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So...I visited the official Jurassic world exhibition yesterday...and look what I found in the tyrannosaur panel ... Anyone see something familiar? LOL

Step 1) Either be 13 or be with a 13-year-old. Step 2) Harass John Williams outside of his house with mediocre renditions of his music. Step 3) Wait for John Williams to come out of house. Step 4) Profit. This is seriously the most direct way to contact him.

Love how Daily Prophet involves a dark rendition of the Hogwarts fanfare for the Gringotts break-in news - technically we're not yet supposed to know it involves Voldemort or the Stone so using those themes would've spoilt it! As much as Neville Stiffens is a clever idea (combining those two unused cues to kinda recreate the tracking in the film), it feels really redundant to have It's Guarding Something, another Hogwarts fanfare playoff, right after the big one in Running to McGonagall, you just want to get to the varied good stuff by then. It might have been better to just leave those two cues in their place - stick Guarding at the end of Moving Stairs as a moody finale and Troll in the Dungeon in front of Fighting the Troll. I'll certainly do that in my playlist. Otherwise the film presentation of PS is pitch perfect, Im hearing all kinds of new bits I haven't noticed before and having not heard the score for months helped in looking at it with a fresher eye. IMO Hedwig works better as a concert suite and end credits piece while HWW is best listened to as the Children's Suite finale, but there's plenty of space for both on the disc, I can live with it. It's a pure classic, every cue is memorable and has something going for it. The Children's Suite is an absolute wonder, so happy it's finally available! How often do we get 8 miniatures (and 2 larger concert pieces) presenting the main ideas of a score while the composer is still in the headspace, distilled down to their essence with the nature of the presentation and the select instrument groups, but also at times explored way beyond what they usually get in the score(s), like Nimbus 2000! Together with the bonus section, this disc is a testament that the Philosopher's Stone project is perhaps one of the most inspired and enthusiastic Williams has ever been. Hagrid's Flute with a clean ending is great - it's even mastered less harsh, I think. The Leaky Cauldron I dislike, though - a fadeout is one of the laziest ways to end a track (Cantina Band 2... Cantina Band 1 on the OST...), I think the interrupt ending would've been perfectly fine. Flute and the sessions Cauldron will be reintegrated into the main program. Hedwig on Harp is magnificent! The Teaser's good, but its historical significance is greater than its musical interest. Hogwarts Forever vocal might find a place as an intro to HF in the Children's Suite - worth a try at least! I always found Owl's Flight incredibly unfitting for the scene, but an intriguing composition on its own. The Coke ad was always great. Trailer is not a phenomenal performance but a fine closing note. 3 hours later... What a set! Basically everything I could ever dream of for Philosopher's Stone - with only 2 minor and easily fixable hiccups (Neville Stiffens, Leaky Cauldron fadeout) in the whole thing! Ron really wants to escape though.

Dunkirk (2017) Not sure I'll ever understand why this got such a mixed reaction among the Nolan fanbase, when it’s arguably the director's most critically well-received film. Visually it looks great; the color palate is (like most Nolan films) very monochromatic and grey, but the framing and composition is very striking; plenty of beautiful shots. Very bare-bones narrative structure, and the dialogue is sparse and mostly limited to exposition. Zimmer's score may not be the most pleasant listening experience on its own, but it is absolutely brilliant in the film. It may be more sound design than music, perhaps, but it creates a remarkable layer of tension and atmosphere that is present throughout. Overall a satisfying and often experimental effort from Mr. Nolan. **** and 1/2 out of *****

1: The Star Wars theme song 2: Darth Vaders theme song 3: E.T. Theme song 4: Superman theme song 5: Indiana Jones theme song 6: Harry Potter theme song

Oh wow! That is amazing! I’d love to buy a copy when you’re finished with it! Ive noted all of your comments, rather than try to screw around through agencies and all that Jazz I’ll probably just abandon the idea entirely! If I was writing something more substantial it might be more of a “must-do” but, I’m afraid what I’m writing really doesn’t warrant a meet anyways! @Nick Parker IM IN LUCK! I just finished a batch of micro oganisims today, I’ll have to try your idea 😎 Thanks very much for the advice @Will If I find the address I might just try and shoot them an email just to see what happens, but like I mentioned up there, I will probably just end up not even trying. Besides, @Falstaft has a much greater need to meet him than I do so I really don’t stand a chance ha @Cerebral Cortex 1. I love that video! It just shows how caring he is (unless he just wanted them to shut up ha) 2. I so wish I lived in LA so I could pull a stunt like this and finally, 3. I’m a percussionist so it might not work too well, I mean I could play the snare part to The Imperial March ha It’s totally okay! Like I said in the original post, I wasn’t really expecting much, but you never know, maybe I could’ve been pleasantly surprised! I appreciate you giving me other things to think about as well, I have the book that was just released so I will probably be referencing that a bunch! I will also check that podcast out that you recommended as well! Again, thanks a lot @Arpy and to everyone else who responded to this thread!

