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The difference is, the "mysteries" of The Force Awakens (WHO IS SNOKE? WHICH EXISTING CHARACTERS ARE REY'S PARENTS??) were not presented as such. TFA presented Snoke as a big guy named Snoke who ruled the First Order. Nobody in the movie was whispering "Holy crap who is this mysterious Snoke guy?" He is a known quantity to the people in the movie - Leia and Han both talk matter-of-factly about him. Snoke is Snoke! In the end, exactly what was presented in TFA was what we saw on screen. He was a big guy named Snoke who ruled the First Order. The "mystery" was conjured by fans who craved something more. In fact, if you graduated beyond Basic Movie Fan and hit Geek Level 2 at least, you'd know that Lucasfilm story group people went on record on Twitter WELL before TLJ came out saying "Snoke is a big guy named Snoke." At the very least, Pablo Hidalgo said it. It was one of the few pieces of solid TLJ-type information that they actually talked about before the movie came out. TFA presented Rey as a person abandoned by parent(s) on Jakku - parents who never came back. There IS a question mark there - who are they and why did they abandon her? We find out in TLJ. They were Jakku gutter rats and they sold her for booze money. Question answered.

I'm one of the ones who started uploading the trailer music to YouTube. I still to this day get dozens of comments per day on each one, still for the TFA trailers as well, saying that those should have been used in the film instead of Williams' score. I delete every single one of them.

How frickin' epic is this?! Amazing how he makes it sound so "epic" with just one repeated phrase (and no choir, at least at first).

According to group events section of BSO website, the Film Night in Boston will take place on May 23 and May 24 http://groupevents.bostonpops.org/boston-pops/spring-pops/ Tickets will be on sale late Februrary in my opinion.

Row, row, row your boat...

For me that moment in 'The Last Jedi' track is one of the most epic in the entirety of Star Wars. So simple but just so effective. I would pair it up with this passage from 'The Spark' (2:16 to the end) as moments that make me appreciate TLJ's score more than others when at first I had thought it was one of the weaker SW soundtracks:

Finished the special features on The Return, and I won't go section by section like I had previously because there are six or seven that all are blending together at this point. A few interesting points: Lynch was increasingly irritable as the documentaries went on (they were chronological), and had a few mild meltdowns - lots of F bombs. It was interesting to see documentaries that didn't sugarcoat this - they pretty much showed it all. His biggest issues seemed related to budget (producers rushing him through filming when he wanted to spend more time/days on things), too many people cluttered around the set during rehearsals (potential for leaks/spoilers), and limited actor availability. I appreciated the real warts-and-all nature of this. At the beginning of the last documentary, in the red room, Al Strobel tells David Lynch the story of how he lost his arm, and it is HARROWING. There is absolutely zero - zero - from the post-production process. A lot of the stuff, I wouldn't care about, but I would have loved to see some of his Skyping with Badalamenti, a little bit about the design of some of the weirder effects elements (things like the Brain Tree in the red room were never mentioned at all - and relatedly, the absence of Michael J Anderson was only given by the documentarian's narration). The documentaries are littered with Lynch's wrap speeches for various actors - every time they had their last shot, he'd bring everyone in and say a few words and the cast/crew would cheer them. He did this for all roles, minor and major (for instance, he did it after Michael Cera completed his only two takes). The funny part - Kyle McLachlan got four farewell speeches - one for his wrap on each character. Anyway, I enjoyed rolling through these as cool-down from my runs. Now I'm going back to binging my way through Archer post-run, or (if I'm feeling attentive), restarting TWIN PEAKS THE RETURN. Namaste, friendos.

US news is not only often hysterical and inaccurate, it also very readily reveals the transparent agendas of their organisations. ALL (all means ALL) media outlets in the US are biased. They all have a horse in the race which is disgraceful. Anytime a news outlet has preference of one political perspective over another, it loses its legitimacy. The media should not pass judgements or insidiously spin opinion as news, they should relate what happened in the blankest most neutral terms possible and allow adult human beings to make what they make of it. Most US media fails at this basic task.

