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https://thelegacyofjohnwilliams.com/2020/10/12/war-of-the-worlds-podcast/ Also available as a YouTube video: Hope you'll like it, gents!

A very interesting titbit was revealed on this week's 'Inglorious Treksperts' podcast by guest Brannon Braga. He revealed that John Williams was approached by Seth Macfarlane to score 'Cosmos', and he almost did it! I do a lot of work on documentary series and when people have suggested approaching Williams to score them I've always thought the notion laughable so it's interesting to hear that he apparently seriously considered it in the last decade! You can find the discussion at 01:07:10 here: https://anchor.fm/inglorious-treksperts/episodes/MAKING-CONTACT-w-BRANNON-BRAGA-ekleht

Thank you dearly, @Incanus. I'm so glad you're enjoying this. Check the latest episode with Mike Matessino discussing WAR OF THE WORLDS: https://thelegacyofjohnwilliams.com/2020/10/12/war-of-the-worlds-podcast/

Would you just shut up, you fucking weirdo whose academic work on the music of Star Wars was chosen by renowned and legendary journalist Alex Ross to share and discuss with John Williams himself!? Jesus talk about grasping for straws.

Like this?

It's true. All of it.

+ 3 ([]x[]) 200 Bless you, @Mattris. I was having the shittiest of days, and then you come along with this.

Good grief, is this discussion still happening? Williams did not know what the plan was, who Rey's parents were, what the Emperor's role was. None of it. Gosh, I have a recording of him saying at a Boston Pops concert following TFA that he had no clue whatsoever who Rey's parents were. And he even reieterated as much again, that he was surprised at the film's reveals, at a smaller-scale Q&A event at Tanglewood just last year, after the majority of TROS scoring had happened. If there were some deep, pre-planned connection intended between Rey, Kylo, and the Emperor's theme, don't you think Williams would have musically developed any of them in such a way to suggest those latent relationships, particularly in TROS? Instead, they're left mostly to their own devices. Heck, Williams even seems to supress the similarities when the moment would be obvious or opportune. Note, for example, the way the tail end of the Emperor's theme simply dissolves at 4:07 of Track 1 "Fanfare and Prologue" when that would have been the perfect place to tie his and Kylo Ren's motifs together. The motivic similarities are happy coincidences -- not exactly trivial from a music structural or stylistic standpoint, but definitively, demonstrably not evidence of any sort of long-range plan. Williams I Dunno.mp3

Hi everyone one. I figured my first post should be something of substance. This is my fan-made concept album inspired by the Colin Trevorrow's rejected script for Star Wars Episode 9 entitled "Duel of the Fates". The bulk of the score utilizes John Williams' work for Rise of Skywalker only edited and arranged differently to better suit the plot of Trevorrow's story. (I know it’s blasphemous to chop up & rearrange Williams work. Especially after it was butchered in the final edit of RoS. Just consider this a sonic "fan edit" and an experiment to see if a different story could be told with the same music) Additionally, I also incorporated themes and moments from the prior two sequel scores and a sprinkling of the prequels as the script called for. I attempted to make the quotes from other films as seamless and organic as possible without getting too “fan-service-y”. But you may think otherwise. But come on. This was supposed to be the culmination of the entire saga for crying out loud;) Some edits aren’t perfect. But it gets the idea across. I should note there’s about 3 or so tracks that weren’t edited at all because the fit the scene so perfectly (in my mind at least) I’ve uploaded the first 10 tracks (out of 26 total) and will have more up shortly. It just takes a bit to export and upload these videos (The videos are kinda lame btw. Just focus on the music. But the concept art is nice at least). Side note: I attempted to just upload it all to SoundCloud but it kept flagging it for copyright. If anyone knows a workaround for that I’d give it another shot. I have it unlisted here on YouTube. Let me know if it’s not showing up/working. I’ll also go back at some point and add track summary/explanations in the description section. In reading the script it’s interesting how many beats were lifted and used in RoS yet (IMHO) they didn’t quite work as well. The script can be easily found with a simple online search. I recommend reading it or one of the many online summaries of it before listening as it's 1) a fantastic continuation of the stories episodes 7 and 8 set up and 2) helpful in understanding the editing choices I made and envisioning this untold story via John William's amazing scores. If you don't consider this a colossal waste of time and energy, I hope you enjoy it!