It's a conspiracy! Literally the same fucking fingers! LOL

Then he won't be allowed to leave.

So what @Falstaft is saying, @D_nev, is that you must engineer microorganisms that will allow you to take control of Mike Mattesino's body and have him reach out to John Williams on your behalf.

Update: The podcast is available on iTunes and Spotify. It is also on the Podbean app, so there are plenty of places for you to hear the show and subscribe. Next episode online Wednesday!

Now you're overdoing your diet!

I feel differently. The pacing helped give the film a sense of scale, and a deeper appreciation for the technical skill on display. Modern movies are too fast.

So do I. Braveheart>Titanic> Avatar

That’s not very nice.

What does this mean?

Or disguise yourself as Daisy Ridley. That might get you a foot in the door

I agree with Daffy Duck.

Great question. I'd imagine yes but I have no information on the subject.

Not if Episode IX ends with everybody dying. Then the final track will be Failure Commiseration and Finale.

Let's settle this once and for all.

THANK YOU BESPIN, IT IS ALWAYS NICE TO HEAR YOUR INSIGHTFUL COMMENTS.

Any particular theater, or all of them?

The Lion King (Walt Disney Legacy Collection) by Hans Zimmer Gloroiosus and triumphant, with the obviously notable songs and a score to math. There are two great themes that I seem to have rediscovered in this expanded relesase, which has probably been my favourite of Legacy Collection I've listened too so far. Excellent work on Zimmer's part. The Post by John Williams What stands out to me in this score is Williams utilization of the string section, especially in tracks like The Presses Roll. Others, such as The Papers, possess a much different musical structure, using synth and low strings to unravel the secrets of the government papers. Deciding to Publish is a tense track, the strings building to the moment when the final decision is made. I quite like this score.

Than they're just not that good, I'm afraid. I'm certainly not against making a film into a theatrical experience, an event. But to do so at the expense of the film's ability to endure on the small-screen is, to my mind, a shame. Many (most?) of my defining film-viewing experiences were in my living-room. I'm sure many others were, too. There had been films that I watched in the theater and found myself engaging with more when I got down to watching them at home; and even when I get to rewatch such a film on a big-screen, I still think back on watching it at home as more affecting.

Its the kind of film that needs to be seen on a very, very big screen.Take that from it, and there's really not that much to be had. And even if that won't be quite true for those who did see it in the cinema, and went on to revisit it in their living-room, it will certainly be true-and-then-some for those who never saw it on the big-screen. I just don't think it'll have the longevity that other Nolan films will (or do) have. Still a good movie, though. The lack of wordliness (which plagues every other Nolan film) is very refreshing for this director.

Great score? More like a GREAT BORE!

Brother! 😉

You ...you care....you DO care!

Spellbound - Miklos Rozsa

We should all shut up, and listen to STAR TREK: III; a true masterpiece.

16 brilliant people!

I wanted to stop during those first 4 or 5 episodes of S1, but people said it would get better, and it did!

The Good, the Bad and the Ugly, by Ennio Morricone ***** out of *****

We should letterbomb LLL to tell their manufacturer the cases they use for these premium products are literal shit.

@NL197 My friend, what have I done to upset you? What could I have typed to get you so angry? "10 second...motif"? If you read my text, you'll see that I made no reference to any "10 second motif", so...what is the basis for this? "One minor motif"? Again, provide evidence of my writing this. Could it be that you read too much into my post; that you assumed? @Jay is right: my comment was not aimed at anyone on JWfan, but, instead, at the link. For the record, I do think that ST:II and ALIENS have a lot in common with AVATAR. The three scores offer prime examples of Horner's style. More than that, however, they all contain the same strands of his musical DNA. Listen to ALIENS, and then to AVATAR, and one will hear that it is, unmistakably, the work of the same person ( @JoeinAR listen to the End Title of ALIEN, then the climactic music for ST:TMP, and tell me they don't have much in common ). Every composer; artist; person has traits that last from birth to earth, from womb to tomb. Horner is no different. As for me not liking AVATAR; who really cares? It's just a parlour-game, isn't it? Mine is one man's opinion, of one score, among a large body of work. It's not going to change the world. By the way, sometimes, I do like to look in the mirror, when I "fuck off", but that's another story, for another time.

Just watch the series! It's quite good!

Turn up on his doorstep and start blowing your trumpet. That'll get his attention.

