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I've seen a lot of people wishing that the old themes had been used more and then others saying that they were used quite frequently because the themes appeared in multiple moments, are present in cues X,Y,Z etc. I think what most people who wished for more usage of the old themes are saying is that they wish the themes had been more present and more involved in the musical fabric of the film. People of course may have different interpretations of how that is achieved. For me at least, that means that, for one, themes aren't just reprised briefly and verbatim and then discarded with for the rest of the cue. Yes, it's nice that Horner's theme is in there. It's neat that Elfman's Spidey and Responsibility themes are used. But if you quote them more or less directly in these very isolated ways, there's not much impact to really be had from them. Doc Ock's theme is in there, Goblin's theme is in there, but usually in these very brief statements that never fully state the theme and that never really feel like their power is fully-harnessed (the bridge fight with Ock being a bit of an exception IMO). It feels very surface-level. They're in there, they exist within the music of the film, but they don't really feel like they're woven into the score. And if you're gonna go to the trouble of having them back, why use them hardly at all? That's not to say there aren't cool variations of old themes, sure. But, I think something that goes a long ways is to have those themes actually interact with one another, not just exist in these standalone snippets. Young did this superbly in the climactic end fight of Spider-Man 3, even despite quite a few in-film edits that hack at the score. You have Sandman's theme building and then falling to make way for Spidey's theme before being interrupted by Venom's theme which transitions back to Sandman's theme into New Goblin's theme, etc. Themes play individually, sometimes together, but always in powerful and memorable ways that ebb and flow with a musical momentum that is mirrored on-screen, in addition to appearing based on who currently has the upper hand. The musical themes are an active part of the film and are working supplemental to the visuals to heighten the emotional response. They do not just appear briefly for a few seconds for mostly inconsequential impact. Some have argued that the final fight in NWH is edited in such a way that to do something similar musically for the climax would have been very messy, and I really don't think that's the case. The film if anything presents itself in a way to make such an approach easier, with villains kinda awkwardly being introduced one-by-one and never once being featured all at together. And, honestly, how great would it have been to have had all 3 Spidey themes weaving (webbing?) in and out of one another during the final fight? It's not impossible, it just takes effort and is admittedly harder. It's made all the more upsetting when Giacchino actually does this really well earlier in the film during the Strange/Spidey altercation. None of this is meant to come across as entitlement. It's Giacchino's score, he can do what he wants. He doesn't owe us anything. I think his heart was ultimately in the right place. He didn't have to bring back any of these themes, but it was cool he did and I'm happy for it. I'm more just trying to explain I think why people are disappointed with the usage of older themes from my own perspective. I also agree with the idea that, as this is Holland's film, his theme should, whether you like it or not, be front and center. But when you choose to beat us over the head with it in almost every major moment of potentially emotional consequence in the final act... ...It starts to lose its effectiveness. It becomes a Force theme/Last Jedi situation. You hear it so much that it doesn't really mean anything. And ideally a good theme allows you to forge this emotional connection to what it is the theme is representing, a connection that becomes undermined when it starts to be used for things the theme isn't meant to really represent on-screen.

Happy Christmas to ever single one of you (and also all the members not on here anymorefor various reasons). And happy holiday to your loved ones. 😊 Karol

Spent my Christmas morning drive listening to the complete Hoosiers! 🎄 🇺🇸

Harry's Wondrous World has to be the best example ever of how to spread themes and motifs around an Orchestra's instrument groups. I mean my god it's just one after the other of Williams giving every damn instrument group a solo workout to display the theme. Unbelievable.

Beck and company did an excellent job with this series, and he’s proving himself to be the best person out there at connecting other people’s themes.

Frohe Weihnachten!

Merry Christmas, ya filthy animals!

That’s a “Chirstmas Karol” if there ever was one! same to you and everyone too!

