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KCET, a public broadcast TV station in Los Angeles, will be broadcasting past performances from the Hollywood Bowl later this year, including Williams and the LA Phil performing Star Wars. PBS stations around the US will broadcast the shows in early 2021. From the last paragraph, it sounds like this could possibly include an interview with Williams.

Johnson wouldn't ordinarily hire Williams a) because he's loyal to Nathan Johnson and their partnership seems happy and fruitful, and b) Williams does not generally make himself available, anyway. The whole spotting session thing, I think has been blown out of proportion. Johnson and Williams would have talked about the film, thematic material, character arcs, dramatic beats of each scene while they were working. I'm not really convinced that Johnson never heard any music until recording. I think Williams must have played him stuff on piano, themes and maybe some cues but obviously RJ wouldn't have known what it would really sound like until he heard it on the stage. But as he said, the temp basically would have already demonstrated what he was thinking in terms of in-out points and the musical dynamic and emotional pitch of various scenes, probably better than he felt he could put into words. I really think it was in the spirit of creative freedom that he was like, just take this, please, sir, and go for it. It seems like it was largely up to Williams whether he mimicked the temp or not. I don't think Johnson had much else to say to Williams about what it should sound like, especially at the beginning. Williams said in that featurette that Johnson was both "loose" and "hands-on" so it's not like he just gave him the temp, covered his ears and went "La la la la la," there was obviously more going on with their collaboration that we're not privy to. There's so much bad faith shit about Rian Johnson and people can say what they want about the liberties he took with the lore because I don't pay any attention to that nor do I care, but aesthetically the film is not some crazy departure. I think he wanted John Williams to write a Star Wars score for his movie, I think he was excited to hear it, and that's that.

^ if you’ve ever heard live orchestra performances, they are not supposed to sound like even tempo’d perfectly timed Mathematical equations Like the record labels insist on during an official OST. Live performances allow room for tempo changes, and allow Williams to feel out the room and each change of tempo is based on what he thinks fits best in the program. If ur going from listening on Spotify to watching a live performance and expecting “perfection” in that way, you’re not at all understanding symphonic music

I've criticised the hall acoustics (or conductors and orchestras not handling them well) in the past. I've also said that Williams with the Wiener Philharmoniker was one of the best sounding concerts I've heard there.

Now that we have established that the conductor was bad, the orchestra was bad, and the soloist was bad, the only thing that has not yet been criticized are the hall acoustics.

You try too hard to make jokes on this forum. Your overall success rate of making people laugh would improve if you posted less often and didn't spread your comedy juice so thinly.

Hey Hornist, on this forum you are absolutely welcome to disagree with other's opinions and state so as much as you want, but we don't allow personal insults. Respond to opinions and share your own, but don't insult other members. Thank you.

It's a magnificent arrangement!

That's fair enough, blondheim. We all have different opinions and thank you for expressing yours. At least I didn't call you an idiot! -Erik-

Star Trek is better than Star Wars, but I'd rather watch the Disney Star Wars than the Kurtzman Star Trek. It's a no-brainer.

I'm watching the concert now and Johnny's face when the brass falls behind during Star Wars is PRICELESS!

I didn't think we needed more focus on Rey - I just thought it was bizarre that they changed her central drive/question. In TFA, she wasn't wondering who her family was...she was just waiting for them to return. Suddenly in TLJ she's obsessed with this question of who her parents were. I think either way would have been valid, but having both feels like a contradiction. (I do miss the interaction between her and Finn, but I don't really hold that against the film. Hell, how many scenes do Luke and Han get together in Empire? Two?) As far as Luke goes, I totally agree, and I'm baffled by the hatred with regard to his role in the film specifically. (Other than the "tossing the saber" moment, that is, which just didn't work tonally for me. I would have preferred that he simply dropped it at his feet and walked away, or at least thrown the saber in a less comedic manner.) But Luke's arc makes perfect sense to me and I think it's Mark Hamill's best performance as the character by far. For Finn, the thing is...he isn't a deserter at the end of TFA. I mean, yes, he's a deserter from the First Order perspective, but certainly not from the Resistance. He practically gives his life in battle after already having his come-to-Jesus moment on Takodana. It felt to me like a vague rewind and retread to see him go through the same sort of arc in TLJ. The best argument I've heard in favor of that approach was that Johnson was trying to show him progressing from fighting just to protect Rey to truly fighting for the cause of the Resistance. That works for me in theory...I just think it's handled a little clumsily, particularly because I don't think TFA really sets up that storyline very well. No problems with Phasma here, either. The Boba Fett analogy is perfectly apt. I do rather like the deleted alternate version of the scene, but the version in the final cut is good too.

