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It was an f’ing awesome day!!!

From JP's Facebook: "‘Mine Mission Suite’ from Solo: A Star Wars Story will premiere next month!" https://www.filmfestival.be/nl/nieuws/solo-a-star-wars-story-vervolledigt-line-up-2001-and-beyond/25-09-2018/3578?utm_medium=email&utm_campaign=NL 24092018&utm_content=NL 24092018+CID_1dafcddcbef6b7f915aaf651d0c5f9c8&utm_source=Email marketing software

Luke and Leia has a sort of emotional maturity to it, whereas Leia’s theme has this youthful optimism. The former would not have worked for the concluding scenes of ROTS but was perfect for its appearance in TLJ. I think Williams’ decisions were the right ones, and I’m grateful the sequel films allowed him this one sublime opportunity to bring closure to that theme, what could be my favorite moment in all Star Wars, centainly the most emotionally resonant.

I don't know how the cue lines up in the film, but I find it interesting you call it silly...while it's definitely exaggerated with all of those trilling woodwinds, I find the tone to be ominous with a great feeling of the characters getting in something way over their heads, further building all the way through to the end of the trash compactor sequence. Too much, probably, but not a tonal misfire. If anything, I would say the music would have slowed the pacing of the film down too much, drawing the scene in its own "shell", so to speak. On a general note--and I apologize if this has been stated before--it's important to note with a good number of the cues listed in this thread, and elsewhere for other film composers, that before a single note was written, the director and composer could have very well agreed that the scene in question could be better with no music, but want something covered just in case-as George Lucas said once, "useable, or loseable." Or, the director could have an attitude of--and I've experienced this personally--"I don't exactly know what I want here, could you just come up with something? We'll go from there." Personally, I find it incredible that composers such as John Williams can write such captivating, full-grown music with that angle of experimentation in the short time frame they have.

I proofread the liner notes and Miguel and Maurizio helped locate articles with quotes from Williams discussing the score.

The film or the score? The film was okay, but the score was a lovely hybrid of Powell's familiar style and Williams's 'Williams-isms'/'Star Wars-isms'.

I like them both for different reasons. "Yub Nub" isn't really a scoring choice, per se, the point is that it's just background source music to a largely unscored scene (until the final orchestral/choral swells join in.) Feels a little more intimate just seeing everybody reunite and celebrate, with no extra commentary from Williams. But I appreciate "Victory Celebration" as the more fully non-diegetic emotional release you expect from a Star Wars finale, and it gets across the right combination of joyfulness and melancholy that you want to feel at the end of the OT. I kinda prefer being spoonfed when it comes to SW.

Pretty much sums up my feelings on this movie. Not bad, but very bland and forgettable.

I've been keeping up with the Harry Potter films as of late. They are not as bad as I thought, they are quite good actually. Looking back though I am starting to like Prisoner of Azkaban more now that I've seen what it's up against with the others. Harry needs to get a real girl though. It's like he's standing outside a revolving door the past few movies- who will he kiss next?! Fantastic Beasts was the third Potter/Wizard franchise film I saw (the first to HP were lackluster). It was actually really good movie wise. The characters are lovable enough and while I hardly have a clue what's going on it's just fun to watch. I find that to be the same with Pirates of the Caribbean- the plot lines are so twisted and confusing for me yet it's a hell of a lot of fun just to watch. I have more respect for Potter fandom now, but Star Wars and Tolkien come first.

You are old. We are all old.

I got mine finally today!

The action music in The Force Awakens/The Last Jedi is so weak and limp that Giacchino would be flattered at the imitation.

Not sure if this has been posted, but Powell sometimes posts videos of his Logic Pro sequencing of tracks on Apple Music. Here's Flying with Chewie: https://itunes.apple.com/us/post/sa.af3f4990-9684-11e8-a49d-ba4096410852

I can't believe Honest Trailers didn't incorporate the "So-Low" pun. This movie was just asking for it. From day one.

