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Ah, Fandom, the place where if you write one bad movie you're suddenly a bad writer and should be shamed and exiled in perpetuity.

Yeah, this whole thread is wrong.

Because his body blew up with the Death Star. There shouldn't be any coming back from that. I don't like that Darth Maul lived after being cut in half and falling down a huge shaft either. If they both survived then it's dumb that Qui Gon died. Oh, yeah, Dark side blah blah blah. Dumb. Secondly, the story doesn't need Palpatine. Ren and Hux should have been the main villains of Episode 9. Palpatine coming back and Hux becoming a spy were both dumb. YES. I very much wanted her to be a nobody. There was no reason to make her a Palpatine. The movie doesn't explain that she's a daughter of a Palpatine clone. That may have helped make it less dumb than thinking Palpatine had a family we had no idea existed, which is the impression everyone had until the novel came out. Trevorrow or Rian Johnson should have done Episode 9. Abrams fucked up.

The proof is the giant dump Abrams took on Rian Johnson's film.

Does "a CD Club drop" mean 1 title, or any number of titles? 🤔 Here's hoping for Horner's BRAINSTORM in either case

There is more evidence that there was no plan than there is evidence of there being a plan. Your conspiracy theories sound pathetic.

They're both utter masterpieces, but I have to go with Potter. That score really moves me emotionally -- albeit perhaps in large part because the film is near and dear to my heart. Just such wonderful marriage of music and picture (at least to those who like the movie):

I doubt it. Abrams only came up with this after TLJ. If it had been intended from the beginning it would have been in Trevorrow's script. Don't tell me that Trevorrow's script was a hoax. Way too much time was spent on it just to distract the fans. Didn't most of it leak after TROS came out? What would be the point? I don't know about you but I can agree to disagree because you're nuts.

The Godfathers Part 1 and 2 and The Lord of the Rings Parts 1, 2, and 3 are great and deserve their reputations. And I say this without their ranking among my subjective favorites. Let's separate the films themselves from the folks who think jumping on a convenient and obvious bandwagon is a sign of good taste and being edgy, shall we?.

Well, it's not.

Length is usually irrelevant to me, it's all about the sequencing and general representation of the score. That being said, I can't really think of any OSTs that were too long at 40 minutes, even those that are mono-thematic and/or relatively static. Well, scores I dislike to begin with are too long at even 1 minute (Giacchino stuff, for example), but that's a different discussion.

There is *finally* a commercial recording of one of my favorite orchestral pieces of the last 20-or-so years, Lowell Liebermann's fantastic Trumpet Concerto written in 1999. This is really the only trumpet concerto that's truly in competition with John Williams' for me (although I haven't heard Goldenthal's yet!). I think Liebermann's music is perfect for fans of the classic Hollywood romantic film score style. It's tracks 2 - 4 on this album: https://open.spotify.com/album/4K4LWwNxFDemgu61oZ18XV?si=drr9u1E5T7CqgPLLYSBhyg Or here's a playlist

I don't know where you get your delusions.

@Alex What retconning? I think I said something a few pages back that none of her amendments and twitter trivia affect the story as written. Dumbledore's sexual orientation has little to no bearing on the story just as it should as one's sexuality doesn't necessarily have to define their character...

I think an Asian person pointed out that Cho Chang is meant to be of Chinese origin, but both those names are Korean surnames. Also the only Asian character was sorted into Ravenclaw... the nerdy house haha. To be fair, I think that’s a valid complaint, although I’m sure it’s just down to JK just simply not knowing much about Asian names, rather than any deliberate racism. Also, I realise JK can write and do what she wants - it’s her creation. But the books meant something to me, they were my childhood. Her constant retconning and rewriting of her own stuff and adding little bits to it every now and then bother me.

