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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.

It's way too inspired and lively for elevator music.

The Yoda Baby Show.

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

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Since they are still recording and the Vienna concert will happen, I hope more Bruckner style, like the Spark. 😎😍

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.

Do it!

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).

Nice. Does it attract a lot of girls?

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

Mission Impossible - Fallout by Lorne Balfe Just listened to a complete edit that was circuling around. Balfe has been the most loyal and devoted Zimmer apprentice - and by that, I mean the one that followed his gospels more faithfully, instead of comitting the heresy of creating his own musical voice (like Powell, HGW and, hell, even JXL). This score sounds like a mix between The Dark Knight Rises, Inception and Mad Max: Fury Road, and him turning the classic Schifrin themes into RCP-style epic anthems is woefully misguided. It's rather funny to see Balfe posting enthusiatic pics of the big orchestra he used on his social media, when if fact the whole score sounds very overproduced, much to the way people seem to like these days. Look, this guy clearly have (some) talent. I really like the Ethan's regret theme, it is sad, emotional and gives the movie almost an apocalyptic, fateful, vibe. However, the action music, with a few exceptions is uninspired, unoriginal, boring and tiresome to hear. Anyway, it's not the worst score ever made, it's probably not even the worse of the last year. It has some good ideas and great moments. But I would really like to see Balfe developing his own identity, instead of just copying and paste his mentor on everything he does.

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!

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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At this point I don't care who composed this because it sounds great and I want to hear it in its full glory. Now, my bet is that it's Williams.

What saddens me is not that they are still recording and asking Williams to write new music or do rewrites due to scenes changing until the very last minute. What bothers me is that it won’t prevent the music to be butchered in the editing process.

The Stones are all holy grails of mine.

Just in time for the 2020 election: The John Williams / Oliver Stone Boxed Set. The complete scores to Born on the Fourth of July, JFK, and Nixon. All of the Americana music to express the hope and promise of the process, the sinister music for the dirty tricks and unspoken realities of the process, and the edgy modern music to underscore the monster clusterfuck that we all know this election will devolve into. Whaddya think? Too bleak? I don't think we'll get any more JW music than we know about currently. But I will be glad to be wrong.

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

BOTFOJ 30th Anniversary would be a welcome surprise! But considering JFK has been tied up for so long... Would an Oliver Stone box set be possible this year instead?

Slut!

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!