I think the public will really start to recognise how much Williams meant to Star Wars after Episode IX (assuming he doesn't do any more). Rogue One sounded close enough that the average cinema goer probably didn't even notice. But a couple films down the road without Williams, and I think people will start to feel that something's "off" and that what they're watching doesn't quite feel like Star Wars. It will feel like some of the magic is gone, and it's not really the same...even if they're not sure why. I think he's going to be a much bigger loss for that franchise than Disney probably suspects.

2:26 - 2:31 I really like how the brass seams to "chase" the woodwinds.

Updated Oct. 24, 2018 LONDON (WILLIAMS NOT ATTENDING) October 26, 2018 London Symphony Orchestra conducted by DIRK BROSSÉ Performance details – Discussion thread VIENNA (CANCELLED) November 3 & 4, 2018 Performance details - Discussion thread See also: JWFan Concert Reviews (Over 150 reviews of performances conducted by John Williams from 2002 to 2018, including photos, audio & videos)

All the Chicago shows are listed now as 'John Williams Returns' and according to the website will include "music from E.T., Indiana Jones, Star Wars, Lincoln, and more." Also keep in mind that for the CSO shows, Williams will share the podium with Richard Kaufman, while no other conductor is listed for the Indianapolis concerts. Additionally, the CSO has added a pre and post concert event called “A Toast to John Williams” before and after the Sunday, April 29 concert: https://cso.org/ticketsandevents/production-details-2017-18/volunteer-events/a-toast-to-john-williams/

To some extent this is true but it still adds a great deal that enriches the following films. Some examples: it gives us the dynamic of Qui-Gon Jinn and Obi-Wan, which creates this beautiful situation in which Obi-Wan never asked to be the man who would take care of the Chosen One and watch him fall - this renegade Jedi Qui-Gon got them into this mess, got himself killed, and then Obi-Wan, a classic reluctant hero in the moment, had to take on that mantle. I just love this dynamic for what it does for Obi-Wan's character but also for giving us a great figure in Qui-Gon. TPM also does a lot of character-building for Padme, especially politically, and it establishes Anakin and Padme's relationship as stemming from a childhood idealisation. The reason I think this works really well (at least in theory, how it's directed/written is a slightly different conversation) is that it adds to the fact that Anakin has put Padme on a pedestal. When he is reunited with her AOTC, she is untouchable and perfect to him and his obsession with her is so extreme that it contributes to his moving towards the Dark Side in ROTS. If they just met in AOTC, it would come off more like an ordinary teen romance, which is fine, but adding that childhood idealisation really shows how fundamental Padme has been in Anakin's entire life. Plus TPM establishes Padme's daring and curious nature in going undercover. I feel like her fighting in the finale of AOTC would feel rather forced, since she is a senator, if we hadn't seen how she was as a queen. There is also the Tatooine connection. Without establishing Anakin's childhood slavery, his relationship with his mother, his origins on Tatooine (which also ties to Luke's story), I think AOTC would not work as well. We would have no context for his revisiting his mother or seeking revenge, no context for how he was outside of the Jedi Order. Politically, I understand that you could kind of start at AOTC and it wouldn't make a huge difference, but politics doesn't work like that. It never just starts at one point and there are always a hundred trade deals and embargos and skirmishes that occur as preludes to an all-out war. Lucas gets a lot of slack for the political elements of the PT, but I have always admired the complexity and nuance of incorporating a believable series of events that led to the Clone Wars.

Received this today. As someone who only owned the three Spielberg albums this was a no brainer. I'm going to go through it in order. Some stuff I'm familiar with and some that I don't know what to expect at all. Quite exciting really. Plus the Box looks pretty damn nice on the shelf!

It is only natural. He killed your son. You wanted revenge. It wasn't the first time, Jim.

Revenge is a dish best served cold, and winter is coming! ~ The Night Kling

Yep, Chris Pine does a good job embodying the essence of the character in a modern interpretation. To be honest I think William Shatner's performance is too wonderfully idiosyncratic to emulate in any direct way, or it would fall into parody. With something like Ford's portrayal of Han Solo, you can go a little closer to the original (as Urban does with Bones) and have it feel authentic without being an imitation.