Coming December 23 at The Legacy of John Williams, an exclusive video event with the great Los Angeles studio musicians reuniting for the first time in years to celebrate John Williams. https://thelegacyofjohnwilliams.com/2021/12/16/announcing-la-studio-legends/ This is going to be very special. I hope you will tune in to watch this

For me, it's not only the overuse, but that I actually dislike Gia's Spider-Man theme. Of course Goblin's theme appears the most, he's the only villain here brought to do something. Well I guess the others are discovering about the death thing to motivate the plot. It's a pity they don't have Doc Ock surprised at the name "Dr Connors" lol

Silvestri writes (or sometimes writes) incredibly complex orchestral music, while Horner was absolutely unmatched at sheer emotion - so I put Silvestri for the first and Horner for the second.

Nollaig Chridheil, @Bespin.

Joyeux Noël les amis!

Happy Christmas everyone

It's a magical miracle. Will watch HA2 tomorrow. Keep the change, you filthy animal. Uncle Frank is great. PICK UP!

Merry Christmas to you Karol and to everyone celebrating today

We're doing a live commentary of the Rarities. TORN gets a little overzealous with their promos. I'll try to clarify on social media after holiday madness passes.

I'm taking a stand. Capaldi has the best Christmas specials. (Please bring back Christmas, RTD.)

I don't agree with all of it. But that was a really thoughtful post. @Cerebral Cortexthanks!

Last minute arrivals: Happy Christmas to me! Karol

Thanks everyone for the nice words! Consider it our Christmas gift to the fans FYI, the event will premiere Dec 23 at 8PM GMT / 3PM EST / 12PM PST at this link (and also mirrored on the Legacy of JW website). Of course it will remain available at any moment at the same link right after the premiere. Tim and I will be available in the live chat during the broadcast. We hope you will join us!