The possibility of me exploring his TV scores deeper than I already have is very low. It's hard to track down exactly which episodes he scored, and which were taken from the Universal library. The concert works would be fun, but many of them were never recorded, so they are impossible to find. I have had some help finding some of the ones I feature in some of the episodes, but I can't imagine someone out there has, for example, one of the two performances of Symphony No. 1. I started working on this project two years ago this month. It required a lot of sacrifice from other things in my life, which I was very happy to do. Now, it is almost time to ride off in the sunset. I will do an "epilogue" episode after Rise of Skywalker, and that's probably the last one, unless a film score announcement comes.

I’m not sure the difference is materially different to the FYC, but the expanded release sounds pretty spectacular, the horns have a gorgeous roundness to them, the moment when they play out the main theme in Test Drive at 40 seconds hasn’t sounded better (to pick up in another thread that’s one of my all time favourite moments of any score, very much a hairs on the back of the neck moment notwithstanding that I’ve listened to that track probably well over 100 times (indeed it’s one of my all time favourite cues alongside See You Tomorrow)). I think the mix has more air to the soundstage compared to the original album so the sonic upgrade in that regard is worth the investment. The additional cues round out the original selection nicely. Given how much I love this score I really feel I should know it better (possibly a side effect of not having seen the film in a long while) but there are several tracks that always take me by surprise. And some which will doubtless take some by surprise who are only familiar with the original album. Parts of relax/stroke/hell sound like they’ve escaped from an historical epic. I’m still in two minds about the song. Ans that’s said as a more than casual (but not fanatical) fan of Jonsi/Sigur Ros. However I think the other two are better, the second for the terrific way it’s mixed with extracts from Powell’s score and the third as its just a lovely song. Still glad to have it. But yeah. This is a great release. So great to have the full score in amazing sound. It’s not just the many memorable themes, but that so many of the cues function more or less as “proper” music with a beginning, middle and end and a dramatic arc within them as well as across the entire narrative of the score. Superb stuff.

I must confess before all the additional explanations my first Interpretation of the question was "Who is your second favourite composer after John Williams?" Because he might be for fans like us a league of his own, tier 1. Everything else tier 2.

These have been fantastic so far, I was particularly impressed with the scoring choices for Harry remembering Cedric’s Death, that treatment of the Voldemort theme gave me actual chills! So glad you guys were able to up the production value with the orchestral samples, much easier to be immersed in the alternate reality you’re presenting, and everything sounds a lot richer and fuller You guys only just finished a whole movie and you’re already partway through the next! Impressive work ethic

Its also an anagram of A LLAMA PARQUAT, so...go figure.

This has been the greatest longplay undercover troll spree in the forum's history.

Yes, it is definitely the right thing to listen to the shows in order. Imagine reading someone's biography and starting on chapter 10? Don't rush through them. All episodes will remain available long after I finish the series in December.

For me it's the damn Star Wars Prequels. I have a huge folder (copied to multiple hard drive) containing rips from various videogame scores, confusing spreadsheets telling me where the music goes, various fan edits most still containing jarring blu ray rips for the missing bits, and my own edits in varying quality that never seem quite finished. Can't wait for the proper release to put all those untidy files in the recycle bin then wipe them permanently

The role of Bruce Marshall will be played with conviction by his cat.

I mean, it's a solid 4, but not top shelf for me. As others have said, the theme gets repeated too often, and it has this wishy-washy quality that occasionally grates (DR. ZHIVAGO is even worse in that regard). But there's other great music - love all the Arabic colours. And the film is a bonafide 5, of course. I only have the 38-minute original soundtrack recording, and that's all I ever want to own untill the day I die.