Interesting, I've never heard this before! If you find any more information about this, please post it! Doom's principal photography ran from April through August 1983, and the score was recorded in LA some time in early 1984, before the film opened in May 1984. Sanskrit Sacrifice and More Sacrifice were recorded in Boston on the afternoon of Thursday, May 12th, 1983: Later that night, he conducted this concert: EDIT: Actually it looks like Max Hobart conducted that night! Maybe Williams had to pass off conducting duties after learning he'd have to spend the week writing these cues for Spielberg... Incidentally, I've been going through JW's Boston Pops CD released by Philips records, and noticed that many list the recording dates. I wonder if selections from "Out of This World", " On Stage", or "Peter and the Wolf / Nutcracker" were recorded on the same day, or at least the same week.... EDIT 2: I assume these revisions were recorded in LA: 7m1a Sacrifice Sweetener 7m1d Percussion Sweetener - One 7m2d Percussion Sweetener - Two 7m3d Percussion Sweetener - Three

Does this mean we will finally be able to see " The Long Night" battle?

I liked what they did with Rey, only because I think not focusing on her and scattering many plot elements helped the movie feel more like an escape from something, more of a struggle to pull a solution out of their ass. It helps set up "the spark" legend concept I love so much. What a unique way to fire the galaxy back up. With a carefully planned illusion by Luke. He was the hero so many viewers complain they didn't get to see, but the filmmakers did it in a completely unexpected way. Bravo from me. To say I was baffled by the hatred this movie has received is an understatement. As for Finn, he goes from being a deserter to someone who proudly accepts "Rebel scum!" from Phasma. Could they have done more? Absolutely, but I feel like that is more of a problem for Rise. Rian lobbed up a decent ball, J.J. just didn't score a goal. I can't help but add that the restraint they showed in only letting us see her one hateful eye in that helmet crack was remarkable. It was so respectful to the strength and endurance of the character. It made her a female Boba Fett, which is exactly what she was. They never let her look vulnerable. It wasn't the ending of Metroid NES. *chef's kiss

I actually agree quite strongly about all the positive attributes you bring up here, and I can think of others as well. (I find Smoke soooooo much more interesting here than in TFA, for instance.) I do still think there are some counterproductive and frustrating choices in the storytelling (many of them more micro than macro), and I certainly don't think its handling of Rey or Finn feels like an organic continuation of their arcs from TFA. But there's still a lot to enjoy and appreciate, and the film has continually grown on me.

took 2 months to arrive

seems like this thread is just disenchantment spillover

Interesting points. He starts out idealizing his father, then is shocked out of that ideal, but in the end they reconcile. Kind of an extreme version of what many young people go through in relation to their parents. Even though I don't believe the twist was ever planned, the whole thing comes together better than I've given it credit for.

Luke's reason for going with Ben is literally "I want to be a Jedi, like my father before me." His whole impetus is to follow in daddy's footsteps. He asks his uncle about him, Ben about him gets his father's lightsaber, etc. I disagree.

