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Listening to a mix of the OST and FYC, I am struck by how the most impactful musical moments are rather intimate rather than epic. The latter half of The Last Duel, Advice, Reunion, the many renditions of the friendship theme, Farewell, and many more stand out more than the big action cues and really define the score for me.

New clip, with nice little theme at the end It becomes apparent why they went with CGI. Aside to not harm real animals, i think they wanted to add more animated expression onto animal's face. But the final product, judging by the clip, is up for debate Anyway, a guy from FSM board just posted his initial review of the score: "I went to a screening of this film this week and as expected the score is great. Very much Powell in his HTTYD mode (one theme in a couple of cues almost seem like straight lifts). Lots of classic Americana orchestrations with fiddles, guitar etc, lots of energetic highlights and some beautiful mystical material. Can’t wait for the album!" In 1 week!

Yes it did

I am going to take that movie and mainline it directly into my veins. That's almost certainly Wes' brother Eric that did the poster art. He does art for most of Wes' movies. The look of the buildings reminds me of 101 Dalmatians

I would love for JW to score a small film with a new director like Randy Newman did for Marriage Story. But I also recall that in an interview once, replying to the question "Why don't we hear more JW-esque scores in films these days?" Conrad Pope said that is isn't because composers can't write like JW but rather because directors aren't asking for JW-like scores these days.

It's amusing that now we can say with 100% certainty that John Williams has seen Eminem perform live.

That rhetoric is a little close-minded isn't it? You do realize pub, that this kind of thing existed in music circles long before it snuck into film, right? None of these ideas were originated in service of just creating "background music" for movies. The sounds of Johannsson, Richter, Eno, etc etc all existed and evolved in their own independent fraternities before they got discovered by some Hollywood schmuck who wanted to appropriate those qualities in service of their films. Just like every other major blockbuster score has done over the last century. Yes, there are "rules" in music. But these rules are bent, shifted and made anew, as the 20th century has taught us again and again. Everything you're hearing, is more or less a derivation of Cage-ian thinking and like anyway. Different forms, rules and aesthetics can co-exist under the vast umbrella of music. And it's film music, for pete's sake. The only melting pot where Tchaikovsky and pop don't cancel each other out, despite being two different aesthetics with different rules. So long as its all done with rigour and discipline. But more pertinent to your point, not everyone is just noodling around and faking it to support a film (although some, or many, definitely are). Some artists who play with static cello organ points and synth carpets actually work within a very clear system of musical "rules". Something, that is perhaps more obvious when you explore their non-film works, but true nonetheless. The same could probably be told to Williams' more academic critics as well...

Nothing... Nothing... Nothing...

DC Presents: Batman's Harley Quinn (the Joker's Girlfriend) in: Birds of Prey: From the Book of Suicide Squad

All I know is that Gervais should've hosted the Oscars. It would've been funny to watch him attacking Hollywood's hypocrisy right on their biggest party:

All I know is they all sound dumb as hell.

"Hi, I'm Hildur Guðnadóttir." "It's a pleasure to meet you. I'm John Williams." "It's a pleasure to meet you too!"

What is this? Ostinato speech?

I want a rarity from Williams - a score for a contemporary film set in the now. I want to hear what that would sound like.

TLJ’s application is actually one of the very best.

Not unless it's one of the two titles that LLL was said to be working on before Sony Music dropped the hammer on the labels I believe?

What about the 1701-A? Where do you land on that, Joe? To me, it’s all the same ship. Not technically, but thematically. They wouldn’t keep naming it the same if they didn’t mean it to be symbolically the same ship reborn, its mission continued.

Just the one?

My surprise Christmas gift of 2019 was this cd. Home Alone and Home Alone 2 are two work that Williams never gets the true credit he deserves that often goes to his overrated stuff. This is Amazing stuff.

*goosebumps* Caroline Shaw is just wonderful.

Some day La La Land will release the definitive Home Alone, but today is not that day.

Love it.

"Hi John! I was going to give you Daisy Ridley's secret Instagram account, but since you can't even unlock your phone without the help of your great-great children..." "Hi Hildur! I've heard that Hans Zimmer and Lorne Balfe are looking for some ghost writers for the new SpongeBob movie, do you want me to give your phone number to them?"

It is not marked with green color in the list!

I am hoping that the season finale has too much going on with the 'lone Cyberman' and Timeless Child/other Doctor storylines to crowbar in the 'messages'. Read a Facebook comment that said it reminded them of the 'This week we learned that ... ' bit at the end of the 80s Masters Of The Universe cartoon. Probably not a flattering comparison. And another thing ... Graham confides in the Doctor about his underlying fears regarding the return of his illness, and the best she's got is 'I'm socially awkward?'. Ugh, what the FUCK? Tosin Cole has apparently landed a 2-season role in a US drama, so I guess that's what the 'How long can this go on, Yaz?' stuff was about ... we can reasonably expect Ryan to depart/die at the end of this series. Whittaker has confirmed she'll do a third series, so the best thing would likely be for her and Chinballs to go after that. Then hire a showrunner and writers who if they must include 'messages', at least know how to do so subtly.

