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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.

Oh and of course I'm gonna throw that cutesy-ass twinkly Rhodes stuff in there too.

I know whachore saying, and it's definitely open for the bass player to add in a few notes here and there, but I like the idea of that whole section being one big breakdown, the bass being really sparse contributing to that...originally it was only a small tempo drop, but I thought it would be fun to really exaggerate that drop and make it one of those slow jam "clap your hands" moments. The bandleader is the trumpet player, and since he's laying out that section he might engage the audience there. The drummer will probably do something a little more consistent than what I have, that "1 and 2; Bop!" pattern on the toms. I really appreciate your listening and feedback, Steve.

But does he sing it?

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.

Just found this fresh take on "Can You Read My Mind?" while wandering through the LSO's back catalog. I love the improvisational sound.

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.

I understand your point of view, but personally, I had a very similar experience to the one that John described. Not sure if it holds up during a second viewing though ...

Great score? More like a GREAT BORE!

She sang Moonlight at the Oscar ceremony in 1996 instead of Sting... Look up Lea Salonga’s version on YouTube: it’s mindblowing and it’s like you’ll hear it for the first time.

Brother! 😉

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

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

16 brilliant people!

I prefer Braveheart.

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.

Here is the score for the moment I was talking about. This is from the Signature Edition (strings and piano only to save space - all other instruments at this moment double one or another of these notes, so nothing new is added with them): As @The Five Tones points out, there is of course a D#. Along with the C#-E-G-B sounding, I'd say the D# is an extension of a 9th added onto the half-diminished 7th. I'd chalk the use of it up to Williams' tendency to recontextualize jazz chords in non-jazz (especially classical or classical Hollywood) styles, which fits in well with the major 7th chord as a kind of default chord in the cue generally. I was referring to the circled moment in particular, where the half-diminished chord is preserved. The funny thing is that, as it progresses, it seems to change into a dominant-type chord. At m. 148, the oboe starts a tremolo of F#-G, as though F# is becoming a chord tone and as though the melody (in the piano) is becoming a series of appoggiaturas resolving to a chord tone a semitone down rather than starting with a chord tone and moving to a non-chord tone. To clinch the change of harmony, in the last half of m. 149 (measure numbers below the score), as we get (from the bottom up) B-E-G-A#-C#, a fully diminished 7th chord above a B pedal. This is no doubt why the resolution to the next chord in m. 150 (not shown here) is so satisfying. It's actually a dominant-tonic resolution rather than moving directly from a half-diminished 7th to a tonic (which is beautiful in its own rights, but doesn't have quite sound of unequivocal resolution as does a dominant-tonic motion). Wonderful passage, isn't it?

Just watch the series! It's quite good!

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.

Besides the obvious graphical boost, it's mostly housekeeping type stuff. For instance, after you first learn a pattern with your baton, you don't have to watch that "cutscene" every time you perform it in the future. Most significantly I believe, you can get a sail that really expedites travel...it also replaces the Tingle Tuner with a message in the bottle system involving Miiverse...a cute idea until you realize that's been dead for years. They also shortened that treasure map section that everyone complained about since 2003.

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.

Absolutely. Without a full score or instrument at hand, and never having analyzed it, it sounds to me like there's a VII chord (with the fifth in the bass, i.e. the tritone of the key) chord pulling against the tonic in other voices and it's a wonderfully volatile "preflight" chord. Yes, and he's clearly quoting himself. I love it when, almost surprisingly for someone who is always moving forward in his work, he takes a moment to acknowledge little details from past scores that are obscure to all but his most devoted fans - us! Very much so. Below is another well-heard example, which is a fav and in my mind some kind of harmonic reference to Leia, although the cadence from her concert arrangement is heard in reverse - the tonic to the dominant half-diminished 7th. There's a lovely tension in alternating the chords to match the instability - spatial and dramatic - in the scene. Does JW's 70s/early 80s fascination with the half-dim / Neapolitan dominant chords (or however one most aptly labels these) have it roots below? Fantastic analysis Ludwig! One might well imagine with my username I am indeed a big fan of that chord. My question for those of you with work with a score to confirm notated reality incl. Dr. L. @Falstaft is - as I work by ear in most cases with JW - in this chord, while it can clearly be considered a predominant half-dim (C#-E-Gnat-B in the key of B major), does the audible and quite resonant presence of D# in the chord (i.e. the mediant) not also give it the identity of an augmented or even altered dominant (of an ostensible but absent relative minor key)? It certainly matches the tonal identity of the second chord of the Devil's Tower theme; again, a sort of augmented dominant to the relative minor. Sorry for the extended, multi-embed response... I only noticed this thread a few months ago and have been too overwhelmed in my schedule (and by the topic!!) to respond before now, but I was so intrigued by the recent comments I had to engage! I'm going to post some of my favs at some point. One thing I appreciate is that the topic appeals or is handled in such a way that it effectively appeals to theory as well as non-theory people.

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.

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.