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Return of the Jedi really rounded out the operatic feel of the entire trilogy score through its orchestration of the established themes, particularly Vader's theme. Perhaps the best musical moment of the entire original trilogy was the final lightsaber battle between Luke and Vader. It has the kind of music that no other composer could ever create for such an iconic moment. I talked about it in my "Return of the Jedi" episode of "The Baton: A John Williams Musical Journey." Click play below and you can hear my analysis of that lightsaber battle beginning at the 28:37 mark.

Not if you don't eat your meat it isn't.

here is what Conrad Pope posted on Nov 24th, 2019: Conrad Pope:ARRANGING/ADAPTING: What’s the Difference? What are the challenges?John Williams asked me to do an arrangement of Princess Leia’s Theme for Anne-Sophie Mutter. When “god” asks you to do something- no matter how inadequate you feel to the task- it is impossible to say no—particularly when the performer is a “goddess” whose music making has inspired you all your life. This summer at the HOLLYWOOD MUSIC WORKSHOP I shall share the process that resulted in this recording. What is an arrangement? What is an adaption? What is key to a conception? The challenge in an arrangement such as this is: How can one contribute to something so well known and so iconic? What can be new when everything old must be retained? How to fashion “obbligato” that will take the listener on a journey where they will discover something underneath that they hadn’t suspected? This summer, with violinist maestro Dimitrie Leivici, I will illustrate and comment precisely on fashioning an introduction and working out a solo part that that takes the listener on a journey through music that that they already know so well but invites them to it discover anew. P.S. I just messaged Conrad to further clarify,,

The Spark scene was clearly shot and edited to allow JW's music to carry the load. And what a highlight that was

Fallen Kingdom isn’t brilliant but it isn’t one of the worst films of all time. That’s just hyperbole.

Well, Pope Conrad William Ross did well. Karol

Yeah somewhere I read that the script had them bring captured velociraptors overboard who then escape, kill everyone then get swept off by waves, but no indication that any of that was actually shot. As it is, it's implied the T-Rex broke out of that compartment, ate everyone in places where it wouldn't even fit, and locked itself back in. Spielberg really gave no shits with this one. Even if he was just thinking of how cool the hand on the wheel (and no person attached) shot would be, they could have watched back security camera footage for 10 seconds and 2 VFX shots afterwards or something.

Who are you talking to, Edmilson?

If you look at my Google Doc you can see where all the music recorded that isn't on the OST goes https://docs.google.com/spreadsheets/d/1QtG5OuCLOrQj4iYNUEBgIU81gH2q2USCDhqLQwzHLKY/edit?usp=drivesdk

Rey's Training is another one, especially the nostalgic string theme near the beginning when Leia reassures Rey.

Those lush, rising strings after Kylo finds out Luke isn't actually there were so impactful that day in 2017 that I was reminded of Revenge of the Sith, which packed a major wallop in theatres. I really like when Williams does scene-specific scoring. I agree with you about that piano moment in Rise though, it makes a good argument.

I don't understand where all this discussion about Johnson not being interested in Williams is coming from. He described the scoring process with Williams as "the highlight of highlights" of making a Star Wars film. He respected the music when finishing the film and cited unheard music as one of the best features of some of the deleted scenes and he presented us with an isolated score - a first for Star Wars! I think it's a case of actions speaking louder than words. RJ seems fairly quiet and reserved generally but look at how the music was treated. Abrams gushes to an almost embarrassing degree about Williams but then takes a hacksaw to the music. Not difficult to see who has the most genuine respect for the composer.

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.

WGBH will stream John's first Evening at Pops concert from 1980 tonight. I hope someone records this and can share it later. Always wanted to hear it in good quality. https://www.bso.org/brands/pops/features/at-home/pops-at-home-evening-at-pops.aspx

Any news from someone who succeed in recording the streaming?

My favourite Indy score and movie of course!

Maybe not of all time, but surely it's one of the worst movies released in 2018. I think I even prefer Venom over this mess.

Electronic Dance Music.

