoisseurs and critics and thusly is anything posted online something to be torn apart in a 'Trial by Social Media'. One slight deviation from what fans theorized about in the two-year interim and SHAZAM! "Rian Johnson is a hack", "The Last Jedi should be stripped from Canon and remade". Complete and utter Bantha Fodder and it implicates every whining little bitch in this bizarre social media circus for the soulless spoilt savages they are. Ticket prices are a bitch, but nothing in comparison to all the idiots who threw this film under the bus but supported a majority of the trash that dominates theatres now...

It's just complaining from entitled fanboys who value their own fan theories over the vision of the filmmaker!

Nope, HP 3, expanded Dracula, proper Temple of Doom and the Sugarland Express are all priorities.

Obviously, a return to Star Wars for Williams after a decade, my anticipation for a new film and score really drew me back into the Star Wars hype. TFA is an introductory score in ways and I think that's why I find it more memorable than TLJ. That said I choose to look at these scores as chapters and not necessarily a competition between scores. Both are impressive and both deserve time to delve into them.

I haven't bought a JW CD since ... (walks away)

Of course Spielberg and Abrams are also typically producers of their own films. A lot of auteurs usually end up starting their own production companies before too long. But I remember Scorsese for example has said that he's given up final cut a few times over the years in order to get his films financed. At this point, though, I doubt anyone going into business with him would be that interested in vetoing him, anyway, whether or not they had the contractual privilege to do so. I'm sure he's gotten good at winning those arguments by now. **** Anyway, wanted to throw this in here. Rian Johnson did a Q&A with the Writers' Guild, and around 43 minutes talked a bit more about Williams. A lot of the same stuff about giving JW the temp to work with instead of spotting, he writes with pencil/paper, no mockups etc. But a couple good extra comments:

Saving Private Ryan - 20th Anniversary OCD Edition

Preordered these 3 upcoming Criterion blu ray releases. The first two are already among my favorite movies ever made. The last I've never seen but seems up my alley.

Presence is my least favorite. By a lot. I love Out Door. I listened to “Carouselambra” the other night. Fucking awesome.

Maybe this is why the studios prefer the cheap shit of the Zimmer clones. Pop that crap out at $10 a squat.