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Happy Birthday Maestro @88..... [just saw this on my facebook Sony Classical page] https://www.facebook.com/1497289083843603/posts/2489944331244735/

For over 30 years of the 88 that you have been around, I have have been enthralled by your music. I have listened to it for countless hours. I have formed many friendships because of it, and it has impacted my life in ways that are simply undeniable. Thank you John Williams Thank you JWFAN.

JW's score for The Adventures of Tintin is a stone cold masterpiece - an enormously propulsive work with over a dozen themes and motifs that power a very busy, nimble and complex score. I was disappointed to see the ambivalence people seem to have towards JW's Tintin score. That stops now. I think the score in the movie is well represented by still somewhat marred by sound effects. Here is a score only version of a riotous sea battle that Haddock recounts. Watch this to marvel at the intricacy of Williams' composition - individual punches, hits, sword moves, gunshots are synced to the music along with syncing to several cuts. Well, the syncing is done by me but to honor Williams' original intentions. I have taken the OST cue and and fit the picture to it. Only in two places did I microedit the music. Otherwise the music fits the scene remarkably well and you can see the enormous effort Williams has put into the cue for it to be still be entertaining while being so closely matched to the picture. This also represents some of Williams best action music last decade. It is completely melodic and uses two primary themes - the Unicorn theme representing the ship and Red Rakham's Pirate theme (and no this is not the dueling theme from The Adventures Continues) receive several explosive enormous statements as the furious pirate battle unfolds over the high seas. I am starting a thread here because I intend to create several videos for the numerous action scenes in the film, each intricately scored by Williams.

As many here already know, I've created LEGO BrickHeadz versions of John Williams. Here's one of them at Williams's concert at the Musikverein: (I also photographed it at Tanglewood, but that was before the beard redesign so the model isn't as accurate). Just in time for his 88th birthday, I've finally completed the instructions and put them online so everyone can build their own: http://bricks.schedenig.name/

Happy birthday, John William. Composer of the Star Trek songs.

Perfect selection of score programs planned for today: E.T. the Extra Terrestrial (LLL) Close Encounters of the Third Kind (LLL) Jurassic Park (LLL) Happy birthday Maestro Williams!

The Marine Band just uploaded videos from this concert to Youtube! Here are the videos of Williams’ surprise introduction, remarks to the audience, and the two pieces he conducted: the 1941 March and the Imperial March. And here are videos of Lt. Col. Fettig conducting The Cowboys Overture and With Malice Toward None, with Thomas Hooten playing the solo trumpet!!!

The Sony post is gone, but not forgotten.

I keep forgetting that a video of this exists:

As if we needed more evidence that Sony Music is run by fucking morons. Maybe it's a blessing in disguise they never did prequel expansions after TPM UE. They would've released four CDs of guitar solos.

Recording sessions now underway for the 2021 Best Score Oscar winner:

That is disturbingly embarrassing for Sony.

Yes, the annual Jay Mike interview is way waaaaaaaay overdue (though we've gotten podcasts with often more casual questions to hold us over). But it's obvious he's just waiting for Hook to get the final signoff and go into disc production so he can ask him about that too!

What some might not know is that Williams is also a talented writer! He even won the 1973 U.S. National Book Award for Fiction for his novel "Augustus": https://en.wikipedia.org/wiki/Augustus_(Williams_novel) Later, starting with Jaws, he decided to focus on composing (and playing guitar, of course). Happy Birthday, Maestro!!

Happy Birthday, Maestro. My favorite artist of any medium, of all time.

Even Bärenreiter joined the mockery:

Don't know if this has been posted here yet, but you can download the covers for the albums in high resolution (3000x3000) and as well some high-res press photos from the recording session from ASM's website:https://www.anne-sophie-mutter.de/en/page/media/anne-sophie-mutter-photos/

The harpsichord take that was used in the film was not found on any of the elements Mike had, so he used a different take rather than having no harpsichord at all.

Seems like JJ, in all his fanboyism, thought it was enough for Williams just to be involved in the film, like his name was more important than his work. Johnson was more interested in actually collaborating with Williams. Of course, TFA is still a masterpiece to my ears and the best of the three in score, but it’s faults (low mixing, short/choppy cues) speak to that different approach. I think TLJ has more going on under the hood.

You know the worst term in modern film criticism and discussion? Needle drops! What a punk ass hippy term. "The needle drops are pretty good in this film." But yes, modern film critics have zero idea what a good film score is. Ask this people about the greatest score of all time and Social Network and Dunkirk will be in Top 10.

Maybe it's good that they don't handle the Vienna concert release. Could you imagine unwrapping a package only to see a confused Guitar Williams staring back at you?

The HP3 plot thickens. Can't wait for Prisoner of Azkaban Complete (For Real This Time) 20th Anniversary Edition coming in 2024

#getmelornebalfe

Happy Birthday maestro. Thanks for bringing so much good in my life.

Happy birthday! In honour of this day, I've finally put my LEGO Williams building instructions online:

88 it's the infinity!!! Happy Birthday!

Ultimate proof that they're the same person.

There could be many many versions written, then rewritten before they would have been recorded.

He's referring to the obviously incomplete digital masters Mike used instead of the analog tapes. And probably wondering why they're so incomplete that Mike had to use wrong takes or pull things from the OST master. Come on, Warner, this was only recorded 16 years ago in the digital age, it's not like it's a 1953 score with one person alive who was there in the booth.

