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Updated to include Minority Report and Monsignor. Hopefully we can tick a few more off before the end of the year

Well, tease or not, I like the video!

Chewie looks like Butt-head in the new photo.

The 8-horn section on this score was phenomenal !! Here's my transcription and cover of 6m3 "Take to your ships"

That is JW's percussion concerto!

We need a poll. "Would you rather listen to a one-hour loop of Banning Back Home or to a compilation of indistinguishable Hans Zimmer action cues?"

That's what happens when Mike Matessino isn't in charge I guess.

I didn't care for Frozen. I prefer Batman & Robin for my fix of cartoon snowmen and empowered women.

This one truly is stunning

Okay, so apparently this just happened!? I don't have Disney+ (not available in Australia) and details appear to be scarce, but apparently the entire saga from the prequels to the sequels has just dropped in 4K with Dolby Atmos exclusive to Disney+ Disney+ gets every 'Star Wars' movie in 4K, Dolby Vision and Atmos

Saw this pop up in my YT notifications on MM's page. This of course caused folks to ask if this meant that he was currently working on a new release to which he replied: Well? Is he telling the truth, trying to throw folks off track, or just totally messing with our fragile psyche?

I like Banning Back Home, it's a nice change of sound from the rest of the score.

Once again a nice interview of Powell! He really his a composer I like and easily take the second place after John Williams imho. BTW: he talks a bit about Williams

I think @DominicCobb was referring to reshoots. TFA definitely recorded the score until mid-November but I didn't think TFA had reshoots as late as TROS.

I'll say it. I miss Chewie's nice Return of the Jedi hairdo.

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I've got one of those.

Always loved this cue: Williams suspense/conspiratorial scoring was simply amazing circa 2002: the Kamino music, Presenting the Pre Cogs, The Arrival at Tatooeine (specifically when the Lars family tells Anakin what happened to his mother), the wonderful Anakin Changes, The Writing on the Wall... But Petrified Justin is by far my favorite. The low key performances of Philosopher's Stone 1M1 Prologue, the Spiders theme and the Chamber theme create a creepy, unsettling atmosphere. Then, starting on 1:36, we hear dramatic, sad strings and harp as Harry says to McGonagall he is innocent, but she says only Dumbledore can help him now (or something like that). The combination of Williams' music with Maggie Smith's performance really sells the idea of the horrible gravity of the situation, all culminating in a great fanfare for Dumbledore's office. It's very easy to fright moviegoers with jump scares and dissonant violins. But much less common is to create an atmosphere of danger and menace, specially on a kids movie - in other words, when not even the head of your house compreehends entirely what is happening and how to stop the attacks, well, you're fucked.

Yes you're probably right. My instinct with these things is to have an overabundance of caution.

You crazy man!

It's John Williams mimicking corporate music: the bassline is tasty, and it has some cool drum fills. Could've been way worse.

TFA is an educational example how, from the writing, editing, recording, and mixing perspectives---to diminish the potent effects of music in a Star Wars film.

I have to disagree @Docteur Qui. All those trademark Star Wars flourishes (especially in the flutes and piccolos) that were stripped out of his writing in TFA were back in TLJ, especially in action cues like Escape and Battle of Crait. Whereas the action material in TFA is a bit more rhythmic and unfocused, with streamlined orchestration. Arguably the different recording style hides some of those details but even the difference in editing between JJ and RJ gave Williams a larger palette to write more developed, sprawling ideas (especially having a greater chance to present long-form thematic and motivic ideas, something he rarely got to explore in TFA).

Banning Back Home film version was one of the best tracks on the La-La Land CD because it wasn't even on the bootleg. It's a wonder it was included.

They’re almost certainly from Episode 9: both posts were tagged by JKMS with #studiomusician.

Yeah. Soon, Concord and Bozereau will make it all right.

The film was great. The music for the reminded me a bit of Williams' approach to similar moments (in a good way).