Soul of the Ultimate Nation by Howard Shore: While this video game score is nowhere near as impactful as the Lord of the Rings scores as a listening experience because of the lack of any prominent themes, Shore manages to write some very interesting and even at times catchy music for a large symphony orchestra and chorus. As with quite a few of such video game scores, it is rather more episodic than leitmotific in nature, with each piece more of a standalone musical statement with some subtle traces of what you could call "main theme" running through the whole work. But despite this the writing itself is fine and the individual melodies and moods vary in a satisfying way throughout the album and Shore even manages to integrate an unusual solo instrument, the theremin, into the whole without it feeling too forced and adding a unique colour into the mix. The music never quite rises to the Lord of the Rings level (which is the obvious comparison since the game developers clearly wanted the composer to model his music after that specific sound) but there are many impressive tracks here, with the usual accomplished writing for the choruses from low end brooding male chorus chanting (Empire Geist) to the serenely soothing female ensembles (Sanctuary of the Ether, An Epitaph). One thing I felt that the album lacks is a clear dramatic arc but in this day and age this can be quickly fixed by a personal playlist. In such a form this score is in a steady rotation on my playlists these days alongside Shore's more famous works. The Five Sacred Trees by John Williams: Still one of my favourite Williams concertos. Williams really employs the bassoon's capabilities from its high to low register in interesting ways but my favourite passages have that lilting quite Celtic singing quality to them. It is difficult to choose a favourite movement but the 3rd one Eó Rossa with its delicate bassoon and harp duet has always been close to my heart, the music evoking to me a lone bard reciting his story from the ancient times with harp in hand, the bassoon becoming the soliloquizing voice of the storyteller leading the listener into the times past. Also the 5th and final movement, Dathi has perhaps the loveliest lyrical "singing" passages of the whole work and I adore the misty mysterious ending of the work. I remember that this is one of the works that really made me appreciate the colours and capabilities of the bassoon and made me take notice of the instrument in Williams' and other composers' works.

Once you get off Jakku, TFA barely stops to let anything and anyone have depth, and even when it does it's boring because it's just the terrible lazy screenwriting cliches of "I can't go on with you, I've gotta go back, I've been away too long", "I lied to you, I'm not who you think I am", "I don't want this, I can't take it up, I'm running away", "No, it was the bad guy who made our son bad, like you and the audience already know". Even if you don't prefer the conclusions it arrives at, at least TLJ muses on characters and lore properly.

See, I feel like The Last Jedi was the Mount Doom sequence and then TROS was the journey home, the Scouring of the Shire, as it were. Luke's final moments with Kylo, it was never going to be better than that. I knew that when I saw it the first time in 2017. All I wanted for TROS was for them to not screw it up too badly and sour that experience. The Last Jedi burned very bright, agree or disagree, you had to have an opinion. We were very lucky to get that even one more time, I highly doubted it would happen twice. So I was content as long as Rise didn't utterly bomb. And imo, it didn't. If Jedi had been another Force Awakens, I would have needed Rise to be great. But thanks to Jedi, I no longer needed to put all of my eggs in one basket. Or any eggs, really. For me, the movie was essentially just a vessel for a Williams' score. Like tortilla chips for cheese.

So, my theory: this may well have been the best take. There’s photos from the final session that show alcohol was flowing freely in celebration. I wouldn’t be surprised if that started at the customary break halfway through the session, and as a former professional percussionist, let’s just say there’s a number of us who can put away an impressive amount in a short time, especially when it’s free…

Looks like I won an online contest to have John Williams answer a question which Movie Weekly (Australia) selected from a few folks. Each winner gets the JOHN WILLIAMS IN VIENNA Deluxe Edition cd/blu ray. But they can only ship the prize in Australia. Since I dont live there they can however ship to my cousin living there. So I gather myself as lucky for it.

Yeah it's really powerful how the percussion is constantly off-tempo, trying to catch up, at one point gives up completely and just fucks around waiting for an entry point to restart on. Completely baffling how JW picked this take. Why even have it, it's a completely unnecessary bit of nostalgiapandering making an already too messy credits piece all the more disjointed.

Yes and therefore asked nicely if Jay could ban me.