Might as well complete the triptych and break down Born On The Fourth Of July, too, though it’s by far the most straightforward of the three, with no cue combinations at all. Cue list: 1MX Trumpet Prologue 1M1 Acting Out The Future 1M1 Alt - Kids At Play 1M1A Earliest Memories 1M5 Early Days 2M1 On The Mat 2M2 The Call To Duty 2M3 Recruiting Scene 2M4 After The Soda Shoppe 4M2 The Shooting Of Wilson 5M1 (New Start) Ron Is Hit 5M1 Ron Is Hit 5MA Approaching The Village 7M1 The Homecoming 8M3X Parade Overlay 8M4 Off The Platform 10M1 Campus Rally 11M2 To Mexico 12M5 Shopping For Present 12M7 Montage Of Girls 12M8 Writing The Wilsons 13M1 To Georgia 13M1 Insert 15M1 Convention Disturbance 15M2 The 1972 Convention 15M3 Alternate 15M3 Short Version End Credit Intro End Credits Ron’s Theme OST breakdown: 1–8 Various pop songs 9 Prologue 1:24 1M1 Acting Out The Future 10 The Early Days, Massapequa 5:00 1M5 Early Days 11 The Shooting Of Wilson 5:09 4M2 The Shooting Of Wilson 12 Cua Viet River, Vietnam, 1968 5:20 0:00-0:31 5M1 (New Start) Ron Is Hit 0:31-end 5M1 Ron Is Hit 13 Homecoming 2:39 0:00-0:55 13M1 To Georgia 0:55-end 13M1 Insert 14 Born On The Fourth Of July 5:42 End Credits

It's a piece that introduces all the major thematic ideas for the film. It works wonderfully in the trailer, doesn't really have a place in the movie per se. It's a brilliant overture and perfect encapsulation of the score. Being used in the movie or not does not diminish it in any way. It's like saying overtures or main titles are disappointingly only used over text and not dramatic scenes

Some of this stuff is scattered among too many albums so I decided to make a play list grouping them. I only try to put "extended" or revised concert versions that were not on the OST's for this playlist Star Wars: Han Solo and the Princess (Original): Big Screen Adventure,City of Prague or NPO Gerhardt recording Han Solo and the Princess (Revised): Music from the Star Wars Saga , Zeigler The Flag Parade: The Phantom Menace and other Film Score Hits The Adventures of Jar Jar : The Phantom Menace and other Film Score Hits Battle of the Heroes(Orchestral): Star Wars Heptalogy Adagio : Celebrating John Williams, Dudamel The Jedi Steps: Lights Camera Music Jabba the Hutt : Skywalker Symphony Asteroid Field :Skywalker Symphony The Little People work(Skywalker Orchestra) Here they Come (Skywalker Orchestra) The Last Battle :Zubin Metha and Los Angeles Philharmonics or NPO Gerhardt recording Duel of the Fates (Orchestral) (Hollywood Symphonic Concert,Kanawaga Philharmonic Orchestra) .Edit out of the TPM Suite. Harry Potter: Double Trouble(orchestral) :Budafok Dohnanyi Orchestra. (Extract from You Tube Video) Double Trouble (with choir) :Harry Potter Collection City of Prague Orchestra Window to the Past: Harry Potter Collection City of Prague Orchestra Arguably the entire Children's Suite minus Hedwig's Theme and Harry's Wondrous World (HP Box Set) Indiana Jones: Scherzo for Motorcycle and Orchestra (Revised):Celebrating John Williams ,Dudamel Marion's Theme (Revised): Spielberg/Williams Collaboration part 3 or Celebrating John Williams,Dudamel Parade of the Slave Children:Spielberg/Williams Collaboration Part 1 The Basket Chase: Spielberg/Williams Collaboration Part 2 Irina's Theme :Slovak Philharmonic Orchestra Midway March (Long Version): I Love a Parade,Boston Pops Men of the Yorktown March :Lights Camera Music or FSO JW Special Jaws Theme: Spielberg/Williams Collaboration Part 1 Out to Sea/The Shark cage Fugue:Spielberg/Williams Collaboration Part 1 Cadillac of the Skies :Spielberg/Williams Collaboration Part 1 Jim's New Life: Spielberg/Williams Collaboration Part 2 Hook: Flight to Neverland :Spielberg/Williams Collaboration Part 2 Smee's Plan :Spielberg/Williams Collaboration Part 2 Face of Pan: Spielberg/Williams Collaboration Part 2 When Your Alone :City of Prague :40 years of Film Music or Best of John Williams Andrew Lane and Orlando Pops Lost Boys Ballet (Spielberg/Williams collaboration part 2) The Banquet (Spielberg/Williams Collaboration Part2) Jane Eyre At Lowood:Pops Britannia Jane Eyre To Thornfield:Pops Britannia Jane Eyre The Return :Pops Britannnia The Accidental Tourist (Love Theme): The Best of John Williams-Richard Hayman, Naxos The Cowboys Overture :By Request Boston Pops Sayuri's Theme :Celebrating John Williams ,Dudamel Going to School revised : on Sony compilation The Poseidon Adventure(Prelude):Disaster! album Yes Georgio!If We Were in Love :Boston Pops (Aisle Seat) Close Encounters: Spielberg/Williams Collaboration Part 1 Battle of Hollywood :Spielberg/Williams Collaboration Part 2 My Friend The Brachiosaurus: Spielberg/Williams Collaboration Part 2 BFG Suite: Spielberg/Williams Collaboration Part 3 With Malice Towards None : Spielberg/Williams Collaboration Part 3 With Malice Towards None(alt): Spielberg/Williams Collaboration Part 3 Tintin The Duel: Spielberg/Williams Collaboration Part 3 Dartmoor,1912: Spielberg/Williams Collaboration Part 3 A New Beginning (Minority Report) Spielberg/Williams Collaboration Part 3 Catch Me if You Can Movement 1,2,3. Spielberg/Williams Collaboration Part 3 Heidi Overture:Lights Camera Music Goodbye Mr Chips Overture :Lights Camera music Towering Inferno: Lights Camera Music Stargazers:Lights Camera Music The Patriot Suite Version 1:Lights Camera Music ,Boston Pops JW Arrangement The Patriot Suite Version 2: FSO : JW Special , From Hal Leonard The Reivers: Music for Stage and Screen The Lost World Theme : 1999 Great movie Scores Kunzel or FSO JW Special The Book Thief: FSO JW Special Nice to Be Around (Cinderella Liberty): Across the Stars Dances of the witches(Hooray for Hollywood) The Ballroom Scene(Hooray for Hollywood) Always Theme (Spielberg/Williams collaboration Part.1) Sugarland Express (spielberg/Williams Collaboration Part1) Born on the Fourth of July Theme (Music for Stage and Screen) .You can edit out cleanly New Car in Town and The Horse Race if you can't stand the Narration -Not Revised or Approved by JW Himself: Black Sunday Suite (Giants of Cinema City of Prague, or Close Encounters compilation) Earthquake(Love Theme):Disaster! album War of the Worlds suite:Philharmonics 2 War of the Worlds :Kunzel itunes Lost in Space Themes : Cincinati Pops YouYube Extract Jaws 2: The Greatest Musics of John Williams *****Still Unreleased in Good Sounding Recording)***** Leaving Home from Superman(Revised for Oscars Memoriam) Face of Pan 2013 Re-Revision 3 Pieces from Lincoln with amazing new version of Getting out the Vote Diagon Alley (Alternate bombastic ending) Let me know what I forgot. I didn't include the Mutter album on purpose

