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There is no "dark side", he's just a top professional who requests a certain kind of behaviour and attitude from the people who work for/with him. He doesn't fire musicians just because they accidentally drop a pencil on the floor. What Don and Dan Higgins said in the clips above is that, if you're recording with JW, you as a player don't call to stop the take for any reason. JW might even ignore a performance error, a pencil dropping, or a noisy pageturn because he might like the energy and the feel of that particular take, so he might want to continue and get to the end. He's the "commander in chief" on the recording stage, so it's up to him calling the shots and decide if the take has to be stopped or not. He might prefer to do a full take, even if there are performance errors, check it, address the various issues, and then doing another full one. If you ends up making a zillion of stops during a single take, you lose more time, hence more money. And you also lose the musicality and the feeling of the actual performance from the players.

Williams has already loaded the Rogue One master tapes into a cannon and they're aimed at the sun.

SOURCE: THE RISE OF SKYWALKER: Rumored PHANTOM character revealed in THIS surprising behind-the-scenes photo

See, @Jurassic Shark gets it!

Chen will now discuss with you the 3 part structure of the story arc.

Not the Throne room again, mercy!

I love this, he slips in theme after theme, making it seem so effortless—

THIS rendition of the Force Theme! (at 4:43)

I agree with that. I just don't think Williams fired a person, Harvey Weinstein or Donald Trump-style, over a single incident like that. Like Don said, he reprimanded said concert master with a strict "I'll have to have the floor". If he was fired, someone else in the project must have done it to accomodate Williams, or he must have transgressed repeatedly. Anything else would be absurd. It would go against everyhing we know about Williams as a person.

Again, people here are not focusing on what was the point of Don Williams speaking about that episode: when you record with JW, you just focus on doing your best performance, because that's what you're requested to do. It's not up to you (even if you're concertmaster) to stop the take for any reason--"iron fist in a velvet glove" is probably an apt definition when it comes to JW (or any other great conductor) on the recording stage.

I prefer the Fifty Shades trilogy.

I liked that movie.

Finally, I opened my sealed copy of this magnificent 3CD set. I know Iam late, had the set since ages but never found the right kind of moment to enjoy the score untill I forced myself at 11pm last night. Wow what a journey. Gorgeous and breadthtaking. The sound is so improved here. The notes mention that it was also recorded at UCLA's Royce Hall. I suppose the Barbara Bonney vocals were recorded there as well as 'David's Arrival' cue. The sound is so vibrant in these recordings that it reminded me of the Williams Spielberg III recording (Alas that album never recorded the AI Themes) The plethora of unreleased material is riveting. Fabulous assembly by Matessino. Too bad this set is now sadly OOP. Hope everyone got their copy. BTW, my cover of the booklet seems a bit having a few printing smudges on it. Do you think LLL might have a few extra booklets? I remember reading once they replaced a few to those who had the same problem.

Anyone who dies off screen in anything is never dead!

Star Wars: Revenge of the Sith (OST) by John Williams The prequel OSTs continue to prove interesting in terms of the music they display and the way that it's compiled. The Main Title is cut off near the end by the exuberant Boys Into Battle cue, and while the transition isn't the most graceful, it's probably a lot easier than trying to fade it into the quieting strings (believe me, I've tried to do it!). Of course, while Attack of the Clones offered the most diverse musical palette in the saga, Revenge of the Sith has a number of uncharacteristic fancies that also set it apart. This is evident in the deft beauty of Anakin's Dream, especially the violin solo in the first minute (insert heart eyes emoticon). Battle of the Heroes and Anakin vs. Obi-Wan provide coverage for the sprawling action setpiece of the third act- the climactic lightsaber duel. It's not quite on the level of some other cues in this film, but I feel it's serves its purpose just fine. When listening in "complete form" it can get kind of repetitive though. Anakin's Betrayal is a two-part deal, opening with the lament for Order 66 and closing with a segment from the Orff reminiscent It Can't Be cue. Palpatine's Teachings is another peculiarity, throwing a line forward to the Snoke material from The Force Awakens and providing grounded support for a number of fan theories. I quite liked Grievous' theme when I first heard it, but now perhaps I think it's a little too much. I mean I love to hear the choir just go for it, but in terms of how it suits the character it might be a little overkill. The Immolation Scene continues the sorrowful adagio for strings idiom that seems to be something of a distinct attribute of Revenge of the Sith. The Birth of the Twins and Padme's Destiny always had a mysterious feeling to it, and the funeral procession closes the track quite nicely. Can't say I approve of the Throne Room in the End Credits, which is otherwise just a platform for Princess Leia's theme and more Battle of the Heroes. Attack of the Clones may very well boast the best album presentation of the Star Wars saga, but Revenge of the Sith isn't too far off. There are a few brief moments whose omittance is unfortunate (I'm thinking Arrival on Utapau and Droids, Swimming, Yoda Farewell), and perhaps some editing decisions could have been better, but this OST passes as sufficient in my books.