The bit about the latest Pro Tools update supporting those 15-year old files, after everything Mike had to go through to assemble this set, really cracked me up... So typical. Shame there probably won't be another Williams this year though (unless things change). Karol

There were a number of things that irritated me a bit in the second season. One is of course Degrasse-Tyson himself; this season was more of a "Degrasse-Tyson Show" with himself up front-and-center, even in acted sequences. That doesn't sit well with me; I far prefer Brian Cox in that regard - he doesn't let his person come in front of the issue quite the same. Another irritation was the endless fawning over Carl Sagan - likening him to the actual scientists, and even (at one point) crediting him with basically the dawn of contemporary astronomy and collaborative sciences. Yes, he created the original show, and he was a great, passionate communicator that no doubt helped public interest in space, but please - let's tone down the deification a little bit, shall we? Yet another point was the endless stream of 'big, empty words'; very pompous. This was a problem in the first season as well, but seemed pumped up to 100 here. And what's with the endless reiterations of the cosmic calendar?! Finally, some of the stories (animated or otherwise) and actual topics were less interesting to me this time around. I liked the first few episodes, but then it kinda dropped from there, as topics were getting closer to Earth. There was also less to latch on to in Silvestri's music this time. Seemed less inspired somehow, but I haven't listened to the soundtrack yet (I have more than enough getting through the four discs and the 2 hours, 48 minutes of music from the first season). All that being said, I was still entertained. The effects are great, and the 'pop scientific' approach is always worth watching. But as I mentioned earlier, I'd much rather have a BBC documentary on the same issues. Combine a BBC documentary with the eye-popping visual effects of Hollywood (like in COSMOS), and you have my ideal show about astronomy and related sciences. I mean, I love Brian Cox' series on The Planets, for example, but the effects aren't quite as impressive.

I've been really digging Daniel Pemberton's work recently. I don't consider him top tier, but I have really enjoyed some of his recent works. I also like Rob Simonsen, he does a lot of more feel-good, chill scores and they're great to listen to on road trips and just in general.

It's your opinion that matters in this thread, not the general consensus. I feel similar about him. Jeez, no need to do a thesis on it. Just give us your gut feeling. John Debney, perhaps?

Cleopatra was actually of Greek ancestry (some think she might have some native Egyptian blood on her mother's side, but with no consensus). My history might be a bit hazy, but as far as I recall, she did indeed need the help of powerful men to even have a kingdom, which she only ruled as client state of Rome

To use a soccer metaphor: those composers that you would consider League One, as opposed to the Premier League. Of course, it's all subjective.

Here's the original. Beautiful writing:

No one would have believed in the early years of the 21st century that our world was being watched by intelligences greater than our own; that as men busied themselves about their various concerns, *they* observed and studied, the way a man with a microscope might scrutinize the creatures that swarm and multiply in a drop of water. With infinite complacency, men went to and fro about the globe, confident of our empire over this world. Yet across the gulf of space, intellects vast and cool and unsympathetic regarded our planet with envious eyes and slowly, and surely, drew their plans against us.

ok, thanks. I never want to hear the narration again

The OST track "Separation of the Family" is the only place to hear the full original 6M3; The "Defeat and Reunion" track in the main program is the opening of 6M3 followed by the entirety of 6M3CMAJ, which is basically the same thing musically anyway That's right

So if I make a playlist of just disk 1 and the alternates on disk 2 , do I get all the music? Is there music exclusive to the OST presentation? and there's absolutely no music on the recording sessions leaks that's not on this set?

My copy has just arrived to the Netherlands in less than a week from ordering. Extremely surprised it's here so quickly and a bit of a relief as my last transatlantic order took nearly 6 weeks to arrive! Looking forward to digging in to this, the package looks great.

@DarthDementous Thank you so much for listening this whole time! And thank you for commenting! The samples have really helped in expanding on the orchestral sounds available to us. We're enjoying using them, so we're happy to see you are too! I'm so glad you've liked the Voldemort material in this movie. It's been a total fanboy moment for me to be able to use them post-Mort returning. BP

The script is by no means absolutely perfect, but WAY better than what we got. Not even close. The music re-edited here is also fantastic. Looking forward to more!