Haha, I'm not there yet.

1712 Overture P.D.Q. Bach His finest work since the opera " Einstein on the Fritz"

The penultimate ep was good! Btw the 4k UHD stream8ng looks amazing!

Sorry. I forgot that part😔

That Kong doll looks a hell of a lot cooler than the one I got at Universal Studios when I was a child.

This is new and official from the doll merch. I've never known a movie to have so many banners leading up to release.

It's go time baby!!! I'm imagining it right now...

Ironically, I might have to sign up for YouTube TV just to WATCH in high def, let alone record. Wtf?

I was thinking, I hope he doesn't do Adventures on Earth, then I realized the same thing you did

I know it might sound like a sacrilege but I think the Mutter version of Princess Leia's theme might be actually better than the original. Williams took a perfect piece and somehow made it even better. It's just beautifully realised and performed. And her version of Rey's theme is better too. As for the Vienna concert, I am patiently waiting for the copies (one for me, one for my mum) to arrive so I can watch/listen for the first time. Delayed or not, I'm happy to wait. Karol

Indeed. I don't know how that wasn't released. But I have to say I prefer the part while she's going through the course. So epic, one of the best versions of Rey's theme IMO, alongside this one:

I got chills when I first heard "We Go Together" in the theaters. Some other great in-movie moments include the non-edited parts of Approaching the Throne, the desert shot of the Knights of Ren, "Parents," "Rey and Ben Team Up," and all other statements of the "We Go Together" theme

Regarding Return of the Jedi, I just love the last 50 seconds of Obi-Wan's Revelations where we have Leia's Theme building to chattering trumpets as the rebel fleet is revealed. One of my favorite snippets from the whole saga.

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.

This is silly. The LSO is/was fine, but the orchestra itself became much better with sightreading around the time of the prequels and also the Hollywood performances are much more polished than the OT ever was.

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.

I would almost completely agree with this... if Luke's family wasn't a major part of A New Hope i.e. "becoming a Jedi, like your father before you." So the correct word may not be inherent (I can't think of a proper word at this moment to replace it that would mean 'there from the very beginning') but it's damn close to being so. Ben is clearly a mentor, father figure that he loses and gains, etc. Let's not get it twisted, this is a family saga.

I just hoped it would be her because I had enjoyed hearing her speak during that 2018 RAH concert. Also forgot to mention I really loved all the questions you asked her. Every time I wanted you to ask something, you did exactly that. Great interview. EDIT: Listening to Phanton Menace now. Totally agree that the emperor's theme in the opening cues is an incredibly stupid choice, but never ever realised it was hidden in the celebration fanfare.

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…

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.

I maintain that other than old Spielberg, Rian Johnson is probably the most proven Williams-friendly high profile director right now. The score to Knives Out was orchestral in the Batman / The Shadow vein.

Personally, the expanded boxset is too recent, I didn't have the time to digest it completely. And I must say, the cardboard is pretty tough.

RETURN OF THE JEDI underrated? Not by me. Over the years, it's crept up to become my favourite Star Wars score. I've posted before, and I'll post, again: everything from BROTHER/SISTER, FATHER/SON onwards, is sublime.

That stuff is great!

People don't like the Endor music? News to me.

My dude, TPM has tons of action music. And it is filled to the brim with themes. You need to look past duel of the fates and listen to the compete score.

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

https://web.archive.org/web/19991013020724/http://starwars.talkcity.com/starwars/trans/5-6-99.htmpl As a curiosity, here's an article from TheForce.net mentioning my transcript. https://theforce.net/episode1/story/Williams_Chat_Transcript_80586.asp

jurassicjello · At Home With Gustavo Dudamel And John Williams

And right now he's working on a "fun" new fanfare for the Vienna Philharmonic Ball to replace the one Richard Strauss wrote in 1924! No current scoring projects though. It's wonderful to hear him speak. He seems to have grown even more eloquent and poetic with advanced age!

If all goes well I'll have a recording of this for those that miss it. UPDATE: PM me if interested