Also some Pachelbel!

Uh-huh.

The older I get, the sillier I find these comparisons. I'm perfectly happy enjoying The Lord of the Rings for what it is, and Star Wars for what it is. While they have many similarities (the influence of the story of The Lord of the Rings on Star Wars runs very deep indeed) they also have many distinctions. Star Wars has the space setting, it has familial ties across both sides of the conflict (an element that admittedly gets soapy if played too often, see Sequel Trilogy, The) and it introduces us to a world under one centralized rule: a good one, in the prequel trilogy; an evil one, in the first trilogy. Personally, I like The Lord of the Rings series much more. It has a greater sense of heft to it. There's not a single moment in Star Wars that touched my heart in a way that's anywhere near that of Sam picking Frodo up. Its just more profound that way. Even moments like the opening of the Hidden Door I find immensly moving to this day. Star Wars very rarely aims to move its audience, and its generally aiming at a younger demographic, anyway. I also find the fact that all six movies were made by the same producer/writer/director and the same core creative team, and that each trilogy was essentially produced as one big movie in three parts, to be more conducive to a sense of an overall arc than the Star Wars approach. The way the films change styles (in terms of direction) between entries like Star Wars and The Empire Strikes Back or between The Force Awakens and The Last Jedi is quite jarring, and you also get rather egregious continuity issues like Leia being Luke's sister all of a sudden, which is bollocks.

Star Wars is more accessible to general audiences and more popular overall. LOTR is more pretentious and boring, so strictly for nerds.

Fair enough!

There aren't any racist drunks with blue faces in Jackson's Middle Earth, at least as far as I can remember.

After 45 years, I am finally free of this crap and Finale

Something more than that -- primarily its use of various 'eye' and 'portal' imagery as visual motifs relating to the soul (or corruption of the soul), as well as the use of green and red as indicators for life and death. It has one corny, out-of-place sequence that seems to be from another film, almost (shortly after the ship is sabotaged), but the rest is fantastic -- including the operatic, Clive Barker-ish final act. I go into some more detail in this article -- in Norwegian, but pretty intelligible through Google Translate: https://montages.no/2017/08/event-horizon-1997/

Hey, Kevin Kiner is canon!

Sabrina is better than everything.

First trailer! Looks lovely.

Perhaps he'll be like Tolkien, and the bulk of his oeuvre will only be released posthumously when his son sifts through all the unreleased and unfinished works for decades.

For that length and scale, just under 100mill$ per film is not exactly record-breaking.

Lord of the Rings has the overall better films, better stories, better production etc., but the entertainment and larger legacy, I feel, goes to Star Wars. As for trying to choose which scores...

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Nice

Sure, let’s make this a box set! 😅

Where Dreams Are Born (sans voice) and Leaving Home.

Also 1:23-1:52. It's very masculine and testosterone-fueled. Also rather Goldsmithian.

Alone again, naturally.

Stu banned John Williams because he didn't have an account on the board

I can't really get into a lot of the TLJ parts people post, maybe because the score seems overall flat and blended like too many ideas at once. Here are some more moments I love from Williams: The whole minute of 2:30 - 3:30 is filled to the brim with brilliant moments, even subtle bass movements 1:41 - 2:12 This theme is one of his greats, for sure. Almost as good as the stuff in my last post The piano accompaniment at 0:54 is just breathtaking, right at 1:10 :'(

From The Last Jedi, I really like that little motif that appears in Holdo's Resolve. It starts at 1:34 and goes until 1:46. The first part reminds me of Revenge of the Sith and I love that score. From Revenge of the Sith, this little moment always gives me goosebumps. Well, the whole track, but this segment in articular is just perfect. Starts at 1:00 and ends at 1:11 From the Indiana Jones trilogy there is also a lot of little moments but specially these two, when Indy gets the Sankara stones in Temple of Doom, and when he is at the last trial in Last Crusade And there are a lot more, but this are the ones coming to my mind at the moment.

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:

THIS! is so awesome idea! The magnificent Resistance!

3:27 is just a variation on Anakin's theme, but a very nice one for sure.

The little missing section from "Anakin's Betrayal" in ROTS (when Anakin enters the Council Room).....

2:15 - end

2:19 - 2:37, 2:53 - 3:01 Hummability score: 9.2/10

0:56 to 1:20 of The Tide Turns/The Death of Darth Maul from The Phantom Menace, where Williams is able to use both Duel of the Fates and the Force theme and play them against each other (with great success).

Yes. Or what James Horner does, if I remember correctly, at the beginning of Titanic when the ancient rotten grand piano underwater is shown. A soft ghostly tinkling of the piano.