How do you know it's boring if you haven't read it? How else do you plan to obtain enlightenment? With the Sequel Trilogy, many are already claiming "amateur storytelling". Perhaps they just don't understand the trajectory of the Saga and that this continued story is consistent with the previous episodes, with and abundance of clues that foreshadow events to come. The truth is, Lucasfilm conceived a plan for the Sequel Trilogy and stuck to it. The risk they took was in the manner of its presentation: Playing peoples' expectations and preconceptions against them... then executing the finale, blowing everyone away. The events that will conclude the Saga will be unexpected to most, not because the story didn't make sense, but because people didn't think these film makers had it in them to truly surprise and impress. Some of JJ's recent statements: “Some people feel like we shouldn’t revisit the idea of Palpatine, and I completely understand that. But if you’re looking at these nine films as one story, I don’t know many books where the last few chapters have nothing to do with those that have come before. If you look at the first eight films, all the set-ups of what we’re doing in IX are there in plain view.” “This is about bringing this thing to a close… if years from now, someone’s watching these movies, all nine of them, they’re watching a story that is as cohesive as possible.” “...we are not screwing around.” I'm curious, what about the writing do you think is JV-league? Do you have an idea of where the story is headed? If not, perhaps it's your discernment and understanding of Star Wars that is JV-league.

Parasite - Jung Jaeil Surprised that I haven't seen this show up much on this forum yet. The film is fantastic, and the score a big part of why the tonal shifts are able to work so well. Jaeil is in full command of his music, love both the classical first half and the thriller/drama second.

I doubt it's in-house stuff. They likely bought it from a stock music company, as they usually do for these adverts.

That big note at the bottom is Duel of the Fates

The force theme

Let us know how it ends...this time, tomorrow

The Mandalorian: Episodes 1 & 2 by Ludwig Goransson Repeated listens. This is the muse of the month. Keep it coming! Seven Years in Tibet by John Williams My praise for Seven Years in Tibet has been made quite clear in the past few years, but with each listen I find myself more and more attracted to this score. We all have our personal fancies; those unique opinions that can be appreciated by others not because we share them specifically, but because we find ourselves with similar preferences. For me, Seven Years in Tibet is my defining score, rich in beauty, unique orchestrations and heart-aching cello solos, and while I've ranted about it on the forums and the Discord numerous times now, settle in for another go at it. I have gone so far as to call Seven Years in Tibet a masterpiece, and perhaps one of Williams very best "dark horse scores". Hyperbolic as that may sound, I continue to stand by these claims earnestly, as far as personal opinions go, because very few scores are as wonderful to me as this. The bookends suite (because it is worth hearing twice!) is one Williams finest, with marvelous soars of the orchestra separated by Yo-Yo Ma on cello, as well as a few subdued passages in the lower strings. It hones in an oriental sound that doesn't feel very cliched to me, but rather sincere, as if it were a compromise between Williams sound and what the film calls for based on it's Tibetan setting. Young Dalai Lama and Ceremonial Chant is certainly a curiosity, featuring some of the more ethnic excerpts of the album (throat singing, unorthodox percussion). Peter's Rescue, Harrer's Journey, and The Invasion are a great back-to-back-to-back, with a darker, brooding take and more unconventional percussion. Approaching the Summit and Heinrich's Odyssey are all-encompassing cues, giving the main themes a full run-through with solos in mind, whether it be on piano, woodwinds, or headlining cello. Regaining a Son is perhaps one of the best cues to ever fit within a 2 minute span. Gosh! I really cannot say enough good things about this score. Requires listening for any true Jw Fan. If you haven't heard it, do the right thing!

When the concerts were scheduled for last year, several people emailed the ticket office to ask if there was a chance that they would be recorded, and got the reply that the plan was to record and release them. At least one person asked if that plan was still current and got a a reply confirming that it was. Not an actual official announcement, as I said, but presumably from a sufficiently official source.

yep, it sure did. https://www.yahoo.com/entertainment/charlie-angels-fell-grace-box-144129679.html

The Concord box definitely wasn't the best that could be done with those scores. It was a product of its time, when JW was uncomfortable with adding additional music to his albums, and also the person doing the tape transfers apparently not knowing what they were doing. (pitch problems) Surely in practical terms, there's nothing that makes them more difficult to expand than any other scores during the 80s. But it's Indy, which brings all sorts of complicated baggage and pretentiousness.

