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For those who missed it, I recorded it: Chewy · Always End Credits (ClassicFM)

Just wanted to chime in with my two cents on this score. A number of years ago, a couple of JWFanners and I had a crack at analyzing this score to see how Williams worked atonally. What was interesting to me was that there wasn't any particular "system" he adhered to in the cues. In other words, it wasn't 12-tone music for example, where you take the 12 notes of the chromatic scale, put them in a certain order and use that as your main material. It also wasn't based primarily on any kinds of scales, like octatonic for example. Instead, it seemed to use small chords of 3 or 4 notes as the basis of most cues, and have those chords be of the same or a very similar kind as one another. I mention this because, although the score is in its harmonies vastly different from what Williams usually writes for film, the method really isn't different at all. Since I've been studying his action music, the name of the game there is variation. I've also studied and seen the same thing in his theme writing: variation is big there too. It's just interesting how you can take very different sounding musical styles and find that they were assembled using basically the same method of grouping together sounds that are mostly the same but slightly different. That's probably why Williams has never been 12-tone in his writing - it doesn't provide enough freedom to use different materials but insists on different forms of the same ones throughout.

The end credits is unreleased score But yes, you are correct, that description is like this... https://i.imgur.com/VnQ2CNW.mp4 https://imgur.com/VnQ2CNW

Julia Roberts played also in Stepmon Dustin Hoffman and Brad Pitt also played in Sleepers Anthony Hopkins played in Amistad Mel Gibson played the leading role in The River.

You all do notice that the question is specifically about the scores, not the films, right? I mean, I prefer Alien in both accounts.

🤔

Honey I Blew Up the Kid.

Oh, that's a tough one. Because I think Terminator 2 is greater in the sense that it is (1) in the same mode as the first film (an action film) and (2) represents a much greater quantum leap upon the previous entry.

So this end credits suite is very surprising. I've only heard fragments because I want to retain some surprise for the release proper, but it sounds totally different to the partially used verison in the film. Does this mean there's actually 2 versions of the end credits? One with Williams' arrangements of Smoke Gets In Your Eyes and another version with only Williams material? Fascinating! I'm a bit surprised by how many OST tracks Mike has reused for this release. The Return in particular, which begins with the cue for Pete's death, but is placed after Pete In Heaven on this assembly. The alternate album version of Old Timer's Shack in the main program, rather than the film version, being another.

Am I wrong to say that this is not a new recording nor a previously unreleased score? 🧐

In terms of the movies, its a trickier comparison because they're so different: one is a horror film, the other - an action flick. Cameron had (rather ingeniously) kind of covered his bases by making his sequel so different as to eschew comparisons.

I hadn't considered it, but since you suggest it, I'll mark it down as the next post!

These guys just announced that they're working on CD no.3: Spotlight on John Barry!

I wonder about it. I think that many people occasionally can listen to some soundtracks, but definitely are not diving deeper like us. With me it all started pretty randomly. Listened to main title of the Star Wars because I'm a SW nerd since my 6, and later got my hands on the Batman OST and loved it to the death even in the childhood. Later I've rediscovered SW soundtracks through the RCA 2CD's and also listened to the Ultimate Digital Collection pretty much countless amount of the times. The rest is the history. By the way, you are all so great, guys. I love this forum so much and I'm glad that I've found it, even though it wasn't that hard.

Easy enough to describe Jaws 2, with its slightly unusually two part end titles. The second half is easy enough, a fun concert style reworking of the catamaran sailing music (one of my favourite obscure William themes I’d say) but the first half is, I believe, an entirely new fanfare theme that isn’t derived from any other theme in the rest of the score. A nicely triumphant, if slightly OTT way to end, especially compared to the more wistful version of out to sea used as the basis for the original Jaws end credits. I wonder how the original Jaws would have ended if it had a modern, post Star Wars style 5 plus minutes of end credits. Hmmm…

Temple of Doom?

Can't vote because I haven't heard all the nominees. Nah, just kidding. Voted!

You have good taste

Shh, the general public wouldn't understand that.

That post needs updating!

Well, I know what I asked, but many people who respond apparently don't... Exactly. Apple and orange.

Thank you @Chewy! And wow that is a lovely piece with nice arrangements of Smoke Gets In Your Eyes. It almost feels like there are two distinct halves in the end credits, the first with Williams' music book ending one orchestral version of the Smoke Gets In Your Eyes that ends at 3:52 on the above recording and then the second part that opens with the piano rendition of the Smoke Gets In Your Eyes and ends with that lovely James Thatcher horn motif and ethereal "heaven music".

This is one of my favorite tracks of film music in a long while. It's gorgeous. Williams does more with the song melody than The Platters ever did. Great choice for the Classic FM preview!

Yes we're extremely niche

https://www.jwfan.com/forums/index.php?/topic/25312-actors-in-a-lot-of-films-by-the-same-composer/

...yes, that's what the thread is about. But it applies to the movies too.

Judging by what's written on the disc, the new release most likely has 21 tracks:

01 - Intimate Conversations 02 - Premonitions* 03 - Saying Goodbye 04 - Pete in Heaven 05 - The Return 06 - The Old Timer's Shack 07 - Follow Me 08 - Seeing Dorinda 09 - Ted's Heroics and Pete's Aura* 10 - 11 - 12 - 13 - 14 - 15 - 16 - The ? (Film Version) 17 - The Old Timer's Shack (Alternate)** 18 - 19 - The Rescue Operation () 20 - Among the Clouds () ? Just going by @crumbs' iso score video titles, descriptions and lengths, this is not a strict chrono program.