Yeah, it makes total sense. I guess if there was no sequel trilogy I'd feel more strongly about this, but after TLJ I do see this was a good choice.

Not this movie, 'cause against all predictions it actually turned out to be good.

Interesting trailer. Too bad they didn't use JNH's main theme and stuck to Williams' theme for the trailer. This looks like a much more ambitious movie visually. I think this series might age well. The first movie was really good. Easily one of the best wizarding world movies.

That's so awesome, bud. I'm happy for you. I'm glad we managed to get a man on the inside.

They're about to make another billion dollars.

They're about 2 1/2 hours.

Did you know that I AM THE WALRUS is the only song to be at #1, and #2, in the British charts, in the same week? Christmas, 1967: #1 HELLO GOODBYE b/w I AM THE WALRUS #2 as part of the MAGICAL MYSTERY TOUR Double EP.

😂 Good one!

Gaming is an incel infested retreat and pastime for sad little women haters like these guys. A noticeably proactive movement seems to have become really prevalent just latey.

I'd need to re-watch that scene to gauge my opinion but, from the last time I watched that film, not a single cue stuck out to me as being the wrong choice. I consider A.I. a masterwork, probably his most recent.

I just updated my James Horner Playlist. Obvious choices, but a very pleasant playlist!

Tadlow. I don't listen to the originals. Like, ever. Karol

Yeah, that’s called choice-supportive bias. 😉

John Powell is the future? He's 55. Better crack those knuckles and get going beyond shitty Star Wars spinoffs.

My thoughts exactly. It's a fun listen on its own, but I can't take it seriously as a conclusion to the original trilogy. Oh! I totally forgot a big one...the dianoga cue from ANH! Absolutely LOVE the cue...absolutely HATE how it would have worked in the film. The scene would have felt soooo much sillier. (Oddly enough, I do think it works well in the SE's expanded Mos Eisley sequence...I have mixed feelings about those additions, certainly, but the score certainly fits nicely with them.)

Casper Since the main titles weren't included on the album (presumably for copyright reasons), it is a little weird that the album just kind of...drops you in! A lot of it's of course temp-tracked with Eflman-isms, but I confess to finding Horner's take on that style more engaging by simple (and subjective of course) virtue of him being a better writer than Elfman (and having better orchestrations). It's a minor fluffy score, but Horner's kiddie movie music is always easy listening even at its weakest.

Some pictures from the above link:

I've always adored this theme, and particularly this performance. The bit where he ascends and transitions from playing to conducting at 1:10 is just glorious - almost a kind of choreographed dance move; the 90 degree turn timed to the beat. 😅

Last time I looked, it's still 1/ John Williams 2/Jerry Goldsmith

The LLL Close Encounters was a 100% remix

Fantastic arrangement and performance of Gremlins 2 end credits suite!

I will not hear a word against Aunt Marge’s Waltz and I demand the permanent banning from this forum of anyone who dares speak ill of that cue

Premise: I really cannot stand the movie Hook. Easily my least-favourite among all of Spielberg's movies. Most of the score is fantastic, but I find a few choices to be dreadful: surely all the songs, as well as "Banning Back Home". My problem with the latter is not that it is jazzy, but just the fact that it is out of place with respect to the symphonic poem / ballet style of the rest of the score. Then, I find the final battle sequence to be really over-scored. I feel a huge mismatch between the epicness that the music is trying to convey, and the childish stuff that I see on screen at that point. It's better to listen to that without the movie. I also have a problem with the Short Round theme (and all the instances when it appears) from Temple of Doom. And with Aunt Marge's Waltz (the only low point in a masterpiece score). I cannot think of much else at the moment, but I'm sure I could if I were more familiar with the complete Indiana Jones scores!

I hate to be a naysayer, but the score for GLADIATOR, like the film it acompanies, is shite. Always has been, always will be. Sorry.