Disappointing enough that he lost, but would it have killed them to at least read the names of the nominees before announcing the winner? We had to read the composer names off a music stand.

I think the “no money” idea is more along the lines of not needing it for the basic necessities of life; food, clothing, shelter, etc, within the Federation. With the invention of food and matter replicators, a person’s needs are always met. However, money is clearly needed for anything extra, or outside Federation society.

The Thomas Dolby songs on this thing sound amazing! Great to finally hear these in higher quality than the low bitrate encoded LP rips I had for years.

And Lady Jane. All 4 are particularly great tracks, actually

That's about as likely as a screen door on a battleship.

AND The Lost World!

“Qual se’ tu” — quoting Dante’s Inferno — “Who art thou, that thus reprehendest others?”

Are you sure he wasn't invisible, man?

So you believe film scores were made to function on an extra intertextual level, separate from the film, and not solely to support the visual narrative with a musical one? Yes, scores can take on a life outside of their original functionality, however that wouldn't be the primary function now would it. According to whom? According to the hundreds of films and filmmakers in the last eighty years who've used film scores to convey emotion, intent, themes etc. So you believe film scores were made to function on an extra intertextual level, separate from the film, and not solely to support the visual narrative with a musical one? Yes, scores can take on a life outside of their original functionality, however that wouldn't be the primary function now would it. According to whom? According to the hundreds of films and filmmakers in the last eighty years who've used film scores to convey emotion, intent, themes etc. So you believe film scores were made to function on an extra intertextual level, separate from the film, and not solely to support the visual narrative with a musical one? Yes, scores can take on a life outside of their original functionality, however that wouldn't be the primary function now would it. According to whom? According to the hundreds of films and filmmakers in the last eighty years who've used film scores to convey emotion, intent, themes etc. So you believe film scores were made to function on an extra intertextual level, separate from the film, and not solely to support the visual narrative with a musical one? Yes, scores can take on a life outside of their original functionality, however that wouldn't be the primary function now would it. According to whom? According to the hundreds of films and filmmakers in the last eighty years who've used film scores to convey emotion, intent, themes etc.

I guess Final Order sounds more intimidating and apocalyptic than Second Order? Or Third?

Uh, I don't know if this has been discussed or not, but this just came to mind. Palpatine can't count. How did he go from the First Order to the Final Order? What happened to the second one?

"I love all your underscores!" "Yes, dear. They probably didn't tell you not to touch me without permission. That's my gesturing arm. For when the music has changes in it, which happens sometimes in film scores as you may or may not know, and I need to signal the orchestra." "I see. I thought those were mistakes!"

The directors of these things are only partly to blame. In the end Disney got the trilogy they headed the committee on. Then you've got people like Stefan, who doggedly believe that in years to come Revenge of the Sith will be considered some sort of classic, which is hilarious.

Listened to this score last night and couldn't help but notice a similarity:

Belated birthday wishes! I put this picture out on my social media yesterday, to mark the occasion -- a floor spread of my physical JW collection.

Had a lovely celebration with family yesterday. Played a huge playlist all day long. Here's this year's cake I made

Note how it appears JJ is still dogging after Williams for rewrites.

A happy 88th birthday to Maestro John Williams. God bless him and the gift he has given to the world as the greatest living composer/conductor and one of the greatest of all time. May he be blessed with many more years of health and happiness.

Happy birthday OMA TRES!

Happy birthday, John Williams! He's the reason I started listening to scores. What a gift!

So, John Williams is a composer, a guitarrist, an actor, a producer, a writer, a Dean, an economist, a concerned scientist, a botanic, attorney... Truly an overachiever! And you keep complaining that nothing great happens on your life. Happy birthday to Williams, who happens to be on the same day as my cousin!

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/

I've always thought this. The composer should get to craft an OST album by whatever method they use, and that should come out when the film does, and be the only way to hear the score out of the gate. Then, around when the film hits home video, release a digital album of the entire score, each cue in its own track in chronological order. Fans of the scores would pay for these archives. The specialty labels can still do nice albums down the road when it becomes affordable to license them.

Watched the TNG episode "Tapestry" last night on @Nick Parker's recommendation. Good stuff. The moment where Jean-Luc gets stabbed the "second" time is kind of staying with me. The "first" time it happened, young Jean-Luc laughed in a kind if "Oh, s***, looks like I f***** up" sort of way." But Stewart's laugh for Jean-Luc says a lot more. In that moment of agonizing pain, he gets his life back. Really driving home the message that the good of who we are and will be is the sum of both the pleasure and pain in our lives.

This is actually a unique achievement that deserves special recognition. A bit like the Ring cycle in music or Mount Rushmore in sculpture. It's not 9 separate films but one huge project that spans the decades.