Two of the most beloved scores by JW for fantasy movies, now pitted against each other. What score do you personally consider is the best? The nautical adventures of Hook? Or the magic in Harry Potter and the Philosopher's Stone? Vote now!

The Mighty Ducks trilogy?

Well, it would have been simplier to take a screenshot, indeed... Thank you!

Oh sure, I also smuggle drugs and exotic animals whenever I can...

I don't work at customs. if they charge me, I pay, if they don't, I won't aproach them to pay voluntarily

Great news about the shipping out of the UK. Customs were always unforgiving with Varese's shipments

I'd buy a Williams or an Elfman expansion, but I'm in no huge hurry - I just got around to listening to The River for the first time today.

Then the show is lucky: Johan Renck will direct the pilot: https://www.comingsoon.net/tv/news/1137553-johan-renck-to-direct-pilot-of-last-of-us-series

You not a fan of the pyramids of Giza?

In my opinion this film has the greatest directing of any film every made. Not saying it is the best movie ever made but the best directed.

And isn't it great that this irks Alexcremers no end Quintus - never saw Godfather Part II

Nowhere that I'm aware of

*Blazing Saddles campfire scene* It seemed the most appropriate next thing, but you can't really 'quote' a load of farting sound-effects .

Evidence? Like what, specifically? How substantive is that evidence? 'More' of nothing is still nothing. Your ignorance - combined with so much empty talk - makes you pathetic. A different writer and director for VIII does not mean that the plan wasn't maintained from the beginning. Having said that, I think it's clear that Disney/Lucasfilm wanted us to think they had no plan. (If they had a plan, they could have cleared this up long ago.) Many think that Rian Johnson messed up the plan. Both theories are false, and I can prove it. (The music clues would be enough for me, but I have much more.) Still two answers to go, @Chen G. .