Blasphemy!

The mystery of Rey’s parents wasn’t even really acknowledged much in TFA and has very little time devoted to it. There was just this cynical awareness, I felt, that the series was trapped in its own tropes and would probably try to do something with her parents in order to pinch more money in our wallets, as would be typical for anything JJ Abrams touches. I never cared about Rey’s parents and thought it undercut her character to have to worry about that. I am glad they went another way.

Some people just don't understand how brilliant it is.

You're a Frenchman!?

I really don't mind that, as long as it's well done and JW's new Solo theme is great.

I’ve heard some people claiming it IS the Imperial March and a lot of people claiming there are no similarities whatsoever. I think the truth is somewhere in between. I think Williams wanted us to recall the Imperial March, even if it’s not the same melody, and I think he wanted us to recall the Jedi Steps, even if it’s not the same. I think he was trying to make this moment a confluence of themes, ideas, and subplots from throughout the films. This is the point of reckoning, Williams seems to be communicating.

Who is this creature?

My favorite movie poster of 2017:

First reaction to footage (possible spoiler alert): http://www.theforce.net/story/front/The_Very_First_Reaction_To_Solo_A_Star_Wars_Story_Hits_The_Web_178344.asp

While I think a good part of this is right, I also think that music and sound design in general in a movie is really important. Movies have only two ways of entering the brain; by the eyes and by the ears. The principal one is of the course the visuals; that is what we remember most when we think of a movie. But the sound really gives it the atmosphere and tells the audience what they should feel at a particular moment. So indeed, most people don’t remember themes and such, but they certainly feel the way John Williams paints the atmosphere of the movie. Only, they don’t directly realize it. So I think that if the music would be different in style, even though some of the main themes remain, Star Wars would result in such a different “atmosphere” and people would probably feel that, without knowing what the problem exactly is.

I love this part in the movie! Some people disliked it, but to me, it just proves how strong Luke is in the force and this moment when we’re revealed the trick, is like OMG with this epic music! Love it!

@Josh500, partly true what you say, but so trivialized that it can't get much more offensive. IMO, a valid problem of the US is the lack of a main news source that doesn't depend on popularity and can afford to be purely informative and not at all entertaining.

What about Interstellar? You really don't think that has potential to be a classic? I'll agree on Man of Steel, BvS and Dunkirk, but I really think Interstellar is an evocative, interesting and 'best of later Zimmer' score. I suspect it will stand the test of time.

I think the purpose of this film is to explain why Han didn't shoot first.

Sorry I have to post more! Man, I f*in love Harry Potter music. The theme The Psycho Pianist pointed out above with Williams' classic IV7, gives Harry's perspective a thoughtful, almost absorbed sentimentality. Williams melody-writing is genius. The almost Bachian refiguring of intricate stringline and bass counterpoint to the filmstyle of the 20th century: The brilliant melodies he teases us throughout the movie with, then boldly and finally develops once-and-for-all, again AGAIN at 2:48: And I remember listening to this part over and over in a teary kind of happiness. The crescendo and then bittersweet flute accompaniment of this wondrous melody resembling nature:

And 10 years later I bump this thread.. (pity it was not active). lately I follow a site (http://411posters.com/category/movie-posters/ ) which mentions upcoming movie poster releases (mostly of old films I think) and this may interest some. If I had the budget I'd buy it! https://bottleneckgallery.com/collections/frontpage/products/gabz-indiana-jones-trilogy-timed-edition

Yeah, when I first got to watch Attack of the Clones, it must have been the first time I was loathing my protagonist. And because he is the way he is, it also drags Obi Wan down, like when he chastises Anakin in front of Padme, or in the end "come to your senses!" Makes him sound like a jerk, too. Which is to say nothing of the Jedi council. The only one who has a genuinely fatherly dynamic with Anakin is Palpatine. But we as an audience are supposed to understand why Anakin would side with Sidius, not relate to him siding with him!

