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Have no fear!

What about all the gorgeous piano writing in the final cues of War Horse, Lincoln, Book Thief and The Post? Piano seems to be JW's go-to instrument for closing scores now.

Looks like a certain somebody was at Sony this week...

Dobby the House Elf is such a great piece! The music captures perfectly Dobby's nervousness and hesitancy. It has fun, dancing woodwinds and warm, low strings and everything in between. The main melody has a slight languid quality to it. It's a piece with a ton of personality. The orchestration is so bright, I imagine it would sound great live. What are your thoughts? What do you think of this secondary theme from the second Harry Potter film? https://youtu.be/t0Qn2HQUSQE

It's the Flintstones theme

And now there is a new John Williams score in the world

I think it is possible to enjoy all sorts of music for all sorts of reasons. There's no one who writes symphonic music like John Williams these days, no one disputes that. It's not even about talent, people are not being trained in the same wa or use same tools. It's just what it is. But it's also difficult to compare the popularity of Williams to someone like Zimmer as this is not necessarily the same type of crowd. I have no problem liking both, they have nothing in common so I get at least some variety. Giacchino is a good dramatist and, by all accounts, very good person to work with. And he clearly has interest in other filmmaking aspects so that makes him an ideal collaborator. It is not a surpise he's in demand. Can't we just be friends? Karol

I agree it’s a fantastic theme and a top-notch concert arrangement. We’re extraordinarily lucky that JW managed to produce three great concert arrangements with his much-abbreviated schedule for the second Harry Potter film! This one apparently drew the short straw, as it’s the only one of the three not to be used for the film’s end credits sequence. I can’t help but wonder if he devoted so much time to the theme for this character because he figures so much more in the books than he’d end up figuring in the films, since his appearances in this film are rather limited. However, Williams certainly makes the most of them, with variations on the theme that are by turns, charming, threatening, and almost regal.

Your comment is phoned in and uninspiring. I would also like to know how you've managed to reach so far up your own arse in order to pull the bullshit idea that he thinks he's the next Williams - a claim he would readily dismiss right off the bat (no Batman pun intended). I also find it amusing when people say (about any composer or musician) that they haven't written anything memorable when these composers and musicians are hired for this trait and are admired by millions of people for it. So, you might not hate Giacchino, but you certainly hate the idea of his success...

Geez, I must have activated the auto translation button on my phone by error, I can't read anything!

Who knows the exact music for the closing scene, but if this indeed is the final S/W collaboration, I cannot imagine a more fitting end than a reflective, bittersweet piano piece.

It's always been kind of an odd thing with Williams in the last decade where sometimes he seems 20 years younger and then sometimes you catch glimpses of him where he really looks or sounds his age. I remember my barber telling me years before Joan Rivers died, like mid-2000s, that she saw her at the airport and couldn't believe how feeble she was compared to how she was on TV. Very slow and needing assistance walking. As if when she would just casually stroll out on a talk show that was the one thing she could do all day. Williams undoubtedly has things going on at his age we're not aware of nor should we be, and I can't assume that when we see him at work on stage or in the studio that he's just like that all the time at home, or even once the cameras are off. I definitely feel like it's no joke whenever he splits up conducting duties. Not like we have to bite our nails over it but I don't think it's quite like "I feel fantastic but eh, better chill for a sec to be safe! Doctor orders, lame!" Having said that it's still amazing he can do it and obviously he's in pretty awesome shape for 90. But he's 90!

Hi @thx99 and others, I noticed some of the tracks have been posted on YouTube at

He sure looks a lot better than those professional photos taken last month.

It is funny how Spielberg/Lucas/Ford, etc. now look to be in the same age bracket as Williams. In the pictures from the 70s and early 80s, it looks like a full generation or more separates them.

Holy moly, Williams and Spielberg look like brothers in that pic. Williams looks incredible.

Perhaps he's become used to the real thing after conducting it in all those concerts.

Wow, he's already back from Vienna and was recording Fabelmans 3 days ago? This man is unbelievable!

Beans, bacon, Whiskey, and lard

Your little list contains my top-5 Barry scores, so... kudos, dude. I'd suggest YOU ONLY LIVE TWICE DIAMONDS ARE FOREVER RAISE THE TITANIC PLAYING BY HEART (another personal favourite) WALKABOUT THE DEEP THE LAST VALLEY

Chen makes a perfectly fair point. Leitmotifs are dynamic entities for people, places and phenomena, they're not just static calling cards for specific things.

And no OST release ?

Még a régi szép időkben amikor lehetett, a LLL és Intrada alacsony értékűnek jelölte a csomagokat hogy átcsússzanak a vám alatt. Így is ült rajta a posta egy hétig és maga a szállítás drága volt de 1-2 leárazáskor megérte.

It sounds a bit like music contracting back to where it came from, reminding the audience of its human (and pianistic) origin. Like the end of a home recital.

All three seasons of True Detective are worth watching. 1 is of course above and beyond, and is some of the best television of the 2010s period. 2 is mostly kinda just not great, but the acting is still good. It eventually gets somewhat interesting but isn't organized or paced well, feels rushed. And shares almost none of the feel and tone of 1 3 I liked a lot, goes back to some of what made 1 work like being set in the past and having multiple timelines as once. Not a legendary season of tv like 1 but still very good, with great acting and just extraordinarily good cinematography

No, he's just a conspiracy theory

It's, probably, the least of the trilogy, but it's still worth a watch. I agree... except for the bit about JS. Don't diss the Shark, dude; he's ok.

Has anyone ever actually *seen* William Ross?

Awright, benders? Having recently acquired the complete series box-set, at my local thrift store, I've been noshing my way through THE INBETWEENERS. It's crass, rude, stupid, juvenile, purile, and very, very funny! Sorted. Now...I'm off, to get me some clunge

JTW is a troll. Do not engage.

Just got back from seeing the film. The album is hard to listen to. But wow, does this work splendidly in the film. I had two rather music theory/analytical thoughts about the score. I’m not always a Giacchino fan. I can tell when he’s inspired and when he’s just dialing it in. And I’m not sure if this was inspiration or just luck, but I find it fascinating that the two heavily used motifs, the so called 4 note “theme” and the Ave Maria, hearken back to previous composers’ contributions. The four note theme is really just the tonic and submediant with an added rhythm. For instance D minor followed by Bb major. This is the same two chord foundation that defines Zimmer’s Nolan trilogy score. (As an aside, the climax of The Dark Knight is when we finally get the statement of the Bb chord as resolution. Zimmer toys with us all film long with false substitutions. It’s a very powerful musical tool.) Now, these two chords are even outlined in Elfman’s fanfare. The melody of that theme starts on tonic and rises up to the submediant before resolving back to a member of the tonic (D - e - f - Bb - A). So Giacchino’s 4 note theme is really just the foundation of Batman music, at its simplest and most relentless. That feels intentional. The Ave Maria connection is a little harder to explain. But there is a Zimmer melody played in the low strings which begins with (D - c# - d - e - F) that is eerily similar to the Ave Maria transposed to the minor key as we hear it in The Batman (D - c# - d - F). When Riddler hums Ave Maria, he adds in the very common slide note on “ri” of Maria. Add that slide note into the melody, and you get the exact same 5 note sequence as the Zimmer melody, just with a different rhythm. And that feels kinda like an accident that I’m just imagining and nobody else is ever going to come up with. But I like it just the same, and it was an instant connection when I heard the pre-release track. Like many of you, now I’m going to have to listen to the album again as a stand-alone experience and see about paring it down.

It's a lovely theme, I agree. It doesn't get talked about much. I know there's likely no real life correlation, but my brain always hears this: (I can't help it, but hey, Williams is an Anglophile of sorts.)

Anyone want to try and transcribe?

I think that, if in order to like the music of a composer he needs to be on JW-level, then you're just going to hear John Williams for the rest of your life. Nothing against it, of course, but there's a world out there of great composers both alive and dead that, although not on JW's level, still provide wonderful music.

I really love this score. It is somewhere between the Golden Age cartoon and something more Pixary. You get all the mickeymousing but it never really gets silly, if that makes sense? It's wonderfully recorded and performed as well. Karol

New video from McFarlane with snippet from a Joel McNeely score: https://www.instagram.com/p/CbQmdhVjmG1/

I would love that!

My opinion is only disrespective to those who love his work, because they get offended by any criticism. They jumped at The Ulyssessian and others who said that they disliked his score to The Batman. Yet they have a right to dislike it without others attacking them for it. I respect your taste if you like his work, but you should respect my right to dislike it. I'm not entering any fight, I'm defending myself against bullies. Stop attacking me and I don't have to defend myself.

Robert Downey Jr. gives the performance of his life, in that film. A magnificent turn.

And me in a white mask around 0:20 chatting

A Fistful Of Dollars - believe it or not my first time watching this ... the first of the classic spaghetti Western 'Dollars Trilogy' that made a star of Clint Eastwood and whose 'Man With No Name' character surely set the template for the gruff, bad-ass anti-heroes to follow. Fabulous stuff.

That's great news! I wanted to order HTTYD 1 + 2 a few days ago (from Italy) but the shipping cost for DHL was 85 USD, absolutely ridicolous, and the other options were even more expensive. I decided to wait, hoping for this to happen. So, I will just have to wait until May... I hope they will put in their store also all the scores by Goldsmith.

I like it a lot more than other, similar, playful "creature" type themes JW has written like the theme for the Jawas or Ewoks. Those are both playful and simple, both not has varied in the presentation of their main melody, nor as descriptive of the characters/creatures.

Wow Holko, great work there! Can't wait to read it after I see the movie Also, my copy arrived in today's mail!

Previous analysis for HTTYD1: Powell manages the great feat of following a great score up with a great sequel; his sound evolved, the score evolved, he wrote all new themes but also reprises every single old one at least once. New themes: [number of appearances] Lost and Found: 17 The main theme of this score delivering the emotional content in versatile ways – both sadness and happiness, big or small. Map of the World: 13 A romantic theme for the characters’ perception of the world growing, eventually used as a theme for Eret. Good Alpha: 9 A grand and regal theme depicting leadership. Power (Drago A): 9 A sinister melody appearing both as quiet scheming and loud villainy. Control (Drago B): 8 Violent stabs of 3-note figures mostly scoring Drago instructing his Alpha. Courtship (Stoick and Valka): 7 A new love theme born from the courting song. Valka: 5 A theme specific for Valka and her sanctuary. Hiccup the Chief: 5 A theme for Hiccup maturing. Unstable Ground: 4 A setting for strings, mostly sowing around the same note with little pitch variance but very dynamically breathing volume. Loss: 2 Appearing during and after Stoick’s funeral. Returning themes: Night Fury (Friendship Arpeggio): 12 Appearing as an ostinato or standalone statements, best known as Forbidden Friendship’s main or Test Drive’s underlying melody. Friendship: 10 Mostly standing for Hiccup and Toothless’ relationship, it can also be taken as the intro to… Flying: 11 The soaring melody for the pair’s joyous maneuvers and freedom. Winds of Change (Hiccup): 6 A gentle theme for Hiccup and the Dragon Riders, or changing minds in general. Viking Fun (Berk): 9 A fun theme for the island and its inhabitants. Viking Heroism + Sheep: 12 A heroic viking theme, the ending of which is converted twice into a lowkey choral setting for the island’s sheep. Dragons: 10 Originally a serpentine melody that eventually softened up as the vikings got to know and befriend dragons, now it appears in various settings. Love theme: 6 Still employed romantically for Hiccup and Astrid’s continuing relationship, but also appearing in a new setting on solo choir for Ruffnut’s many sudden crushes. briefly reprised themes: Fighting Dragons: 2 A small utility motif used in the final battle. Friendly Dragons: 2 A motif that’s not 100% friendly and gentle but illustrates the species getting to know and trust each other. Viking Warrior: 2 Another viking theme, less overtly heroic than the other. Viking Warrior 2 (Stoick): 3 And yet another one, related to Winds of Change, often playing together with it. Falling: 2 A setting and some melodies for the entire orchestra to use as they fit, for things briefly going wrong but about to go right. Fate: 1 A descending melody for Hiccup’s personality. Jig: 1 A fun dance tune originally used in the tail testing montage, See You Tomorrow. (1m1-INS) - Dragon Racing (Alternate Film Version) Quiet strings introduce a brass Friendship, then percussion introduces Viking Fun and Flying on winds, mirroring the first score’s film version opening closely. (1m1) - Dragon Racing (Original Opening Version) The same melodic content with faster tempo and Friendship on grand brass fanfares. All instrument groups quietly play around with Viking Fun until a lot of buildup explodes it in a grand string + later bagpipes version. We take a slight detour into an exploratory interlude: a unique pipe bridge then a reprise follow, then a pompous marching Winds of Change, a Night Fury on harp, Fate on strings and brass, the Jig on solo violin with a flute joining, then we rejoin the grand dragon race with its speedier tempo. Viking Heroism scores the Riders’ maneuvers, a quick quiet cut to solo choir scores their target sheep, Viking Fun and Heroism come back, the Love theme supports Astrid’s victory, and another Viking Fun puts a bow on this overture throwing us right back into the HTTYD sonic and thematic universe. (1m2s) - Where No One Goes We first see Hiccup and Toothless excitedly flying to Jónsi’s song supported by Powell’s orchestra, plucked instruments and madly sowing strings laying down a Night Fury base with Flying coming in soaring for the instrumental breaks. (1m3-4) - Together, We Map the World We jump right into the new material with Map of the World growing from solo instruments to full string section, then playing more on flute. A playful oboe Dragons accompany Toothless’ antics, then Map of the World returns over a base reminiscent of Forbidden Friendship’s glassy textures. Viking Fun on uncharacteristic quiet instruments and a fanfare end the track as Astrid arrives. (1m5) - Hiccup’s Gonna Be Chief (1m5) Their titular discussion introduces Hiccup the Chief, which fades away into a comfortable Night Fury in a setting similar to Where’s Hiccup passed around on woodwinds, the Love theme following it up on harp, winds and hardanger. As they notice smoke on the horizon, strings colden the atmosphere and Map of the World comes back on a solo horn. Grand choral orchestra plays as they rush to investigate, a Night Fury and some Map of the Worlds providing the climax for the village covered in a giant ice shard, turning into an action Night Fury and some of the unique action bits from Counter Attack as they are attacked and downed. (1m6) - Eret Educates Hiccup Unstable Ground is introduced as Eret the dragon-trapper tells Hiccup about Drago, but they soon decide to escape to a heroic Map of the World with a harp Night Fury coda. (2m7) - Drago’s Coming As Stoick hears the news, he orders Berk to close up and get ready, to a militarised Viking Fun, with a string Viking Warrior 2 interlude. (2m8) - Eret Has Visitors Hiccup and Astrid come back to the trapper village to more Map of the World, Hiccup the Chief comedically accompanying his surrender. (2m9) - Me Likey More Hiccup the Chief starts the cue until the Dragon-riders arrive to save them with Viking Warrior on various brass. until Ruffnut’s new Love Theme version interrupts it, a quick Winds of Change putting a stop to it. (2m10) - War is What He Wants As Stoick tells Hiccup about Drago in a flashback, we get our first Power on quiet clarinet, turning into a loud Control as he burns the meeting hall to the ground. A subdued Viking Heroism is followed by Hiccup the Chief, showing he still thinks he can change the villain’s mind. (2m11) - Hiccup and Toothless Attacked Unstable Ground accompanies Hiccup riding Toothless into the wild to think about things, but suddenly he’s attacked to partial Lost and Found segments, already indicating the identity of the masked rider. Toothless is abandoned alone sinking into the water to a quiet choir+accordion Lost and Found, until he’s also grabbed and taken to uncharacteristic Good Alpha variations, again not giving away the intent but secretly indicating it. (2m12) - Dragon’s Lair Hiccup charms the dragons and their leader with his tricks to Friendly Dragons, the opening of Viking Heroism, ending up on a still not fully major key Good Alpha. (2m13) - Should I Know You? Valka is introduced on choir as she reveals herself, then as we cut to Stoick and Gobber, we change to Viking Fun, the B and C phrases of Flying, a variation of Dragons as they find Hiccup’s helmet, then more Viking Fun. (2m14) - Valka’s Dragon Sanctuary Glorious complete renditions of Valka. (2m15-16) - Hiccup & Valka Bond Map of the World comes back as Hiccup’s worldview expands even more. Glassy textures lead to a second statement. Power on flute and choir briefly darkens the cue, then an appropriately darker Friendship leads to Friendly Dragons and a brief Viking Heroism as Hiccup explains how he met Toothless. (3m17-18) - Valka’s Flash - Good Alpha Dragons comes back in its original darker form but quickly turns to a light lullaby Lost and Found, which grows to a full blasting orchestra and choir for the tragic moment of Stoick and Hiccup losing Valka, closing with a solo piano. Good Alpha comes in to lift the spirits, finally in its grand form when we see, well, this nest’s Good Alpha. After brief flutes almost prefacing material from the third score, we get more Good Alpha on choir and strings. (3m19) - I Grew Facial Hair For You The Dragon Riders hang out, scored by a dejected Dragons, but once they decide to move and catch Eret to lead them to Drago, the Love Theme plays very motivatedly. (3m20) - Flying With Mother A gorgeous flying waltz of Lost and Found with pipes and choir, with a Map of the World interlude on harp and strings, and another on oboe and strings. (3m21) - Can We Start Over? Valka starts the cue, then a calm solo piano Friendship and Flying reminiscent of Where’s Hiccup leads to a similar Lost and Found plus a Valka on slow strings. (3m22) - Meet Drago A militaristic Power introduces the villain’s headquarters. Dragons briefly plays as the riders are captured, Power plays quietly again, but a Control statement kicks it back into full gear and it plays in full force on choir and strings as he asserts his dominance over their dragons. Control continues to play low in percussion and staggered strings, with some Winds of Change in a not quite heroic setting trying to overtake it. Viking Heroism attempts the same, but Control comes back heralding a big Power again as Drago decides to move against the Berkians. (3m25-26) - Stoick Finds Beauty Gentle Dragons variations score Toothless’ antics with little dragons, then Viking Warrior comes back for Stoick finding Hiccup. As he notices Valka, though, the tone shifts suddenly into quiet gentle amazement, a slow Valka variant giving way to Lost and Found on hardanger as they kiss. (3m27) - Get’ Em You Son of Eret The trapper decides to switch sides and rescue the Riders, Map of the World transforming to a swashbucklingly heroic fanfare for him. Viking Heroism gets a respectful string reading, then another twinkly Map of the World shows up in the ensuing buildup. (3m28s) - Courting Song Stoick and Valka sing „their” song, introducing Courtship. (4m29) - Courting Song Instrumental Light variations on Courtship. (4m30) - Battle of the Bewilderbeast In the biggest action cue of the score, we get a reprise of Over / Less Okay as a basis, filled with all kinds of new additions and little changes. We set off with a dramatic Good Alpha as the iceberg gets shot, marking the arrival of Drago’s army. The family and dragons decide quickly to pick up the fight, a motivated Dragons leading to a reprise of battle fanfares from Over/Less Okay, Control briefly interrupting as the dragons are trapped. Viking Heroism on brass heralds the Riders’ arrival, properly scored by Winds of Change and Viking Warrior 2. Ruffnut’s Love Theme plays again, then Fighting Dragons also returns to further call back to the first movie’s battle, until Night Fury + Friendship interrupts it when the family joins in too. After a dark Night Fury and more Fighting Dragons, Flying comes in and is interrupted by a fanfare and a grand Good Alpha. Now that all players are set up, Falling and Flying finally join again to give the good guys the upper hand. Drago isn’t all done yet, however, Power screams out on brass and a slower statement scores his Bad Alpha coming out of the water. When Stoick runs in to save Valka, Courtship plays as a fanfare, and another heroic setting of Dragons and Viking Heroism plays, Good Alpha also scoring the good alpha going to battle. Control is getting ready in the percussion as Viking Heroism plays again, but then it gets more and more intense, even victorious as the bad alpha triumphs. (4m31) - Hiccup Confronts Drago Courtship transforms into an action motif as Stoick goes to help Valka, Valka also joins in. A very lowkey Control scores Drago talking to Hiccup, then Power plays until Viking Heroism tries to take over. A variant of Control on bagpipes and percussion screams with a menacing low brass Dragons underneath as he hypnotises Toothless into attacking Hiccup, Night Fury taking over as he gets ready to shoot, a held string note being all that remains after Stoick sacrifices himself instead. (4m32) - Stoick Saves Hiccup A harmonium (?) + hardanger Lost and Found mourns for Stoick together with Map of the World on strings, with a Good Alpha variant playing as Drago’s army gathers and leaves for Berk. (4m33) - Off to Valhalla As Stoick’s funeral ship leaves, Courtship plays on choir and harp, strings joining in, paving the way for Loss on pipes and choir. Courtship returns on brass, harp and strings. A woodwind solo then strings play Loss again, then as Hiccup gains motivation, Flying plays on a solo horn, then the entire brass section, building momentum towards… (4m35) - Riding to Drago’s Winds of Change plus Viking Warrior 2 (again showing the unity and closeness of Hiccup and Stoick) in an energetic fun setting, scoring their ride on the little dragons, Falling ending the cue. (4m36-37) - Alpha Comes to Berk Unstable Ground plus Power scores the Berkians’ dragons suddenly all leaving at the Bad Alpha’s call, confusing their human friends. Friendship scores the Riders’ appearance, Viking Fun’s ending leading to Flying as they arrive home. Another variant of Viking Fun follows, then the Sheep setting of Viking Heroism’s ending as they distract the Alpha. (5m38) - Toothless Comes Back Unstable Ground plays again as Hiccup approaches Toothless, being ridden by Drago and mind-controlled by the Alpha, and tries to call him back by forgiving him. Lost and Found eventually starts breaking through on choir, until Hiccup succeeds and it cries out in joy. Brass fanfares mark the turn of the tide, and Night Fury comes in in a new setting for their maneuvers, Lost and Found playing over it in key moments. Friendship + Night Fury closes with their success. (5m39a) - Challenging the Alpha After the Alpha freezes Toothless but he breaks out and jumps to Hiccup’s defense, Lost and Found plays again in many new rhythmic variants. For the final barrage, Dragons and Viking Heroism take over. (5m39b) - The Chief Has Come Home Toothless is the new alpha, and Good Alpha finally comes back again in a grand regal setting. Winds of Change scores the Berkians being reunited with their dragons first in big, then quiet settings, Courtship scores Valka being accepted in too, then the Love Theme leads to Hiccup the Chief as the elder accepts him as his father’s successor. Friendship cries out to mark the occasion. (5m40) - Where No One Goes Reprise Instrumental selections of the song start the final montage of Berk rebuilding, consisting of various Night Fury variants, a Friendship overlay early on, and the Flying instrumental break. A brass fanfare buildup gives way to the song proper in its Deluxe mix with prominent orchestra to round the score off.

Off the top of my head, almost every non-Star Wars Williams score since Tintin has ended with a piano solo, so I won't be surprised if this one follows suit! I'm sure the score will be fantastic and heartfelt. I'll be over the moon if he's written anything that rivals the Blue Fairy theme from A.I.

"Mr. Williams, please put on this nametag." "Um, sure."

I finally got around to installing the necessary prerequisites (CEMU Emulator) and setting everything just right to play Breath of the Wild on my PC, blown up on a 65" C1 OLED displaying at 4k but internally rendering at 5k. It is indeed a spellbinding, if not stupendously flawless (as they say), adventure. It looks beautiful, even by today's standards. Visually almost timeless, quite possibly. So I've been chilling in the evenings, slowly making my way through the game. It's a very relaxing pastime, chipping away at the serenely paced central quest line and experimenting with the world's delightful systems. I'm enjoying it a lot.

I finished my in-car listen of the rest of the OST album and I do like the score now, way more than I did after that first listen I gave when it came out. Seeing the film really helps. I do think the OST album is in that stupid "in between" phase like those double-disc The Hobbit OSTs, and Giacchino's own Jupiter Ascending... what all these releases suffer from is being too long for the casual film score fan to perhaps want to even give a try, or fully enjoy if they do..... but also too short to be the complete score. It ends up displeasing both camps! In all 5 of these cases they should have done a shorter 1 disc edition for the casual fan, and a 2-disc COMPLETE release for the major fans. Instead we're stuck with something that can't be fully pleasing for anyone.