Star Trek VI: The Undiscovered Country. A somewhat foreboding start of the day. It doesn't necessarily translate to the most enjoyable of albums but it is a clever and effective score nonetheless. Karol

All I'm saying is that GOT has its likeable, righteous characters. Those aren't always the most interesting or colourful ones but they are necessary to bring some moral balance to the world of GOT. And as you'll find out, even the despicable are human. I watched two episodes of the docu series Jeffrey Epstein: Filthy Rich

8 1/2 ? Sorry, but it's been a long time, since I watched this.

Next they'll demand the John Williams-scored entries to be re-scored by some oppressed minority composer. To be streamed on HBO Max.

Please God no.

Was it really "anti-trans" or was she simply taking issue with the pedantic progrethive terminology like "people who menstrate"? I bet that would annoy any woman.

Craps of Grindelwald alone is reason enough to cancel her!

Agree, but I would also have liked to not have crossfaded cues, especially "The Promenade" and "Butterfly Comb" (the latter should come after "Rose"). When I did my custom complete score, I put the film versions of the following cues into the main program (some film version cues I reconstructed myself without ANY of the sloppy micro-edits): - Southampton* - Leaving Port* - Take Her to Sea Mr. Murdoch* (added in the heavy thumping bass line from the film mix, reconstructed the ending heard in the film) - Rose* (eventual film version, taken from the film stem leak) - The Portrait** (eventual film version, taken from LLL disc 3) - Unable to Stay, Unwilling to Leave (pipeless version, combined the OST version with jointy95's rip from the film along with a small section taken from film stem leak to remove dialogue echoes) - Death of Titanic (combined the OST version with the alternate version in places) - A Promise Kept* (combined the OST version with the alternate cue) *denotes a cue where I put its OST counterpart with the additional music and alternates while putting the film versions in the main program **For "The Portrait", I put Horner's intended cue with the additional music & alternate cues

Because of all the nonsense she’s tweeting, people are forgetting the bigger issue here: Crimes of Grindelwald was absolute shite.

What about Harry Potter and the Philosopher's Stone? Or Hook?

The opening 15 sec of "The Lost World (alternate)" track appears to be an independently written intro ("End Credit Intro," 11 measures long), seperate from "Lost World (End Credit)" cue proper. I also like this alternate version a lot, esp. since you get a hint of one of "The Hunt"'s motivic gestures around the :11 second mark that I don't think appears elsewhere. Compare: and (In case you needed more evidence that "The Hunt" comprises a set of transformations of the main TLW theme). Incidentally it's worth noting the other version of the Main Theme, I'm sure many of you know is the the Hal Leonard signature edition. This one has its own unique intro (which then leads to the same intro as the original album version). It also features a slightly expanded central episode and coda, both I assume William's direct doing, and both welcome additions to my ears. Has there every been an official recording by Williams of this, as opposed to Kunzel, the FSO, etc..?

Ok, I get what you mean. The A# sounds like it shouldn't be there. If you're hearing it as out of place, it's likely because you're expecting the melody to sound a plain old A there and stay in the key of E minor, which has been going for the last bar and a half. But Williams also will often write a melody that uses only uses notes from a major or minor scale while the harmony ventures outside it (e.g., Luke's theme, Force theme, Raiders march). So I can understand where you're coming from. For me, I hear that note as derived from the down-up (or what's called a neighbour-note) figure that starts the fourth bar in your example above. And I think what makes that figure really distinctive is that the down-up motion is within a half step, or semitone. Almost every statement of the figure is within a semitone: the very first one, the one in the middle of bar 5, the one starting bar 6, the two in the middle of bar 9, and almost every statement in the B section as well (from bar 11). This use of notes outside a scale to match a semitone interval in a motive is something that is exceedingly common in music from the classical and romantic periods in particular. March of the Resistance has more of a conservative rather than more radical 19th-century feel to it, even if it is molded in Williams' own style (i.e., something more akin to, say, Dvorak than Wagner): both the melody and harmony stay in a single key for its opening 8 bars (unusual for Williams), the theme uses harmonic minor with the raised 7th degree (also unusual for Williams), and the melody is fashioned in a 4+4 structure (so common for Williams!), so it makes sense that it follows 19th-century melodic conventions as well.

Just the tip of the iceberg, @Alex

Gratitude from Williams. As always with class and grace.

AOTC is better than the Disney movies. It's also the only one where a character wears a henley, and what a beauty it is.