1968 - Heidi My Google Doc 1969 - The Reivers JWFan thread discussing the complete cue list 1969 - Goodbye, Mr. Chips Mike Matessino text interview by Neil Bulk on the FSM Edition, March 2006 (1) Mike Matessino text interview by Neil Bulk on the FSM Edition, March 2006 (2) 1972 - The Cowboys Score Restore videos by Holko 1972 - The Poseidon Adventure Mike Matessino audio interview by Maurizio Cashetto and Tim Burden on the La-La Land edition, December 2019 1974 - The Sugarland Express My Google Doc 1974 - Earthquake Mike Matessino audio interview by Maurizio Cashetto and Tim Burden on the La-La Land edition, December 2019 1974 - The Towering Inferno My Google Doc Mike Matessino audio interview by Maurizio Cashetto and Tim Burden on the La-La Land edition, December 2019 1975 - Jaws My Google Doc Tim Burden and John Takis discuss Jaws (July, 2012) Mike Matessino text interview by me on the 40th Anniversary Intrada Edition, November 2015 JWFan thread discussing the complete cue list Music synced to picture by Disco Stu 1977 - Star Wars My Google Doc Unused music restored to picture by Faleel 1977 - Close Encounters of the Third Kind My Google Doc Mike Matessino text interview by me, November 2017 (includes brief Close Encounters discussion) Mike Matessino audio interview by Tim Burden for Cinematic Sound Radio on the 40th Anniversary La-La Land Edition, February 2018 Music synced to picture by Disco Stu 1978 - The Fury Tim Burden and John Takis discuss The Fury (March 2013) 1978 - Jaws 2 My Google Doc Mike Matessino text interview by me on the Intrada Expanded Edition, November 2015 1978 - Superman: The Movie My Google Doc Mike Matessino text interview by Neil Bulk on the FSM Blue Box, March 2008 Mike Matessino audio interview by Soundcheck, June 2013 Mike Matessino audio interview by Tim Burden for Cinematic Sound Radio, February 2018 (Includes brief Superman discussion) Mike Matessino audio interview by Maurizio Caschetto and Tim Burden on the 40th Anniversary La-La Land edition, February 2019 (part 1) Mike Matessino audio interview by Maurizio Caschetto and Tim Burden on the 40th Anniversary La-La Land edition, February 2019 (part 2) Mike Matessino text interview by Todd Gilchrist for Nerdist, June 2019 Score Restore videos by Faleel 1979 - Dracula My Google Doc Mike Matessino audio interview by Tim Burden on the Varese Deluxe Edition, November 2018 Score restore videos by Holko 1979 - 1941 My Google Doc Mike Matessino text interview by me on the 2011 La-La Land Expanded Edition, September 2011 1980 - The Empire Strikes Back JWFan thread discussing the complete cue list Unused music restored to picture by Faleel 1981 - Raiders of the Lost Ark A VERY OLD Google Doc Unused music restored to picture by Faleel 1982 - E.T. The Extra-Terrestrial My Google Doc Mike Matessino text interview by me on the 35th Anniversary Edition by La-la Land Records, November 2017 Mike Matessino audio interview by Tim Burden for Cinematic Sound Radio on the 35th Anniversary Edition by La-la Land Records, February 2018 Music synced to picture by Disco Stu 1983 - Return of the Jedi My Google Doc Unused music restored to picture by Faleel 1984 - Indiana Jones and the Temple of Doom A VERY OLD Google Doc Unused music restored to picture by Faleel 1984 - The River My Google Doc Audio Interview by Maurizio Caschetto and Tim Burden, May 2020 Score restore videos by Disco Stu 1986 - SpaceCamp My Google Doc 1987 - Empire of the Sun My Google Doc Mike Matessino JWFan article on the 2014 La-La Land Records Expanded Edition (1) Mike Matessino JWFan article on the 2014 La-La Land Records Expanded Edition (2) Mike Matessino audio interview by Tim Burden, June 2014 Score restore videos by Holko 1989 - Indiana Jones and the Last Crusade My Google Doc 1989 - Always My Google Doc 1989 - Born on the Fourth of July My Google Doc 1990 - Stanley & Iris My Google Doc Mike Matessino text interview by me on the 2017 Varese Deluxe Edition, November 2017 1990 - Home Alone Mike Matessino text interview by me on the 2015 25th Anniversary Edition by La-La Land Records, November 2015 Score Restore videos by Holko 1991 - Hook Didier C. Deutsch text interview by me on the 2012 La-La Land Records Expanded Edition, March 2012 Didier C. Deutsch text interview by Olivier Soude on the 2012 La-La Land Records Expanded Edition, March 2012 Tim Burden interviews MV Gerhard and Matt Verboys on the LLL edition (March 2012) JWFan thread discussing the complete cue list 1991 - JFK My Google Doc 1992 - Far and Away My Google Doc Audio Interview by Maurizio Caschetto and Tim Burden, May 2020 1992 - Home Alone 2: Lost In New York My Google Doc Mike Matessino text interview by 'Kevin McCallister' on the Varese Deluxe Edition, February 2003 Score Restore videos by Holko 1993 - Jurassic Park My Google Doc Mike Matessino audio interview by The Jurassic Park Podcast on the 2016 La-La Land Records Expanded Edition, December 2016 Mike Matessino text interview by me on the 2016 La-La Land Records Expanded Edition, November 2017 Music synced to picture by Mr. Breathmask JWFan thread discussing the complete cue list 1993 - Schindler's List My Google Doc 1995 - Sabrina My Google Doc 1997 - Rosewood My Google Doc 1997 - The Lost World: Jurassic Park My Google Doc Mike Matessino text interview by me on the 2016 La-La Land Expanded Edition, November 2017 Music restored to picture by Mr. Breathmask JWFan thread discussing the complete cue list Mike Matessino and me on the Legacy of John Williams for the 2023 reissue 1997 - Amistad My Google Doc Mike Matessino and me on the Legacy of John Williams for the 2022 expansion 2001 - A.I. Artificial Intelligence My Google Doc Mike Matessino text interview by me on the 2015 La-La Land Records Expanded Edition, June 2015 Score Restore videos by Holko 2001 - Harry Potter and the Sorcerer's Stone My Google Doc Mike Matessino audio interview by Tim Burden on on the La-La Land edition, November 2018 Score restore videos by Holko 2002 - Attack of the Clones My Google Doc 2002 - Minority Report My Google Doc Score restore videos by Chewy 2002 - Harry Potter and the Chamber of Secrets My Google Doc Mike Matessino audio interview by Tim Burden on on the La-La Land edition, December 2018 Score restore videos by Holko 2004 - Harry Potter and the Prisoner Of Azkaban My Google Doc Mike Matessino audio interview by Tim Burden on on the La-La Land edition, December 2018 Score restore videos by ragoz350 2004 - The Terminal My Google Doc 2005 - War of the Worlds My Google Doc 2005 - Memoirs of a Geisha My Google Doc 2008 - Indiana Jones and the Kingdom of the Crystal Skull My Google Doc 2011 - War Horse My Google Doc 2012 - Lincoln My Google Doc 2013 - The Book Thief My Google Doc 2015 - Star Wars: The Force Awakens My Google Doc 2017 - The Post My Google Doc Score restore videos by Disco Stu 2019 - Star Wars: The Rise of Skywalker My Google Doc 2022 - The Fabelmans My Google Doc 2023 - Indiana Jones and the Dial of Destiny My Google Doc Miscellanea Future Proofing The Music of John Williams - Tim Burden interviews Mike Matessino (June 2018) Producing Soundtrack Albums: an Interview with Mike Matessino (part I) - David Collins interviews Mike Matessino (November 2018) Producing Soundtrack Albums: an Interview with Mike Matessino (part II) - David Collins interviews Mike Matessino (December 2018)

