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Looks like a mecha

Off the top of my head, there is this article, which reports that he lists Shostakovich as an influence, along with Prokofiev and Stravinsky: http://www.jwfan.com/?p=4551 In general, I think the Shostakovich influence on JW's music is far less pronounced than Prokofiev's. Even in places where it's quite Shostakovich-ian, like parts of the Battles of Yavin and Hoth, it often seems to be more of a case of Shostakovich-being-channeled-through-Walton than direct inspiration. (Indeed, that interview emphasizes how William Walton occupies a privileged place in Williams's mind.) Compare: Shostakovich Symphony No. 10, Scherzo -- overall the most "Williamsy" in his ouput: (This particular section is itself clearly indebted to the Rite of Spring...) Walton, "Battle in the Air" from Battle of Britain And Williams "Battle of Yavin" from ANH:

Due out in March 2021: https://www.facebook.com/CityLightConcerts/posts/1029199370903587

I think this is most likely the segment you’re thinking of: There’s also a little bit of ROTJ session footage in this profile, including a bit from what I believe is Olympic Sound Studios, where they briefly relocated when Abbey Road was unavailable: That would certainly be amazing, but I think the chance of additional footage from nearly 40-year-old news segments turning up is pretty much nil. I believe there’s a slightly higher chance there may be some additional footage somewhere from the JW documentary shot during the making of ESB since it was shot on film.

Nope there’s nothing else I know of in terms of soundtrack releases. I first discovered him 5 or 6 years ago because my oldest started watching these new Mickey cartoon shorts on YouTube and after a while I began to notice that the music was way above average for that kind of thing, to the point where I actually took note of his name from the credits. The culmination of his work on the Mickey shorts is this one, which is entirely 100% music with no SFX at all. It’s a masterful and very funny pastiche of Tchaikovsky and others.

Beautiful shots!

I think I might have taken this research a bit too far... only tracks that are "The Hunt" or "The [something] Hunt" or "The Hunt [for something/someone] (hopefully!). Not listened to it all yet, but the track from John Scott's Wicker Tree is terrific, as is the one from Twister... and Endelman's The Hunt for Murrel's Map from Tom and Huck is surprisingly fine, darker than expected. Surprising number of Buffalo Hunts...

This link here says 2-CD Set.

Just curious, but does the phrase "who ever lived" really add anything to the thread title? Are you distinguishing the category from other possible worlds or something?

Jay's brain software has merged with the forum's Deep Search (the search engine version that's not crap and not available for regular users), so believe him, Shark, he knows.

The Personal History of David Copperfield (2020)- Christopher Willis As someone who was touting the talents of Christopher Willis even before The Death of Stalin, it's very gratifying to hear him blossom into one of the best composers working in film today. It's an interesting approach to use the sound of American "post-minimalists" like Michael Torke and John Adams for a story of 19th century Britain, but he does so with aplomb! More JWFans need to check this out!

Here's my attempt at recreating the film edit: Chewy · Ripples (Film Edit Recreated)

Re: How familiar is JW with the greatest film composer who ever lived? With himself? Quite well, I suppose. Re: How familiar is JW with Shostakovich? Shostakovich was one of the Russian composers Williams has said a few times to have liked in his youth.

An argument can be made that Star Trek TMP is strongly operatic take ala Star Wars. Remember at the time, memorable and lushly orchestrated themes were novel. We had the Ilia/Leia themes, the bombastic main titles, etc. Of course TMP was more cerebral rather than swashbuckling but there is considerable stylistic overlap. Also, Goldsmith wasn't a particularly melodic composer and struggled making a memorable theme he was directed to do. It got to the point where he suggested to Robert Wise being the wrong composer for this type of score to do that JW thing which was significantly influenced by the lucrative success of SW. I sort of feel like Midnight Cowboy is a bit of the Sugarland Express. But generally, I would not consider them influenced off each other but rather cousins from a common ancestor. Sort of like apes and humans. Humans didn't evolve from apes but both came from the same common ancestor...cousins.

Excellent score. Talented composer. Needs more work!

I agree about the rap song. Not sure way they're going that direction. They did one of the KotM trailers with one as well, but to start off with it? Eh. I have no issue with rap, it just doesn't feel Godzilla to me. I really liked the Claire De Lune approach for KotM. I do hope no one here is legitimately disappointed, because this looks about what I'd expect given where things went in King of the Monsters. My thoughts: Looks very overly futuristic and sci-fi as expected. That being said the colors were quite beautiful, glad to see the King of the Monster human characters returning as well, the subplot with the girl and King Kong is kind of interesting (I thought they were doing something similar with MMB's character in KOTM but they did not), also as expected we see a glimpse of MechaGodzilla in the trailer. My guess: I mean...if you liked those, King of the Monsters is not really in the same ballpark to me personally. It's still fun, but takes place a few years after the events in '14 and therefore adds some...weird futuristic sci-fi elements so that humanity is more "prepared" to face these monsters. It's fun though, like I said. The human characters are better than '14, but not as good as Skull Island. Certainly feels even more like a popcorn flick. I'd recommend, because honestly, it's Godzilla. We all know what to expect. I'd still love something that takes it more seriously (the vibe of the '14 Comic-Con trailer), but these are certainly better than the '98 attempt.

Yes, that's in the Herrmann sampler from Gerhardt. That one is really great.

Burton's BATMAN is the favourite film, and Elfman's BATMAN RETURNS the favourite score of those. But poor BATMAN (1966) wasn't even worth a mention? The Hefti theme is a little hokey, but Riddle's score is actually great fun.