I like (not love) Joker's score, but Hildur's other amazingly acclaimed score, Chernobyl, I think this one is actually more dangerous to scores in general than Joker. When you see a score that is basically the sounds of nuclear plants, indistinguishable from the SFX, being that beloved and awarded by these fucking idiots, it means that they want more scores like this going forward: pretty much just sound effects, no emotion, no comment about the characters or the narrative, nothing, just the same sounds the characters are hearing.

I am told this sold extremely well, better than expected, which is wonderful news. It's pretty great that JW has fans for all eras of his work, and that the labels can continue to work on scores from all his periods rather that one era being such a better seller they might have to make choices about what to expand. It really feels like every score the man ever wrote will be expanded by Mike within the next 10 years - or less!

It's so weird because, in the case of Abrams, the admiration would seem to be at odds with the results. Abrams can't say enough good things about Williams, talks about growing up with his music, spoke about how surreal it was getting to work with him, etc. That somehow doesn't translate over to the films he worked on, especially with TROS. I don't doubt Abrams when he says the things he does concerning Williams, but it's just hard to rectify the discrepancy when you getting to work with your childhood hero somehow equates to insufferably moving around, cutting up, and dialing out their pieces of music. You know, for the previous 2 ST films, whenever I heard someone say stuff like "there was no good new music, the only good stuff were the old returning themes," I would usually just chalk it up to that person either not having familiarized themselves with the score enough, having not paid attention well enough during the film, or them choosing to hear only what they wanted to hear (not to say you can't dislike the ST scores, but to say there is "zero good new music" in them, I mean, come on). But with this film, I totally get why someone would walk away with that feeling and don't blame them in the slightest. The massive moments of musical prominence in this film are almost all entirely given to older themes: Yoda's theme as Luke lifts the X-Wing, the Imperial March as the Star Destroyers are assembled, the main titles as Lando's fleet arrives, the Force theme as Rey hears the voices of the Jedi, etc. It's absolutely bonkers how little the new material is able to shine.

I think we all dreaded the sound team from TFA returning, and for good reason. Neither they nor Abrams show Williams any respect with his score, unlike Johnson and his sound team (who went to great lengths to protect and showcase John's music). Johnson got Star Wars. Abrams didn't have a clue.

JWFan drama is always enthralling. Wish I was here during the infamous Vanishing Tyrannosaurus Teeth impeachment.

Happy Birthday John Williams! We’re releasing this week’s cue a day early to celebrate! Coincidentally this week’s cue shares the title with the movie as well so everything seemed to line up perfectly today. Check out Cue No. 8 - The Goblet of Fire. Thanks for listening!

The Meaning Of Life - by way of a belated tribute to Terry Jones. Not the Python team's finest filmic hour (that's Life Of Brian), but it still contains (to quote Eric Idle) 'something to offend absolutely everyone' .

I meant, would the take have been on the analog tapes? And why didn't they use those in the first place? It seems… strange that someone so thorough like Mike can't get his hands on everything. Did he just assume/hope that the files he got were everything, or was this WB being difficult or LLL unable to afford transfers for everything? (Aka, please do a 10-page Q&A with Mike about this set.)

Hoping for an announcement for Feb for a JW release to coincide with his b-day, like we got last year with S:TM.

There must be something wrong with me because I think the score is fantastic, it works great in a movie (that I really liked!), and equally well, if not better on the album.

Yeah, I know. But it seems to be too early to be out of stock even!

What a bunch of cunts. These retards can't recognize a good score even if it was dancing in front of them. Joker's score might be effective, but fresh? What is so innovative about that score? Really, what is? The first time a composer used a cello solo? Or the first score by a female composer whose name isn't Rachel Portman? So, the pre requisite for winning this fucking award is just being "young and innovative"? I think I'll be a movie composer and make a score that is just the sound of myself farting and burping manipulated electronically. It'll be called "fresh, new, young, the best score since The Social Network". etc.

The movie seems dreadful, although I hate this subgenre of "dog and his owner" movies. The CGI doggos are very off putting, but I applaud the movie on the decision of using only digital animals and therefore not endangering any real dog. As for the score, it doesn't appear to have the brilliance of the Dragon scores, but seems like a fun score anyway. Bring it on!

"They Will Come" and the end of "Reunion" were two other moments that stuck out to me where I imagined they could have been really great in the film when listening to the soundtrack, but they're just kinda there even though they're among the more prominent cues. It's not that exciting watching them to go into battle, it's not that moving watching those three hug at the end. And I agree that beyond lacking anything emotionally, very little sticks out technically either in terms of highlighted sync points or score against memorable shot sequencing. Lando's fleet is one of those things where the timing of the music with the reveal just makes it work (along with familiarity, obviously), even though as a story beat, who cares. I can think of other moments I like such as the low brass when Kylo Ren chucks the lightsaber, the light side Kylo theme when he zips into frame at Exegol. Rey hearing the Jedi voices is elegantly scored. But it's tough when even as a die-hard JWFan I'm grasping for straws.

You can hear the action score in this clip! ^^ some of it sounds a bit experimental-y, new Powell. Well to be honest, it's not really clear with all those sound fx ( as always the case with Powell's score, sadly, well i hope it's not in the final theatre mix) But in all, sounds really promising ( as always the case with Powell's score) and what looks to be a great main theme too! 2 weeks guys!

Don't know where else to post it, so here it goes: another plot twist on the Johnny Depp/Amber Heard controversy. Cancel culture gone wrong, again.

#MyJamesBond

The Indiana Jones cinematic universe! We can cover all timelines, from before Raiders to the unexplored period between Crusade and Crystal Skull! The final movie takes place in modern times, with a genetically cloned Indy sent undercover to prevent Kim Jong-Un from launching a nuclear missile at the US.