Hawkeye 1x02 Hide and Seek I liked it! The Tracksuit Mafia is a really silly name for the bad guys. Is this a name from the comics or something they made up for the show? The excursion Clint had into the LARPer thing was kind of weird, felt like padding they'd add for a story they're telling via Disney+ series that they'd never do in a movie. I liked much more the scene where Kate tried to prove Jack is hiding something by fencing with him, though I thought the reveal that he had a butterscotch from his uncle's place was sort of strangely executed. I feel bad when these shows/movies do stories about people missing Christmas with their families to do superhero things so it's a bit of a strange angle they're taking with Clint doing that. Though I liked it when he let himself get captured to find out more, and how Kate figured out where he was and literally dropped in on them to end the episode!

Haven't posted since mid of June, so here's me catching up: Big Music Box order from June. Music Box from August. Music Box from October. Bits of various Amazon orders. The Rattle Carmina Burana came highly recommended, but I'm mostly not a fan. It's often too vulgar for me (even for that work). Gerharher is a great singer, with a voice not so different from Fischer-Dieskau's, but again he often takes exceedingly vulgar turns in his pieces. The acoustics are not ideal either - the choral parts are hard to separate from the whole most of the time. Curiously, this is always described as very percussive and super fast. It's certainly percussive (though overly so, I'm not sure - at times it's just the recording where the percussion manages to stand out while the rest becomes a bit of a blur), and it's overall a whole three minutes slower than the Jochum version I grew up on (and which I still don't think of as particularly fast). Assorted other bits. Lionheart came from Varese as a separate package from the last order I posted in June (with some customs troubles because of mislabelling that were well and very quickly handled by Varese's support). Home Alone 2 is Chris Afonso's spare copy which he kindly gave to me after I kept saying the old Varese DE is good enough for me before I reconsidered and failed to get the LLL before it went OOP. The Debussy/Ravel I picked up in Berlin, and the Kraemer I won from Jay for my JWFan donation - verdict: I agree with Jay and Shark that the main and end titles are the highlights. The rest is always competent underscore, but doesn't leave too much of an impression, probably because it doesn't sound like it stands out all that much in the film (which might be due to the film or the director's wishes). All the way through, it reminds me of Williams, particularly Jurassic Park - although the main and end titles sound rather a bit like The Post to me (which was written later!) Christmas presents. I'm only just beginning to make my way through the Huppertz. The Popov I had on my wish list for the 1st symphony, but the chamber symphony is also a fine discovery and seems to remind me of Williams's concert works at times (and there's a section that sounds quite a bit like The Conversation).

That's become a borderline cliche, honestly. I'm mildly dreading how Jurassic World: Dominion will approach Grant/Saddler/Malcolm. I have a sneaking suspicion Mangold will avoid that and just treat the character the same way Spielberg did, potentially with a Skyfall/Wrath of Khan-esque subplot about ageism and Indy being 'past his prime.' At the very least, it seems he's maintaining the comedic edge of previous films.