Lost? Seems like you may still be losing it there, bub.

I apologize for assuming that was what you meant. I am just so used to hearing that argument. This is an interesting point. To me personally, the who they are, where they are, and why are similar enough for it not to bother me, though I agree there is a distinction and not one I had thought about before this clearly. Interestingly, Awakens asks where, Jedi asks who, and Rise answers those by providing why. Still clumsy though. 'Inadvertently interesting' is the closest I feel I have gotten to accurately expressing my feelings about the sequel trilogy. Other than Jedi, of course. You also made a good point about Finn. I agree that his involvement in Awakens was Rey-driven so I also thought it was interesting that they split that hair without more explanation. It does fit in with trauma, which I am sure he has plenty of, but I do wish there was at least a line more of development with that. I don't know how they could have done it, but I am sure there was a way they could have. There is always a way.

I'm not planning to read the book out loud. (The book is too long, and my voice is too annoying!) Rather, I'm hoping to set the stage for why such a book would be interesting to people. Back on LOTR, I had time to run a blog to help with such things. These days, I have far less free time. Stupid adulthood! Regardless, I'll try to drop in plenty that people don't already know.

It's generally of high quality, but still hit and miss. Partly because, good (often very good) as Tintner's readings are, only a few of them can compete with the best alternatives, and partly because some of the chosen versions are rather... odd (especially the 8th, if I remember correctly). (Though the odd versions do make them indispensible for completeness' sake, if nothing else). Occasionally the interpretation and choice of version do align and produce a recording that competes very well - Tintner's 2nd and especially 3rd are still among my favourites of those symphonies.

huh this series existed

Sky Captain and the World of Tomorrow Indiana Jones and the Last Crusade Indiana Jones and the Kingdom of the Crystal Skull Star Wars: The Rise of Skywalker E.T. the Extra-Terrestrial Minority Report Karol

When the students come upon her outside the Great Hall, there is a wonderful, slithery violin line that is re-purposed here.

It, Night Journeys, Leia and The Duel are my favourites on the album! In this order probably.

The familial link these films are based around seem to beg the question, even if we both think it's the wrong direction. I'm in the middle of a rewrite of the trilogy and just made Rey's parents nobodies from the start (Like Shmi/Owen/Beru), leaving the true familial connection to Ben (and the Force).

LP wasn't going well in 1983, so 2LP plans were dropped and we got what we got.

It's a Hong Kongese label. I've owned his Bruckner 4th for ages and its distant sound has always annoyed me. Can't seem to get rid of it, though.

hahahahaha the what?

The thing I love about the jaggedness of Her playing is that Williams loves it. I honestly would not have expected that musical pairing, and it provides even more diversity into his taste and his writing. Also seeing Williams gush over anybody makes whatever the thing is worth it

Williams has addressed this. He mentioned that while he was watching a rough cut with Lucas on the scenes in question, he teared up a bit over how poorly edited they were. Lucas said, "I am going to need you to score these," to which Williams replied, "I'd rather be dead."

I'm on episode five and there's a big intrigue about the central plot MacGuffin, but there's loads of stuff about this series which I find seriously irritating. I'm halfway through though so I'm going to stick it out to the end in the hope the payoff is worth the trudge. According to Reddit it very much is, but it's going to take something special to get me fully back on side now. I'll report back once I get there. Sorry for the vague response, I'm in bed and about to go to sleep.

Anyone who thinks Rian Johnson is anything less than a John Williams fanboy isn't paying attention or reading many interviews. Or just has a bone to pick with the guy.

King Kong by James Newton Howard Shore

I think Thomas Bergersen comes pretty close. His music is always an inspiration. This track might have come straight from the latest star wars and no one would have noticed that it's not JW. This is a MIDI mockup he did more than 10 years ago to showcase his private library.

Then Mattress crashes it.

A newly arranged suite from this score was performed at last year's World Soundtrack Awards:

So is Rowan Atkinson. I never saw him pull off authority with conviction.