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James Mangold on the red carpet for Indy 5: "So what happened was Clint Eastwood just showed up on day one of shooting and wanted to direct an Unforgiven style Indiana Jones. How could I say no to Clint Eastwood? We kept it quiet until now, and he was more than happy to work without credit, sort of like an invisible man sitting in the chair. And then Ennio Morricone called Clint and said he was sorry for refusing to work with him before, so Clint had him score the picture... discreetly, in Italy, of course. Maestro had some rather radical ideas on how to improve John Williams' classic music. He thought it was hazardous to associate a march, no matter how well written, with archaeology, so he went with a six-voice double fugue, using both the A and B Raiders themes. Marco Beltrami absolutely could not say no, and in fact he was over the moon. Harrison was just happy to give the fans something they weren't anticipating." JW to his assistant: "Book me on the next flight to Rome. I've got a job. And pack my titanium baton, I've been wanting to try it out."

Krull - James Horner It's been a while since I've listened to it (again), but this is Horner's best 'big' score. Vibrant recording, themes abundant, clear dramatic structure, and exquisite orchestration. The celli and brass writing is second to none and there was something in the way Greig McRitchie orchestrated that made it so fresh and distinct during Horner's peak early-1980s to early 1990s output. It's a shame both Horner and McRitchie are gone. They worked well together.

I think everyone here is being too harsh on Giacchino and Beltrami. Grant a lot of their music isn't that great but there's a lot of their music that is. I think an Indiana Jones score from either composer would be interesting. I also think this board is way too harsh on the Rogue One score. I for one enjoy it and think Giacchino did a good job on it.

All 3 are superb, leagues above most Hollywood scoring nowadays. You could make different arguments for each trilogy: Star Wars for the sheer technical prowess of Williams' writing and the thematic continuity/development with the previous scores The Hobbit for the sheer volume of new themes and motivic ideas, also the great diversity of orchestration and unconventional instrumentation HTTYD for the sheer fun dripping from the scores and probably the most memorable themes

ST = HTTYD >>>>>> Hobbits

Everything in it, the new themes are gorgeous, little bit softer style than in(brilliant) TLJ, wonderful orchestrations and performance by the orchestra. Great closing for a great decade!! Love this man.

Jesus Christ. Yeah, let's stop Hollywood because of 41.000 active flu infections WORLDWIDE, 82% of which amount to little more than a runny nose. The disease is not the virus, the disease is the sensationalist fear mongering, as evident by above bullshit.

Cool, thanks!! I don't know what kind of TV you're using, but on my Firestick browser it works to hit the pop out arrow in the top right corner of the videos. Otherwise I think you'd have to HDMI, since they're embedded via Google Drive instead of YouTube, and not downloadable. MS

It's still the best album!

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Actually, it was Bryce Dallas Howard. lol

The piece linked in the post above as an example of what sounds like Williams. Ron.

BRAVO PRESENTS: INSIDE THE ACTOR'S STUDIO Hosted by James Lipton JL: Welcome, welcome, tonight our guest is the luminary John Williams. Film composer of such film scores as Jaws, Star Wars, Raiders of the Lost Ark, and Harry Potter. Please everyone welcome John Williams JW: Thank you, thank you everyone. JL: Lets get started shall we, your father Len was a renowned musician and guitarist, how did you get from Australia to the United States JW: I think you are confusing me with John Williams the guitarist. JL: Really, your not the same, that might explain why I couldn't figure out how come you didn't look Chinese. JW: I'm an American, the other John Williams had the Chinese mother. JL: So then you didn't make your debut in Wigmore Hall in London, in 1958. JW: As I said that is the other John Williams JL: Oh I am sorry, but you did do the film Sabrina. JW: yes, yes I did. JL: you played Thomas Fairchild, Sabrina's father JW: No, no that is John Williams the actor. I composed the music to the remake starring Harrison Ford. JL: under his breath, wish I had Harrison here JW: Did you say something? JL: No, I was just clearing my throat. You are familiar with classical music. JW: Of course, its a large part of my life, I listen to and compose classical style music all the time. JL: With out a doubt, I remember those wonderful commercials you used to do selling the classical music records before cd's. Why did you stop when cd's came out? JW: James once again you are confusing me with John Williams the actor, he hawked those records. JL: I am terrible sorry, please forgive me, now your life has been mostly positive, but lets look at one of the more unpleasant aspects of your life. Could you expound on the point shaving incident you were involved in when you played basketball for Tulane University? JW: I am not that John Williams, I am the film composer, not the classical guitarist, not the actor, and certainly not a cheating ball player. JL: I am terribly sorry John, terribly sorry. I am also sorry to hear your legal troubles continue in Washington DC, Maryland and Virginia. Why did you shoot all those people? JW: I am not that JOHN WILLIAMS, I have never shot anyone, though I am feeling rather agressive at the moment. JL: That might explain why your not in jail. JW: Do you even have a clue to who I am. JL: As I said at the beginning you are that guy who wrote the music to Jaws and Star Wars. JW: And... JL: You won an Oscar for the Omen, and Titanic. JW: I am out of here, thanks for nothing. JL: Well folks there you have it, another tempermental "Star" if you can call him that. He does have alot of baggage, I hope I wasn't too hard on him. This has been Inside the Actor's Studio, with your host James Lipton.