To each his own, but I respectfully disagree. The Maestro took Fiddler On the Roof very seriously; the attention to detail in the music pays the utmost respect to the musical and what the story represents. Normally, Fiddler On the Roof is a chamber piece, given the Broadway and stage production. However, with the film adaptation, you actually see the landscape; you have real horses with the Soviets. The grandness of the format required the musical adaptation to go from a chamber piece to an over 80 piece orchestra with a chorus. That was the challenge presented, but the Maestro accomplishes it in a way that not only enchances the music; it in someways improves upon it while at the same time remaining faithful to the piece. Having the two-disc dvd, one of the bonus features is called “John Williams: Creating a Musical Tradition”; in it, he communicates exactly this while sharing his personal connection to the project. I can’t upload it, but it is worth checking out.

Every John Williams cue are right, it's movie scenes which are sometimes wrong. 🙄

Banning Back Home has always sounded off to me, both in the film and on its own.

One of my favorite JW piano performances. Listened to it on the Tanglewood lawn under a perfectly clear summer night sky. Just magical. Continued here:

John Williams is bringing back classical music!

Too bad you couldn't pay with your LLL gift card.

Hi all! I wanted to share a project that I"m doing very soon. You can read more about it on the kickstarter page, but I'm recording John's Trumpet Concerto with a full orchestra, with John himself conducting! I've raised a majority of the funding for the full orchestra and recording fees, but am doing this campaign to raise the remaining gap. If any are interested in contributing or sharing, there are rewards on the page and I'd appreciate you all for helping to make this a reality!! Thanks for reading! Best, Tom Hooten, Principal Trumpet of the Los Angeles Philharmonic https://www.kickstarter.com/projects/williamshootencd/john-williams-and-thomas-hooten-recording-project?ref=user_menu

Joel McNeely is considered to be an excellent conductor.

Newman was a brilliant conductor. Many composers and musicians usually took the time to sneak in at his sessions just to watch him work with the orchestra. Williams once said he had a flair and a command on par with Sir John Barbirolli.

I'm always wary of approaching this subject with JW fans, but honestly, he isn't that fantastic at the "stick technique" of conducting. It's not exactly hindered his career or anything, but be sure here to distinguish between "stick technique" and "rehearsal technique," which are two entirely different things (although they do intersect). Rehearsal technique is the art of rehearsing a group: getting them to fix problems, make musical changes to things like articulations & phrasing, getting the group to balance (i.e. bring the melody out here, or the background lower, etc), and a million other things. You can see in videos that JW is extremely talented at hearing errors, making changes, etc. It's a mixed bag when conducting music you wrote: you have to not only listen to the music and judge your own creation, you also have to listen for errors and things that just need "fixing." Stick technique is just that - the physical technique with the baton and (equally important) facial expression. This is where JW really isn't exactly at the top of the game. I have to be clear that I don't mean this as hateful criticism, but he's pretty well known as an example of what not to do. There are many conducting gestures that he routinely ignores: smaller gestures and overall conducting pattern for softer music (keeping it "in the box"), gestures to help the group rhythmically (the often-overlooked "gesture of syncopation"), and breathing with the group. Overall, what he doesn't use is more related to finesse. He has one big pattern, one small pattern, and of course the big finish. A few friends in the Boston Pops and Symphony have told me the most frustrating thing playing with JW on the box is that they will perform something with him on one program, then a year later he's back and they'll do the same tune(s). Only problem is that since last year, he's changed his mind about how he wants something played (not tempo - something more detailed like phrasing or something), and they're playing it like they did last year. So he has to stop and tell them every little detail instead of just conducting it that way, which they would completely just follow. That's about the only time that I can see any real drawback in that manner. At the same time, as Greg just posted, he is extraordinarily clear. This most likely comes from years and years of conducting in recording sessions to a pre-determined click track for tempo, and just needing to be really damned clear because in the recording session, nobody cares about your artsy-fartsy conducting degree. So, even though I may have sounded "critical" (because the OP asked), I don't really judge JW when it comes to that. Nobody expects him to be Sir Georg Solti or Fred Fennell, just the composer conducting his own tunes, and he does a pretty fantastic job of it.