That's still a great deal considering what the set goes for on eBay! I mixed albums that were already on my "to get"-list and albums I'm curious about. ALTERED STATES: LIMITED EDITION FAR AND AWAY: LIMITED EDITION (2-CD SET) NAKED GUN TRILOGY, THE: LIMITED EDITION (3-CD SET) SAVING PRIVATE RYAN: 20th ANNIVERSARY LIMITED EDITION SHAFT: LIMITED EDITION SHAWSHANK REDEMPTION, THE: LIMITED EDITION (2 CD Set) SUPERMAN IV – THE QUEST FOR PEACE: LIMITED EDITION (2-CD SET) The one I'm most excited about checking out is probably the Naked Gun Trilogy. Great music for some of the best comedies ever made. Btw, have you received your package yet? Was the JP/TLW booklet one of those with half the pages upside down?

Whoops, I got it mixed up in my head that all three were Aussies.

Bryce Dallas Howard will for sure play the role of @Kasey Kockroach!

Yes, just like Screen Archives (though SAE label releases have slowed to a trickle these past few years) and Music Box in France. Yavar

NGL some of those "pop-outs" are kind of distracting lol. Good work!

I'll voluntarily subject myself to a Ghost Pepper enema before I go watch Episode X in theaters.

Continuing this exploration of the sequel trilogy, here's a pair of Last Jedi covers I started back in January and only just got around to finishing. Special thanks to @Holko and @Chewy for design suggestions.

Great episode again. Totally re-discovered Geisha.

Height × width × depth = volume Multiplication is commutative

He’s a Thorite! get him!

It's not great, but at least it didn't sound like Ben's Nap and TIE Fighter Asleep like Ewoks did.

from Imgflip Meme Generator

That's not so much the issue, it's more like you refuse to try anything on a pizza that has the same color or shape of a sardine, regardless of the flavor I apologize for that, I should not have made any personal judgments. The thing that gets me, though, it's your almost absolute dismissal of expanded editions on principle, disregarding a whole plethora of nuance. You are potentially depriving yourself of musical enjoyment and discovery. Mind you, I agree with you that often shorter albums do serve some scores better. That some composers know, better than most, how to properly assemble an album to showcase his musical intentions. That there's an unhealthy obsession with unearthing and having available everything single second of music recorded for a given score. We are in absolute agreement there. However, there are frequent nuanced situations: - The OST album and the expansion offer totally different, but valid, listening experiences, without one replacing the other. Example: E.T., Jaws - The OST album was severely lacking in the way it presented the score (due to various factors, like short length, odd sequencing, lacking in sound quality, over-reliance on the inclusion of pop songs for commercial purposes, etc.), and only through the expanded edition did the score really come to fruition. Examples: The Shadow, A.I. - The OST already presented a good distillation of the score and great listening experience, but the expanded edition made the whole architecture of the score come to life, to the point tracks already included on the OST are given a new whole dimension due to the context that surrounds them. Examples: Dracula, The Lost World. - The OST was a great album, but the score is simply too sprawling and plentiful in riches to the be contained to a single cd. Examples: The Empire Strikes Back, The Phantom Menace, Hook. - The OST was a perfect summation of the score and the extra music on the expanded edition, while interesting on its own, did not improve the listening experience. Examples: Ran, Batman, Jurassic Park. - The OST was a great album, but the choice of tracks included was influenced by other factors besides purely musical flow, so a better album assembly might have been possible had all the elements been available for inclusion. Examples: Sphere. - The OST was a great album assembly and the expanded score actually made the score seem worse. Examples: Masada, The Black Cauldron, The Fury. - The OST was a good presentation of the score and listening experience, but the expanded edition, while not being a perfect listening experience on its own, presents enough valid extra material for one's own improved playlist. Examples: Bram Stoker's Dracula, The Thin Red Line. - The expanded edition presents alternates that are great to listen on their own, even when completely removed from an album program. Examples: The Matrix Reloaded, Blade Runner. This is just meant to illustrate the plethora of nuances that might exist when discussing the merits and shortcomings of expanded editions. There can be no general stance or answer that applies to all situations.

Orcs are the certainly the main point on people's itinerary when they accuse Tolkien of racism, due to a comment of his that they are akin to "the least-lovely Mongol-types." I think that pseudo-intellectual Lindsay Ellis made a point out of this, completely disregarding that Tolkien was a medievalist, and would have been referring to the murderous hordes of Genghis Khan from the 12th Century. One could hardly be called a racist for that.

Or 12.