I think you're right about this one -- as far as I can tell the chord is C# - D# - G - B. I'm not actually hearing an E natural anywhere, so if it's absent, it's not a half-dim7, technically. Though the chord does serve as a substitute to the syntactically more accustomed ii7b5. A wonderful, surprising sonority that links up nicely with the overall harmonic style of the Mountain Theme, as you note! Here's some more unusual ones to hunt for: ivØ7: Imperial March bviØ7: Chamber of Secrets

I think Horner betrays his melodic grace here. I'll say this, when the main theme does appear, it is indeed quite lovely - but where the heck is it? Its full version is played only once in the film by the boy soprano. I think this is why it fails to have the emotional impact that the main theme of titanic does in the film. And sorry the War cue posted above, it sounded a lot like Remote Control and power anthems. Again no melodic grace.

Nah. It should be James Newton Howard. He's been in somewhat of a rut lately with the genre fare, but this might just be the one that inspires back his old form. 90s JNH would be perfect for this.

Apples and Oranges. Might as well compare Aliens in there as well.

By the time I was brought on board it was a box set. You'd have to ask Mike or the guys at LLL about what led to that decision

MM didn't edit the gracenote out of the Firebolt alternate, that track presents the cue as recorded (the entire set presents the cues at their full recorded length, he didn't go around editing bits out). Obviously after that was recorded, AC re-edited the scene, and JW had to add a grace note to the revised cue to cover the new length. Then, JW chose to have the grace note edited out for the OST album.

It's here!!! @rough cut, MusicBox packaged it excellently, two layers of bubblewrap all around and a snugly fitting cardboard box. Feels great to hold it, looks gorgeous, the middle black bit of PS is absolutely destroyed, exactly half the teeth have broken off and one of the corners that holds the jewel case tray could break off any second. The other jewel cases seem cheaper, too, I see what people meant. Disc seems fine, will rip it as soon as possible. If I remember this and handle it carefully, it won't come loose and rattle around. Update: rips just fine, I guess will play just fine too. Whew. The outer booklet feels massive! Crazy what difference a little thickness and a more wide rectangular shape instead of the usual square makes in how your mind perceives its size.

I think the finale was. And then they realized that nothing Desplat could write would top that so they used it verbatim.

People on here and FSM have been asking for a while if I was going to collect links to my Film Score Google Docs together in one place, and I've finally decided to just do it as a forum post here on JWFan. This thread will only contains info for Williams scores; non-Williams scores are over here. Every time I add a new score to the main post, I'll bump the thread, and you're welcome to ask me questions about any of the information on the spreadsheets here as well. After I get caught up and post every existing spreadsheet I already have, I'll considering taking requests to breakdown scores I haven't done yet. Please refrain from requesting until I mention I've gotten caught up. Thanks! I'm kick-starting the thread with all the spreadsheets I had for Williams scores from the 1970s 1974 - The Sugarland Express Google Doc 1975 - Jaws Google Doc Mike Matessino text interview by me on the 40th Anniversary Intrada Edition, November 2015 1977 - Star Wars Google Doc 1977 - Close Encounters of the Third Kind Google Doc Mike Matessino text interview by me, November 2017 (includes brief Close Encounters discussion) Mike Matessino audio interview by Tim Burden for Cinematic Sound Radio on the 40th Anniversary La-La Land Edition, February 2018 1978 - Jaws 2 Google Doc Mike Matessino text interview by me on the Intrada Expanded Edition, November 2015 1978 - Superman: The Movie Google Doc Mike Matessino text interview by Neil Bulk on the FSM Blue Box, March 2008 Mike Matessino audio interview by Tim Burden for Cinematic Sound Radio, February 2018 (Includes brief Superman discussion) 1979 - Dracula Google Doc Mike Matessino audio interview by Tim Burden on the Varese Deluxe Edition, October 2018 1979 - 1941 Google Doc Mike Matessino text interview by me on the 2011 La-La Land Expanded Edition, September 2011

Well then would you not call Flag Parade a theme either or Throne room or Jedi Steps (though Jedi Steps got used in the sequel) or the Aria from the finale of E.T. I think a single sequence use can still qualify a melody as a "theme" specially if it is clearly constructed and articulated, and usually expressed more than once one after the other. And you could argue, another variation of the Great Wall theme occupies this track from to 2:18 to 2:38, specially from 2:29 onwards. That would put the Great Hall theme in 2 sequences, with a variation to boot. And I think you still have to count the Diagon Alley version. Because a film score is a film score. Repeated uses of melodies often defines what the main theme of a film is. So I would say you can count 3 uses of the Great Hall theme definitely making it a theme.

There's plenty of Williams-conducted source music unreleased from this score. There's nothing "false" or "accusatory" about my statements whatsoever and your attempts to label them such are disingenuous, so you might want to reconsider your comment. There's nothing wrong with being disappointed that Williams has vetoed this music from being included on this release. For me, any music conducted by Williams is a precious thing and it would have been nice to "close the book" on requiring the recording sessions for this score.