Starting now... https://www.classicfm.com/radio/shows-presenters/bill-turnbull/

Alien for Ridley Scott's attention to detail and eye for composition, but also, I'll take suspense over action any day. I think it requires more craft, and is therefore more fun to watch. Not that Cameron isn't a good filmmaker, they're just very different movies. Aliens is a great action film, it is a less great sequel to Alien. As for the scores, I'm not as familiar with Alien as I would like to be, but I just appreciate the space, for lack of a better term, Goldsmith gives in this score. Not as in "outer space" but in musical terms. He doesn't bash you over the head with the music all the time. I don't know if Aliens is the first score to feature Horner's signature repeated-snare-drum-pattern-as-suspense, but I think it's done better in Apollo 13.

First time I heard the Aliens score I was so impressed and excited about it. But unfortunately since I heard almost everything, themes and motives, from that score in various other scores of James Horner there is not much left, that makes the score special to me. Very different for Alien. Even though there is also some Alien in Star Trek, if I remember correctly.

Daisy Ridley

@LudwigDo you plan on publishing the analysis on the blog? I'm sure it would be a great read...

Just finished going through the 4K 7.1 Last Crusade rear channels, seems to be pretty similarly mixed as the previous 5.1 mix was, with some minor differences (I think), but the music sounds clearer if I am not mistaken. On to the sides! EDIT: Nothing really of note in the sides

Cloud Atlas is impressive just for the sheer scope and ambition of it all. I really enjoyed it when I saw it, but not sure how it would up over repeat viewings. It could kinda be described as a beautiful mess. The extended trailer is one of my favorite trailers ever, though. I still watch this from time to time; the editing is superb.

From Dusk 'till Dawn has entered the room.

He's really milking this!

SO! What are all the times this concerto will be performed live that we know about so far? Saturday, July 24, 2021 Tanglewood, Lenox, Massachusetts, USA paired w/ Jessie MONTGOMERY Starburst / COPLAND Quiet City / STRAVINSKY Suite from The Firebird Boston Symphony Orchestra conducted by John Williams Saturday, September 25, 2021 Morton H. Meyerson Symphony Center, Dallas, Texas, USA Dallas Symphony Orchestra conducted by Fabio Luisi Thursday, September 30, 2021 Symphony Hall, Boston, Massachusetts, USA paired w/ BEETHOVEN Overture, The Consecration of the House / BARTÓK Concerto for Orchestra Boston Symphony Orchestra conducted by John Williams Saturday, October 2, 2021 Symphony Hall, Boston, Massachusetts, USA paired w/ BEETHOVEN Overture, The Consecration of the House / BARTÓK Concerto for Orchestra Boston Symphony Orchestra conducted by John Williams Thursday, April 21, 2022 Carnegie Hall, New York, New York, USA Philadelphia Orchestra conducted by John Williams Am I missing any?

This concerto is going to be performed more times in the next 10 months than several of his other ones combined. It is heartening to see Williams taking the classical world by storm.

Nah the Lord of the Rings is the One Ring!

A few key points:

Will it be a crossover with the Fast & Furious franchise? I'm already picturing Diesel and the family driving their cars into Pandora.

Hopefully featuring 100% more Radagast!

I like the score, to bad that it is so well hidden. However the show is to me clearly the best Marvel show so far. Great writing, great acting, great plot, great direction... in short GREAT!

Don't kink shame me! Karol

I never said "discovered", I said "one of Spielberg's greatest strengths is his eye for casting" which is absolutely true. Yes Drew Barrymore was great in ET but so was Henry Thomas. And the older kids. Ditto for Heather O'Rourke in Poltergiest. Jonathan Ke Quan in Indy 2. All the kids in The Goonies. Christian Bale in Empire of the Sun. River Phoenix in Indy 3. Charlie Korsmo in Hook. Joseph Mazzello and Ariana Richards in Jurassic Park. Etc. As for adults, how about John Malkovich in Empire of the Sun, Liam Neeson and Ralph Fiennes in Schindler's List, Vince Vaughn in The Lost World, Matthew McConaughey, Djimon Hounsou and Chiwetel Ejiofor in Amistad, Matt Damon, Vin Diesel, and Giovanni Ribisi in Saving Private Ryan, Amy Adams in Catch Me If You Can, Diego Luna and Zoe Saldana in The Terminal, Daniel Craig in Munich, Tom Hiddleston and Benedict Cumberbatch in War Horse - all cast by Spielberg before they were big stars.

Oh man, when out of nowhere you suddenly recall long forgotten pieces from your childhood... and they're just as good or even better than you remember!

Me too. HP1 works wonderfully in complete form, as long as you're in the right mindset to experience it.

Richard Dreyfus was fantastic in Jaws, Close Encounters, What About Bob.... Something about his performance in Always rubbed me the wrong way. But maybe if I watch it again I'll have a different opinion. Brad Johnson though... Yea. Squandered opportunity is a good descriptor. Marg Helgenberger was cute too, even though her character was one-note. Audrey Hepburn was also kinda weird in this movie. Admittedly, I've only seen her in Breakfast at Tiffany's and this... But she was great in that and weird in this IMO