That wouldn’t be an agent’s influence. Writing credits are taken pretty seriously by the Writers Guild of America and when there are multiple writers, they often arbitrate those credits by having a volunteer panel of veteran writers/guild members look at anonymously labeled drafts (Writer A, Writer B etc) to determine the authors of the final screenplay. Pretty sure it’s mandatory when the director or producer is a co-writer, specifically to avoid power plays, and those guild members are vetted to make sure they’re not acquainted with the filmmakers in question (obviously gotta be hard to find with something like this). Pretty spicy stuff. Incidentally, Trevorrow was pretty much exactly in JJ’s position when he did Jurassic World and tried (and failed) to argue his screenplay wasn’t based on previous material. I guess remains to be seen if JJ’s gonna similarly want to dispute this or just let it slide. I assume he knows it wouldn’t be a good look if he tries to revert it. Maybe he thinks it’s fair, privately, despite the tall tales he tells publicly about starting with nothing. It’ll be interesting to hear what he says when he’s inevitably asked about it. Anyway there’s a screenwriting podcast run by John August (Go, Big Fish) and Craig Mazin (Hangover, Chernobyl), they’ve been arbiters and did a whole episode on this after the Jurassic drama. Interesting listen/read.

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Lady and the Tramp (2019) by Joseph Trapanese Really enjoyed this one. More than warm and pleasant, I think it has some substance to it that hits the right spot. The orchestrations are lovely, crafted with some care. The enveloping "A Home" is a notable example. And there are some moments of surprising harmonic vitality, like in the opening of "Busting Peg and Bull" A nice listen indeed.

Y'all sure know how to keep it positive... It’s like King Mark vibes. ”This cue will probably be unreleased for decades”

Tell me they’re preparing a LTP score or something, not that they’re still recording.....

In Jeff's latest episode of "The Baton", I joined him as a co-host to discuss one of JW's most underrated scores, The Fury https://thebatonpodcast.podbean.com/e/episode-48-the-fury/ It was lovely to be a guest of Jeff's show, he's very dedicated to this thorough job. I look forward to join him in other episodes in the future!

That tremolo in uplifting chords reinforced with brass.. amazing. The repeat in the bass line as Legolas prepares to leap onto the Oliphaunt is a great example of Mickeymousing. And then the triumphant melody that follows is a perfect resolution to the fearful and dwarfed by behemots beginning of Dernhelm in Battle. I like the double arc in play here: 1) Eowyn starts in a disguise and ends as an identified heroic warrior - it's even in the titles of the two tracks 2) The menace of the first track are the Oliphaunts. The second finishes with their defeat. Doug Adams said about it: The music dives steeply into crackling fanfares reminiscent of the great tradition of cinematic spectacle. Shore recalls, “If I was ever going to write in a Max Steiner vein, this was it!” Before turning Berliozesque it sure resembles the big Warner Bros fanfare! Edit: Warner Bros is the holding company of the film's distributor, New Line Cinema. An awesome coincidence. Edit2: As if all that wasn't enough, when Legolas dangles beneath the Oliphaunt and cuts the ropes, Shore mimicks the fanfare from when Luke dangled under the AT-AT and used his lightsaber.

http://www.jwfan.com/forums/index.php?/topic/27927-the-last-jedi-score-segments-premiere-in-new-last-jedi-star-tours-update/ http://www.jwfan.com/forums/index.php?/topic/27805-the-last-jedi-trailer-2-music-discussion/ http://www.jwfan.com/forums/index.php?/topic/25623-does-anyone-think-is-new-tfa-music/ http://www.jwfan.com/forums/index.php?/topic/28050-the-last-jedi-verizons-death-star-360-promo-music/ For those who want to relive the madness

I recently watched The Reivers on blu-ray (actually really liked the film a lot - the score fits it well). I was not keeping track of the score and comparing it to the CD release, but I am almost 100% sure that the music that plays at the end of the horse race is not represented on any release. There is likely more missing, but that definitely stood out to me particularly because the first part of the horse race is not scored at all (or at least if it was scored, the music was not used in the film mix). So, I am hoping there is more to get from that film should sessions be found. Next year is the 50th anniversary. I think it's a very, very important part of JW's output being around the point when he went from his TV work and comedy films to full time big film projects and because the score was a big influence on Spielberg hiring him. (And also Mark Rydell and JW did 4 films together which is 3nd most (tied with George counting only his 4 directed SW movies) for a director collaboration behind Chris Columbus and Steven Spielberg.) Anyway, I want more Reivers!

This is the most majestic batch release set from La La Land ever. I just feel so overwhelmed with the the entire titles here. Incredible and to top it off.Its my 46th Birthday! What a day !!!!!! WOhOO!