Congratulations on this video @TownerFan and @mahler3, made for excellent Christmas Eve viewing! So many details to unpack, but two stand out. Firstly, I had no idea Williams' The Reivers was a replacement score (for Lalo Schifrin of all composers!) Secondly, that Williams never instructs his flutists on how to perform their solos (but, amusingly, is more than happy to demonstrate piano solos to his pianists ). Love that you're talking with Gloria Cheng and Randy Kerber, it would be amazing to get some perspective from the "current" generation of musicians whose collabs with JW are ongoing (and hopefully upcoming with Indy 5 and Fabelmans sessions!)

Personally I submit all of my posts and comments via carrier pigeon.

I knew i should have watched no time to die already…. damn

Jessica suspects, at least in Lynch's version, she does: "He's holding something back, yet there's the Imperial conditioning, assurance of trust". Later Thufir says: "There are more enemy bodies coming in for your inspection, Dr. Yueh...are you alright?"

Miracle of Miracles The first 0:22 of D3 is the building, grand and joyous film version intro, replacing the first 7 seconds of the simpler album version which both D1 and D2 have. The small instrumental rest between verses is smaller and on D3, less brass and only one figure then holding until the end instead of two figures and big brass like on D1 and D2. D1 and D3 have the album version ending, D2 has the longer revised film version. Tevye's Dream D1 has the album version dialogue intro with less talk and more clean music, D2 has the film version with more talk, they're different until "Even your great-uncle Mordecai was there". During the Fruma Sarah segment, some screams are more musical on D1, more screamy on D2, some Tevye/Golde screams are included on D2 too. On D2 the ending loop until the final note is unedited, on D1 it's edited down to be shorter. Wedding Procession Two different takes. D3 one is longer and has longer form development, D1 hits transitional points quicker. D1 has punchier percussion and Stern joining in, making it feel overall bigger. Sunrise, Sunset The first very different one! D3 has a lot of different vocal takes than D1 and D2, including solo lines, mixed vs female choir, Tevye joining in prominently with the choir or not. D1 and D2 also have an overlay of Stern joining in with a new string line - parts of it are dialed out on D1 but are present all the way on D2. Wedding Celebration and The Bottle Dance D1 has various on-set lines and crowd noises all the way through, D2 has none. I have to admit that some of the singing along does add to the mood but would feel out of place without the other crowd sounds. Any Day Now D2 has minor additional dialogue in front that D3 doesn't have. D3 seems to run faster this time but different timings and pause lengths make that comparison more difficult. D3 has choir come in later, D2 only has the solo voice. Do You Love Me? D1 has dialogue over the intro, D2 has it clean, otherwise they're the same. D3 is completely different: different vocal take, different more subdued music, hell, I think it's in a different key! Far From the Home I Love D1/D2 same case as above: D1 has dialogue over the intro and outro, D2 doesn't. D3 is different again: different vocals, different key, different music with for example more prominent balalaika. Chava Ballet Sequence D2 has an additional orchestral overlay of warm shimmery strings and twinkly harp and glockenspiel. The Rejection Scene D1 has dialogue all the way through, D2 does not. Anatevka D1 starts with album dialogue, D2 instrumentally then with the film version of some lines. D1 has dialogue at the end, D2 does not. D2 has more of Stern. D1 has more dramatic voices, D2 has more subdued voices. D3 has some slightly different vocals in the beginning, more subdued orchestra, D2's more subdued vocals, and it's missing a chorus at the end. Finale D2 includes the initial sounds of the fiddler which makes Tevye look back and invite him along, and his final sounds are slightly different.

Here's the youtube link to vol.2

The Yorktown Theme

Wow I don't think that's the universal opinion on his Trek scores. I love the third score, and he was clearly inspired enough to come up with the best theme of the trilogy for it!

I was once recommended this because it contained my beloved "religious sound". Well, it only sorta does. It's not the pastoral sweep, but rather the indigenous stuff that Danna always does so well. So I've rather come to appreciate it for what it is. A different kind of Christmas score. "Veni, Veni, Emanuel" is gorgeous.