Take out that completely utterly fucking stupid joystick on the bridge and that film isn't that bad.

I give up.

With so few episodes released to date how is rough cut unsure as to whether he saw 3 or 4 episodes?

But much of scifi is bad from any decade. Same with fantasy.

We also got bad sci-fi: Et cetera ...

I can definitely hear it in Parting Ways. Solo is such an absolutely wonderful score.

I was more a fan of The Gemini Man, because he had that watch.

I believe the Invisible Agent and the Invisible Man returns they did good. Also the Invisible Woman, not Sue Storm.

You still haven't made Greatest Hits I an option!

It's a myth, a fairytale. It's what parents tell their children, when they want them to grow up, to be economists.

The game only uses 3 existing bits of JW music: Jango's Escape, Anakin's Betrayal and Anakin's Dark Deeds. Everything else is completely original (nearly 5 hours worth).

It was an absolute mess. That is what it was. The writing is just horrible. Trying way too hard to manipulate emotions on a premise that should have been developed so much better.

Michael Brook - The Perks of Being A Wallflower (2012) Source: Composer Website 1m02 First Day of School 1m02 v2 First Day of School 1m04 2m10 Candace 2m19 3m25 3m30 First Kiss 4m32 Luminaria 4m37 Sam Charlie (aka Protective Glasses and/or Acid) 6m50 6m52 Kiss / Breakdown Loft Tape Tunnel Song Some of the titles were matched to the cues based on the Album titles and ASCAP listings. A few of the cues seem to be early versions of what appears in the film.

The tragedy in that statement of Thorin’s theme as he’s ferried to the mountain in “In the Shadow of the Mountain.” It’s big and sweeping, but more than a bit foreboding. As the character is about to regain all that he’s lost, he loses himself. It never fails to put a knot in my stomach. At another time, I found it strangely uplifting. Wonderful.

Oi!!! Dalton is a brilliant Bond!

It's also a brilliant comment on isolation, and cold-war paranoia.

You could do this for pretty much every decade. 70s/80s/90s

Bringing Palpatine back was a stupid idea, so the technical in-universe means for doing it are pretty much irrelevant to me.

And the dialogue between Indy and Spalko there is woeful.

I got out a kick out of some of the viral shia-te he was doing ("DO IT!!!") but American Honey is the best thing he's done so far. Generally he's lucky he got out of the blockbuster game early. He wasn't doing anything worthwhile anyway. I prefer the motorcycle chase. It's not a classic setpiece but gets the job done. The greaser vs jocks standoff is on the verge of "too cute" but the brawl at 0:38 is well-choreographed. I just like that. The way the crowd flows together, it looks pretty real. I love how fast the motorcycle feels at 1:18. I can't think of many examples where a director authentically captured the speed of a vehicle like that, for some reason this just sticks out to me as faster than usual for a typical movie chase. It's a cool shot and the direction/editing has some zip throughout. And "If you wanna be a good archaeologist, you gotta get out of the library" as Indy rides off on the back of a motorcycle isn't a bad David Koepp punchline. In general I like that the sequence plays up that he's kind of a boring old man now without embarrassing him too much. It's something different, maybe a little forced but it works. They try to do the "Indiana Jones is just an old professor!" shtick again in the quicksand scene and it falls infinitely flatter. That's about as far as I go in appreciation of #4...not much I admire after that. Obviously "The Jungle Chase" is Williams's best try at a bangin musical cue, he mostly lands it. Also there's one simple but weirdly dynamic shot when Indy and Mutt first arrive in Peru and Mutt's playing with his knife, the camera goes through like three pivots at once that are entirely motivated by the framing of Mutt and Indy and yet also completely unnecessary. I remember watching that and being like "Only Spielberg would do this." It's harder to find him in there as it keeps going.

I love them. I love them all. They're great scores, every single one of them. And not just Star Wars, but The Hobbit and HTTYD, too. They're like great scores, and I love them like great scores. I love them!

It's very obvious what is going to win this poll here

If JW doesn't score it, I pity the composer who does. They will receive perpetual bashing from JWFan.

Has it been noted how similar this bit of the "Journey to Exegol" fanfare is to the "A New Home" motif?

I watched TNG from literally the moment it began airing, and this show barely works for me at all. Whatever they're making, they're not making Star Trek, at least not as I think of it.

I've begun adding tracks to my own playlist. A good chunk of the highlights have already been included.

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Indeed. It's 100% certain he'll be composing stuff all throughout 2020, given his views on the matter. But it's not certain if any of it will be heard or recorded this year.

I would not be surprised if he worked up a concert version of DB in honor of Kobe.

Dolores Claiborne by Danny Elfman. I don't necessarily think this score requires a 90-minute album, mostly due to its lack of pronounced thematic material. but it is nevertheless a damn fine an elegant work. A rather morbid and anxious listen and not something you'd enjoy on a regular basis. Now, imagine if Elfman were to tackle a film like, say, Joker in this type of a style...One can dream... Karol

I love this cue so much. The opening chords are like a warm breath of wind on a summer evening.

Jerry Goldsmith would have strangled him already. "God dammit, i did not rip off the Star Trek: TNG theme for Star Trek V!"