I am a little disappointed that their performance of Tomorrow from The Constant Nymph (performed at the end of the same concert as the clip posted above and sung by American mezzo soprano Kate Lindsey) has not yet made it to YouTube. It was magnificent, my highlight of the Proms season that year. John Wilson is certainly a great interpreter of Korngold's music. I have also seen him conduct the likes of Kings Row with the BBC Symphony Orchestra and even Escape Me Never with the London Philharmonic Orchestra. And before you ask: no, I didn't touch him.

Ah, right. Whole thing seems a mess in the film anyway It's close enough for me - that buildup is great.

It's clearly a 2 CD set, they put "ONE" in giant letters on the first disc and disc 2 will probably say "TWO" on it Looking forward to getting a track list!

I read a biography of Shostakovich where it said fifty scores for film were composed by him. Perhaps I should have said that he was the greatest composer to ever pen a film score. Personally I consider him the greatest composer of the 20th century. So much of his writing is to be found in JW - the running woodwind octaves, the menacing low string octaves, the scherzos etc

The Happening - James Newton Howard I would say, this score is quite underrated, since it is not so spectacular like The Village or Signs and I think, the movie is pretty bad. Haven't seen it, but the score is really a joyful musical experience. I think, I like it better than Lady in the Water.

Welcome back in Canada my dear, I hope you'll stay longer this time!

@Naïve Old Fart can’t even remember his breakfast!

My Jazz Beginnings arrived from Amazon yesterday, along with Orville Season 2, Forces of Nature, Freaky, Tremors, and X-Files Volume 4 from LLL

It isn't, I misread (Propsero/Presto).

Probably it will be as usual two CDs filled with the common popular stuff and just one particular rarity. Like the Dudamel recording contained just the Adagio from Force Awakens or the Vienna recording the violin arrangement of The Witches of Eastwick. I find this quite annoying. But maybe this recording doesn't contain any film music?

Correct. I downloaded both videos from YT the nanosecond I realised what they were.

Watched the opening ten minutes of Uncut Gems and turned it off. I didn't fancy Adam Sandler's Al Pachino or gaudy vaporwave soundtracking for 2hrs.

Orange Tree Samples have produced a wide range of different guitar libraries: https://www.orangetreesamples.com/products Ample Sound too: https://www.amplesound.net/en/index.asp

Here is a nice live performance of the overture from the BBC Proms in 2019 by the John Wilson Orchestra.

It's a plague. First Thor, then Gruesome Son of a Bitch, The Big Man, publicist....Bruce Marshall...and now you @Jurassic Shark? This Thorid-19 is getting out of control! Karol

Dunno.

And the general stiffness of the face, where one part like the mouth may move but the rest doesn't move with it.

Listened to 22 tracks titled 'The Hunt.' The Williams seems to be overrated? I voted for Lady Jane, followed by PotA.

I've been thinking about maybe getting the BSX release just for that! The LLL is waaay to long for me.

I really enjoy that recording too, the sound is fairly warm given how stark the music is, especially compared to the very dry Elfman version. Both are great in their own ways, certainly fine interpretations. Can't say I feel like I'm massively missing out not having the original tracks. On a semi-related note, really enjoying Quartet's superb Endless Night recording. I haven't actually read what the issues some people have with it, but coming to it knowing very little about it (never even heard of the film before it was announced), the performance and recording are very fine indeed. I don't think I'd quite class it as top tier Herrmann, but his lesser works are still worth hearing and better than 99% of everything else!

There's a "The Hunt" in Elfman's Planet of the Apes, too.

I love The Patriot! 1:00 - 2:00 is just some classic 90s style Williams action writing and then the final minute is so gorgeous. Classic track.

Jesus, the credits list is longer the entire tracklist of the album!

That makes three of you at least, good luck!

Some Small covers fro Giacchino's best compostion in my opinion !

One of the biggest changes has to do with the violins. In the earliest takes from '77 (and in the suite published that year), when the A theme returns toward the end at bar 38 (0:48), the 1st violins play the upper octave; the 2nd violins play divisi, half doubling the 1st violins and half playing an octave lower. (This is the same way it's voiced throughout this reprise of the A theme.) Then, starting in the third take of this cue (i.e., take 18), a change was made: all the violins were collapsed down to the lower octave, i.e. one octave above the horns, for the first phrase. Things then return to normal for the second phrase, at the pickup to bar 46 (0:57). The remaining takes were kept that way too, and that's what you hear in the film and album. By the time we get to ESB, this change had been scrapped, leaving some of violins on the upper octave as originally written, and that's how all the versions for later films were recorded too. Regardless, all the ANH takes have a much more legato sound for the violins throughout the reprise of the A theme, contrasting with the marcato horns; after ANH, the violins generally play those notes in a more detached way that matches the horns. The other big thing that distinguishes the ANH performance is the fact that the snare drum part is largely inaudible, so most of the percussion is really driven by the timpani. All later recordings feature the snare drum more prominently, especially after the OT, with the timpani merely providing very noticeable support. Hmmm...oh, also, the trumpets have a short countermelody from bars 24-27 (about 0:33-0:36 in the ESB recording) that's not heard in ANH. And if you listen to the earliest ANH takes, there's obviously the unused pickup at the beginning, and the woodwinds play staccato during the B theme instead of legato (0:27-0:36). They're a lot more noticeable too - not sure if that was a change to the performance or the mixing. I'm probably missing some stuff, but that should be a good start. Eat your heart out, Thor! EDIT: Timestamps added per @Jay's request.

You guys are talking about this album when you talk about a 1996 recording right? That reminds me I need to listen to it again. I think I've only heard it once!

YES.

Williams putting together the OST for The Rise of Skywalker after all the edits to the score by JJ and co.

I'm not sure using a VPN counts as "clever" any more! Watching the John Wilson concert this morning, it's lovely.