Sounds like Spielberg is still planning to go ahead with this. The article also suggests that West Side Story is still in the running for a future picture! Unfortunately, it also suggests that Mortara is basically dead.

Well I guess this means I'm a child. http://www.slashfilm.com/dune-remake-star-wars-for-adults-denis-villeneuve/

This gives me zero comfort. There was this kind of early slobbering, only worse for TLJ ("the best Star Wars movie since Empire"), so I'll take all of this with a grain of salt. Especially since this person seems to lack any other way of describing what he saw other than "amazing" and "awesome."

I'll be there!

Look at Alien. It tells you nothing about the movie! Brilliant!

Because the new Enterprise is over 100 meters longer than the old one, and twice as luxurious.

You people understand each other? xD

That's all right. I know that I'm not the only one who'd be interested in digital Signature Editions, so maybe if others started inquiring at well, things might change.

What IS this thread? Is there a reference to something I don't know?

I'm a completist but I'll likely never have the time and money to track down every old rare, OOP item. I just hope every score he wrote I don't have on CD yet eventually comes back on CD before that format goes away entirely.

Well, sometimes it's more important to get to listen to the music than not being disrespectful. I guess the important thing when owning a bootleg is to buy the material if released legally, which I guess most people on this forum would do.

I repeat 10 s moments up the wazoo! My most repeated music segment of all time I think is [1] + [2], and have been repeating the first 30 s of This Land from The Lion King a lot today. As far as John Williams, I remember repeating this countless times when it came out. The bright and airy classicism of it fascinated me, and how it sounded slightly flat: The horn melody (+ little flutes.) Reminds me of something that would be out of Homeward Bound or a country-themed orchestra, yet has much more European elegance and structure. This is not part of the score, but man, the 10 s of piano... Classic Williams: Wow yes, such a brilliant melody. That's probably my favorite version of it. Is that the part when Hedwig is flying over Hogwarts?

STAR WARS EPISODE IX: #Star Waaaaars, nothing but Star Waaaaars#

ESB>SW>TLJ>TFA>RO>ROJ>ROTS>TPM>AOTC

Top 20 things I want to see in Solo: Han Solo Origins: A Star Wars Story Anthology 1. We find out how Han met Chewie 2. We find out how Han met Lando 3. We find out how Lando met Chewie 4. We find out how Han won the Falcon from Lando 5. We find out why Han says "I've got a bad feeling about this." 6. We see Han make the Kessel Run in less than 12 parsecs & outrun big Corellian ships. 7. We find out what the Kessel Run is. We find out what a parsec is. We find out what a Corellian is. 8. We see Han shoot first. 9. We see Han fly from one end of the Galaxy to another and see some strange stuff 10. We find out why Han wears B&W all the time 11. We find out why Han has a scar on his chin 12. We find out how Han met Jabba the Hutt. We find out what a Hutt is. 13. We see Han get boarded & dump Jabba's shipment (worth 10,000) 14. We see Emila Clarke call Han a scoundrel 15. We see Han meet Greedo. And Boba Fett. 16. We find out why Han never wants anyone to tell him the odds* 17. We see Han encounter Mynocks. Why do Mynocks like to chew on power cables? We find out. 18. We find out why money is all that Han loves and why he only takes orders from just one person...himself. 19. We see Han smuggle stuff (but not himself) in the Falcon's hidden compartments 20. We see Han make a lot of special modifications to the Falcon. We find out why this one goes there and that one goes there. The movie should end with Han and Chewie going into the Cantina on Tattoine and sitting as the same table where he met Ben and Luke. Han is talking about how he owes Jabba 10,000 and that Greedo is looking for him, and wonders if there's anything that could save his neck. They hear someone in the bar is looking for a fast ship. We hear the bartender yell "no blasters! no blasters!" In the background there's the sound of a light sabre and a scream. Chewy leaves the table to talk to Ben. Chewie returns and we see Han look up and say "Han Solo. I'm captain of the Millennium Falcon..." Wipe to credits Cue fanfare Directed by Ron Howard *This will happen during the card game when Han wins the Falcon. Someone will tell Han that the odds of him beating Lando's hand is 10,000 to 1.