Who knows, maybe something like that was recorded, and Watts asked for a rewrite. For any film, you can't blame what isn't used solely on the composer, the creation of a film score is a collaborative process

Pity the Horner and Elfman Spiderman themes are featured so briefly. Did Gia miss a trick by not featuring them prominently? I mean imagine full blast orchestral renditions of the 3 Spiderman themes (Hornder, Elfman, Gia) one to the other, one to the other, during the entire final section when the 3 Spiderman team up. I mean wouldn't that be grand.

Wow, Beck used Yelena's theme a lot in episode 5. I think of all the composers in the MCU, Beck is maybe the best in using themes from other composers. They're very subtle mostly, but they always make an impact. - Ant-Man: Silvestri's Avengers & Jackman's Falcon Theme - WandaVision: Giacchino's Doctor Strange - Hawkeye: Balfe's Yelena I think it's great that the MCU does this more often.

Don't forget when he put this out too, of the new cast: I can't help but laugh the whole time waiting for this. I'm having flashbacks to when the first Avatar photo was released and it looked like nothing. I feel like he's bound to disappoint at some point with all these but so far he's 2 for 2 with people just making fun of him until he laughs all the way to the bank. Not that Avatar 2 isn't a guaranteed hit, anyway, and I know Avatar's long-term legacy already isn't anywhere close to Titanic despite the box-office receipts, so in that sense he didn't repeat. I just feel like Jim is a crazyman and it's like he puts out these lame promos on purpose. Like he wants that bar low so people's heads explode. Or maybe it really does look exactly like that and somehow in the film it hypnotizes you into thinking it's revolutionary. Because he's a voodoo witch doctor. Or maybe it'll be a toilet movie that flops. I feel idiotic predicting anything either way. James Cameron does what James Cameron does because James Cameron is James Cameron.

Black Adam looks like it could be an exciting new gig for James Newton Howard. He is not currently involved but since the director worked with him on Jungle Cruise this year (last year?), there could be a chance!

The final Jurassic film should really end with a mosquito sucking blood from a human, then landing on the branch of a tree and getting stuck in the tree sap. Cut to end credits. Brings the whole series full circle.

Ok, Attack of the Clones... I only recently realized that the cue 6M5 "Padme Falls" (the end of track "Love Pledge and the Arena") has 3 versions at once, since 2 inserts with a Force theme were written for it (it seems, with the exception of Across the Stars, this is the only case in the prequel trilogy). I tried to figure them out... In the first version (original, without inserts) there is one more rendition of Love theme (during the dialogue between Anakin and Obi-Wan), and then a sudden "chorale" with a funny counterpoint of trumpets and oboes/clarinets, which underscores the dialogue between Yoda and the commander: A sync video of my mockup, although I'm not sure the dialogue hasn't been re-filmed since JW wrote the score... The first insert (used in OST) includes new renditions of the Force theme. It is the same length as the original piece. And the second insert (sounds in the film, borrowed from @Manakin Skywalker) is actually an extended version of the previous insert (the first rendition with a different orchestration and increased length, also the last bar of insert is played twice). It is noteworthy that the increased length was still not enough for the final cut, so the previous fragment in the film is slightly looped (in this video I still cut the shots)...

This performance comes to mind

When I saw the poster of Alien outside the theatre I thought I was going to see a tense actioner in space. I never expected 'horror'. Back then, Sci-fi to me meant 'adventures in space'. When John Hurt's stomach exploded I was in shock. That's how ambiguous the poster is, folks.

Some people just don't understand how brilliant it is.

My favorite movie poster of 2017:

And 10 years later I bump this thread.. (pity it was not active). lately I follow a site (http://411posters.com/category/movie-posters/ ) which mentions upcoming movie poster releases (mostly of old films I think) and this may interest some. If I had the budget I'd buy it! https://bottleneckgallery.com/collections/frontpage/products/gabz-indiana-jones-trilogy-timed-edition

I'm not mad keen on the film, but I've always loved this poster: