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I'm glad to see that through the years, the confusion emoji still functions as JWFan's dislike button

I don’t want likes from ANYONE. I only ever want want the little guy with heart eyes or the red-faced angry guy.

I guess I'm a dopamine junkie then. This may be an oversimplification, but one of the main reasons I listen to film (I should probably say "orchestral") music 99% of the time is I find it to be the only form of music capable of giving me chills/goosebumps on demand. No other form of music (not even say electronic film music) has the same effect. Other types of music might be able to elicit that kind of response from me, but it's unpredicable and far less common.

Not to get too philosophical, but the title of this album really does nail the priorities for "old man" Williams--nothing flashy, nothing pretentious, nothing all that self-serving--none of that crap matters once the pretensions and stupidity of ego and self-importance dwindle as one ages. What remains: Williams, his friends, and music.

Nervous Laughter What The Fuck GIFfrom Nervous Laughter GIFs

When I read the credit "Music Composed By John Williams", I can be satisfied that all the music that I hear has been composed by John Williams. In this day-and-age of throwaway, lazy writing, and ghost composers, that, to these ears, at least, means a lot.

musiconvinyl 3 LP release for Hook coming. https://www.musiconvinyl.com/shop/original-soundtrack/hook-john-williams Update as of June 2022: According to MOV, they are still trying hard to make this release happen but couldn't provide an updated release date. Preorders directly from MOV haven't been cancelled but other distributors have been cancelling orders.

Call me crazy, but I’ve had a craving for 90’s TV:s charm lately (so does my wife apparently, who is rewatching Charmed). So I turned to Star Trek The Next Generation. Oh, dear, whatever has become of me! I remember watching reruns after school, 12 years old, on the living room floor in front of the telly, waiting for my mom to come home. So, where to start? I’m not about to embark on a 176 episodes long (or 134 hours non-stop) journey. So I googled, and found this. 25 essential episodes. www.denofgeek.com/tv/star-trek-the-next-generation-essential-episodes/ The list didn’t include S01E01 Encounter At Farpoint, so I’ve cheated and started with that. I was pleased to see that the episodes streaming are the ones with updated FX, since I’ve not seen them before. The FX are great. The music is great. It’s campy, but I’ll be damned if the actors aren’t great and the whole thing is just a guilt pleasure-bomb. Looking forward to the “next” episode!

Theatrical poster and new featurette released:

And I thought the state of Star Wars releases was bad! What's next? Disney will release the Anthology assemblies on vinyl?

Given this would've been around the time Elfman started employing extra composers regularly (Lindgren would come back for Real Steel shortly afterwards, plus work on his subsequent scores), I think it's safe to say TJ and Shearmur were employed early on rather than at a later stage. Especially since all their material is on the Elfman bootleg (also the former's initials are in some of the cue numbers). Of course, given the nature of the film production itself, even looking through BMI and ASCAP for who exactly did what might be tricky, since we lack too much of a frame of reference without proper titles to work off of (the ones that exist being a mix of OST and made up names). Not helping matters is the film seemingly having bits that aren't on either bootleg, so suffice it to say that it's just all one big headache.

The Wolfman. This is the kind of score I was hoping Elfman would write more frequently later in his career. It would be a natural progression of his early fantasy works, but weightier and more grounded. Yes, there are some Kilar references but they are mostly relegated to the opening track. The remaining material is some of Elfman's finest writing in 21st century outside of his concert work. There's no silliness and it moves with purpose. On a side note, I would be very interested to find out what was the role of Lindgren and Shearmur on this project. It sounds quite seamless to me. Karol

JW: "Hey, Bud Spencer!" LP: "Hey, Santa Claus!"

One night my wife decided to watch Star Trek after I had gone to sleep. I heard one note and shouted into the pillow "City on the Edge of Forever!" She was oddly unimpressed.

Added 3 new reactions...

LP: Aw, come on, when you were young, you must have been into something? Like baseball, or reading...? JW: Girls.

One of my favourite Horner scores of his post-Titanic era. A Horner score through and through, deeply touching (forgivably bordering on saccharine) and some of his most thrilling action music (a lot of which is missing from the OST so would greatly welcome an expansion). Love it.

I listened to it, but I prefer the cute litle story told by the OST.

It's not bad!

Now, that's a collection I can be proud of!

Absolutely! As disappointing as it was that COMI had no Ron Gilbert involvement, the wonderful voice casting and the really cool art style made it quite easy to get into the game anyway. Even though I will always be disappointed it didn't REALLY follow-up on MI2's ending the way I wanted, it wasn't a bad game. And it gave us Murray, which is great.

I've been planning for a while a large size, minifig scale, LEGO model of Melee Town, so I'm very intrigued on how they will reinterpret this locale in the new game

Also this is actually fun marketing:

HACKS Season 2 premieres May 12th!

JW: "Drop your hand. I just wanna touch your hair." LP: "I don't want you to touch my hair!" JW: "But why?" LP: "Why would I?" JW: "How should I know that?"

That's so funny you say that because that was exactly my experience. When the show came out I watched the 3 episodes and didn't like it! I moved on to other things. Sometime between seasons 3 and 4 I think it was, the buzz was incredibly high, so I gave it another shot and rewatched the first three episodes, and this time kept going and obviously loved it. Watching 4, 5a, 5b, and each of BCS's seasons live has been the best TV experience of my adult life by far

See also Clint Mansell's Sahara.

I'm rewatching BCS again and into season 2 now. It has some of the best written characters, even the smaller characters. More so than BB, I think. Both are terrific in their own rights. The highs in BB are higher, but beyond that pound-for-pound I think they are both equals.

NEW SCORES/SONGS AVAILABLE: Amazon Prime Video Goliath (Jason Derlatka & Jon Ehrlich) [13 cues, 23:04] Goliath [Song - "Pain Killer" (Adam Schlesinger), 04:20] Lucy and Desi (David Schwartz) [12 cues, 14:54] Marvelous Mrs. Maisel, The [Song - "Maybe Monica" (Thomas Mizer & Curtis Moore), 02:39] Modern Love (Gary Clark, Gregor Philp, & John Carney) [5 cues, 07:22] Modern Love [Song - "Fire" (Gary Clark), 03:45] Also, the following are carryovers from 2021: Amazon Prime Video Fairfax (Joseph Shirley) [26 cues, 15:30] [NOTE: Same as 2021 FYC.] Harlem [Song - "My White Liberal Parents" (?), 02:02] [NOTE: Same as 2021 FYC.] Harlem [Song - "The Sunken Place" (?), 01:49] [NOTE: Same as 2021 FYC.] Mary J. Blige's My Life (Mervyn Warren) [24 cues, 39:53] [NOTE: Same as 2021 FYC.] Mary J. Blige's My Life [Song - "Hourglass" (Mary J. Blige, Samuel Elliott Roman, & Andy Murray), 04:15] [NOTE: Same as 2021 FYC.] Wheel of Time, The (Lorne Balfe) [24 cues, 43:21] [NOTE: Same as 2021 FYC.] With Love (Siddhartha Khosla & Lauren Culjak) - Episode 101 [31 cues, 19:43] [NOTE: Same as 2021 FYC.] With Love (Siddhartha Khosla & Lauren Culjak) - Episode 102 [17 cues, 09:33] [NOTE: Same as 2021 FYC.] With Love (Siddhartha Khosla & Lauren Culjak) - Episode 103 [36 cues, 22:15] [NOTE: Same as 2021 FYC.] With Love (Siddhartha Khosla & Lauren Culjak) - Episode 104 [23 cues, 18:30] [NOTE: Same as 2021 FYC.] With Love (Siddhartha Khosla & Lauren Culjak) - Episode 105 [25 cues, 19:58] [NOTE: Same as 2021 FYC.]

What the? Why?!?

"Turnabout Intruder!!!!!" "Corbomite Maneuver!!!!!" "Where No Man Has Gone Before!!!!"

GoldenEye. My giddy aunt, this is good stuff. It's not only a good Bond film, it's a damn good film in its own right! The production design, and cinematography, are both top notch, and it feels like - up until that time - the only Bond film to be properly edited, rather than having one shot placed after another (let's face it; John Grover is not the most dynamic of editors). The supporting cast (John, Coltrane, Dench, Cumming, Bond, Kitchen, Baker, Karyo) are all great, and the girls are...the girls, and Janssen always did enjoy a good squeeze . Even Bean is decent, as 006. Campbell's very assured direction, and Rawlings' first-rate editing makes this among the very best of the series. There are minor quibbles: the sound mix is a little muffled, at times, with sound effects left over from ALIENS, and Meddings' work is obvious, but all-in-all, it's a brilliant comeback. Brosnan exudes confidence, pitching his portrayal somewhere between Moore's glib humour, and Connery's no-nonsense cold bastard. And, oh, yes, the score. I know that it doesn't get much love around here, but I absolutely adore it. This is one score that is crying out for a remastered expansion. Easily a top-5 Bond score, for me. Film: 5/5 Score: 5/5

This reminds me of when he was hired for Skyfall. I had no idea how it would turn out, but I thought "Thomas Newman in a new genere? Cool."

Usually those movies end with an AAH!-BAM!-scene. Means, either the villain falls down from somewhere, a high building, a cliff, screaming "AAH!" and hits the ground with a BAM!. Or he is liying or standing somewhere, looks up and sees something heavy falling towards him and he starts screaming "AAH!" until the heavy thing crashes on him with a "BAM!". Either way, it's AAH!-BAM!.

It's slow-moving, majestic, repetitive and the melody is an earworm...pure Barry, so to speak, warts and all.

Saul's conversation with the DA where he's pretending to be the Church pastor has gotta one of the funniest moments in the show. Up there with convincing the school teachers he's shooting a documentary about Rupert Holmes.

Yeah I mean effectively it's just the LSO anyway. An institution is made up of people, and if the majority of those people are present then it's basically the institution but without the name.

To me that neutral face means “You are a freakazoid and I am attempting to have no visible reaction that would draw your attention as I back away slowly before running away from you”

We all can understand and appreciate that John Williams doesn't play every instrument or engineer the recording. It'd be something else if we knew Herb Spencer improvised the Asteroid Field fanfare melody and other flourishes during a jam session. I mean, on one hand, that's actually a pretty cool story but it's not strange at all if that alters our perception of that cue, John Williams, and Herb Spencer. Then imagine we had dozens of stories about classic cues, themes, scores that were created by The John Williams Combo, a revolving door of friends and collaborators. We wouldn't necessarily think he wasn't still a hell of a musician but even if you put aside the conspiratorial nature of this exercise and that we would bluntly question his character for not mentioning any of this, the entire nature of his role in film music history still fundamentally changes thinking about a world with John Williams as bandleader and his bandmates who spun out some of the greatest music of all-time in these sessions. "Yeah but it's still the same music." It's not, really! The whole context changes! Context matters! Now, I think it would be a mistake to think that it would be a lesser world if this forum were devoted to the musical brilliance of The John Williams Combo instead of just one man, but that's assuming that we all knew about the Combo's legendary process from the beginning and all scores and OSTs were properly credited, etc...

After a quick skim, I there's no question that you've rectified the glaring errors JW made with omitting material. I would personally find a way to include the Shrieking Shack scene, but that's just me - I find it works rather well as an understated suspense cue. My only criticism would be the sheer amount of material out of film order. Part of the appeal of a score album for me is to be able to recall the film and its events through music, and when composers put all their cues into a bag and shake everything, for me that takes away from that experience.

I always just say the LSO did HP1-3, even if it's not technically true, it's like 95% LSO members. Same with the Hollywood Studio Symphony doing the Star Wars ST; there were some freelancers thrown in here and there, but it was almost completely HSS players. Even the HSS Wiki page itself lists the Star Wars sequels: Hollywood Studio Symphony - Wikipedia

I don’t think I’ve ever seen the movie or the girl. The first Disney I saw when I was young traumatized me, it was Bambi. Many (many!) years later, I decided to give Disney a second chance by watching The Lion King. What a bad idea!

It's kinda funny to use the word "prequel" regarding actual history.

https://musicbrainz.org/release/b127c472-2053-4e0c-9f96-b4db2f1d8c57/cover-art THE WIZARD OF FILM SCORING TACKLES 'HARRY POTTER' Article by Richard Dyer published May 18, 2001 in the Boston Globe THEY SHOOT, HE SCORES Article by Geoffrey McNab published September 24, 2001 at The Times WILLIAMS CASTS SPELL FOR 'POTTER' SCORE Article by Richard Dyer published November 11, 2001 in The Boston Globe DIRECTOR CHRISTOPHER COLUMBUS DISCOVERED THE RIGHT COMPOSER FOR 'HARRY POTTER' Article by Richard Dyer published November 11, 2001 in the Boston Globe WILLIAMS BRINGS MUSICAL MAGIC TO 'HARRY POTTER' Article by Andy Seiler published November 13, 2001 in USA Today https://web.archive.org/web/20160802130006/http://usatoday30.usatoday.com/life/movies/2001-11-13-john-williams.htm COMPOSER JOHN WILLIAMS TRIED TO MAKE MAGIC WITH 'HARRY POTTER' SCORE Article by Matt Wolf published November 15, 2001 https://web.archive.org/web/20210703192947/https://www.deseret.com/2001/11/19/19617515/williams-works-his-wizardry HARRY POTTER - CHILDREN'S SUITE FOR ORCHESTRA

Came here to say basically this. I wrote a whole love letter here awhile back about the friendship theme. It's one of the most uplifting, inspiring themes from Williams period. I freaking hate TROS as a movie (when I'm not internally denying it's existence) but the theme warms my heart completely every time. Victory theme's fine too.

The Rebellion is Reborn and The Rise of Skywalker suffer from the same issue, that they are not really an ellaboration of one theme with variations, modulations, develpment etc. but work as kind of a mesh-up of two or more themes like an end titles suite. It is a nice concept for a piece in both cases and I like them, but it is to me at least not that interesting like for example March of the Resistance or Rey's Theme where we really have a full ellaboration of one theme.

Kung Fu Panda 2 by Hans Zimmer, John Powell, Lorne Balfe, Henry Jackman, Paul Mounsey and Dominic Lewis I tried several times and I don't love these Panda scores as much as other Powell's scores for DreamWorks. They're fun, energetic and fast paced, and there's some great moments, but overall it's not enough to make a huge impression like HTTYD.

As Maurizio and I discussed during our Tim Morrison Legacy discussion, the Salute to Hollywood is absolutely the performances with Tim as principal trumpet 🎺 which really made JW take notice. His beautiful solos throughout this album are just stunning and paved the way for his invite to Hollywood!

I remain completely uninterested in any continuation of this franchise that should have died 25 years ago.