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Maybe there is no Obi Wan series. They have secretly filmed episode X and that is the big announcement next week.

New GIF up on Tenor for you Discord folks...

Had to go JWFan dark for an entire week to preserve the surprise because of you. Thanks. That was the hardest weak of my life.

I'm offended that the Redditor didn't specifically call out my discovery of the Rise of Skywalker FYC files on Disney's site before both the film was released and the OST went up for sale... (That will likely be the pinnacle of my JWFANdom!!)

An update from the same redditor " I just went over there and ran thru the last few pages of the thread in question and I don't know that the scoop was "random" at all, and they did the legwork pretty quickly/pretty thoroughly shortly afterwards to arrive where we are now. Again. It's the J-Team. It's what they do. I've seen these guys figure out the name of an UNUSED CUE from a movie, BEFORE THE MOVIE CAME OUT, based solely off a zoomed in jpeg of a SINGLE PAGE of sheet music. Even the randos got skills there. Honestly, some of the most rigorous journalistic standards in the whole Star Wars "Scoop" game are happening in that forum - the catch is, again, that it's only happening when it comes to news about John Williams, LOL. If only some of the folks known by their cartoon twitter avatars and their mostly empty sites/blogs had that kind of follow-through. "

Ha! I’ve certainly been called worse than a “rando with skills”.

I'm sorry, but this photo screams for it… JW: …and then he said: "I know, but…" Both: "…they're all dead!"

I think this one might be better...

You were right, back in stock!!

And I’m in my seat hoping this music stand will be moved. 😂

We're in our seats. Something called a dress circle. View is distant, but unobscured

She knew it was coming so I Had her brainwashed her already but she still made a face Here is the loot..... Some are ordered as duplicates: ST:TMP, CE3K, SUPERMAN, FAR AND AWAY, THE RIVER and LEGENDS OF THE FALL. Others from recent orders...

Thank you for the free promotion! https://twitter.com/RandoSystem

Rando is not a system, it's a man (or woman). As I have come to understand it (and someone can please correct me), a rando is just some random, sometimes less than savory, unknown online person. The way the Reddit user uses it I think they mean that even the random, less-identifiable, unknown, low-posting user on here (generally) seems to usually know what they're talking about or add to the discussion when posting about film score stuff, which I think is generally quite true and is easily one of the most heartening aspects of this little site.

"rando system"?

Still remember telling you to get er done, left my apartment to go get breakfast, then opened up JWFan after ordering to see you'd done it, you crazy bastard Nothing sweeter than sitting in a diner waiting for an omelette and pancakes while listening to "Falcon Flight" for the first time trying to contain myself

Can we make 'J-Team Rando No. xx' shirts now? I call 77.

If it makes you feel any better, I think the only reason you didn't get mentioned is because the entire article loses all of the (little) credibility it has when it names the source as a guy named "Manakin Skywalker."

It's gonna be hilarious if it's not Natalie Holt. The very reputation of the forums is at stake now.

@BrotherSound, I think you should put this on your resume!

Of the four concerts I’ve attended, this was by far the most incredible.

© STEVEN M. FALK/The Philadelphia Inquirer/TNS Fulll review at The Philadelphia Inquirer

At a guess... Kate Winslet's impressively OTT hat from when she's first revealed. Shame she didn't keep it. Her and Jack could both have used it as a life raft.

This is probably a classic, but it's the first time I've come across it (timestamped):

I still think my finest contribution to the human race was zooming in on a photo from Solo's recording session, sprinting to a piano at my workplace and recording mockups of Han's new themes based off a blurry lead sheet. I may be a teacher, but that day I was one of the J-Team. 😎

If any Redditors have been reading this forum and are reading this, please put on Reddit whether you like me.

Until someone calls a piece/cue/track/theme a "song"...

Roger says: " INTRADA Announces: DEAD MEN DON'T WEAR PLAID Composed by MIKLÓS RÓZSA INTRADA ISC 475 In honor or Miklós Rózsa's 115th birthday and as part of the ongoing Universal Pictures Film Music Classics Collection, Intrada presents Dead Men Don't Wear Plaid. Rózsa was born on April 18th,1907 in Budapest, Hungary. He scored his first film, Knight Without Armour, in 1937 and 45 years later in 1982 he completed his last film score – Dead Men Don't Wear Plaid. It was a fitting film on which to end his distinguished career, as it is set in the '40s and brilliantly incorporates clips from noir classics of that time, including several that Rózsa himself had scored. Although Dead Men is a comedy and not a genre at which Rózsa felt particularly adept, its noir setting allowed him to play it straight, as if he was back scoring pictures in the '40s, but relying on decades of artistic growth that had since transpired. He builds the score on two major themes, both introduced in the "Prelude”: an angular, astringent minor-mode tune associated with the darker aspects of the drama followed by a lush, romantic love theme, both of which figure significantly in the score.The recording sessions were led by an esteemed composer and conductor in his own right, Lee Holdridge. The album was mixed from the 1/2" 3-channel session elements carefully stored in the Universal archives and features 2-CDs worth of Rózsa's score. CD 1 includes the 62-minute score program, with CD 2 covering additional score and alternates. The film begins when Juliet Forrest (Rachel Ward) hires private dick Rigby Reardon (Steve Martin) to investigate the murder of her father, a noted “cheese scientist.” Rigby accepts the job, with the search for the missing Dr. Forrest taking Reardon, disguised as a little old lady, to prison to get information from a manic James Cagney (White Heat), and later to a supermarket where, dressed in Barbara Stanwyck’s blond wig, he picks up a lecherous Fred MacMurray (Double Indemnity). Ultimately Reardon has encounters with characters from The Lost Weekend; Sorry, Wrong Number; Double Indemnity and The Bribe (among others), all seamlessly integrated into an elaborate tale that concludes in Peru where the Nazis are using Dr. Forrest to create a corrosive cheese mold that will destroy America. INTRADA ISC 475 Retail Price: $25.99 Barcode: 7 20258 54750 7 Starts Shipping 4/19 For track listing and sound samples, please visit https://store.intrada.com/s.nl/it.A/id.12573/.f " http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=8896 Doug says: " Miklos Rozsa Label: Intrada Special Collection Volume ISC 475 Film Date: 1982 Album Date: 2022 Time: 86:50 Tracks: 53 Price: $25.99 Miklos Rozsa’s final soundtrack on new 2-CD set! Released as part of the ongoing Universal Pictures Film Music Classics Collection and in honor of Rozsa’s 115th birthday (April 18, 1907), Intrada presents Dead Men Don’t Wear Plaid, the composer’s masterful tribute to his own scoring style of the Golden Age and his very final film soundtrack. Carl Reiner directs Steve Martin in this 1982 homage to film noir, replete with murder, mystery and romance. Rachel Ward co-stars with a treasure trove of famous “cameos” by Humphrey Bogart, James Cagney, Bette Davis, Barbara Stanwyck, Fred MacMurray, Burt Lancaster, Alan Ladd and others in bits from White Heat, The Lost Weekend, The Big Sleep, The Postman Always Rings Twice, This Gun For Hire and other classics. Miklos Rozsa has a most unusual opportunity to compose a rich symphonic score tipping his hat to the edged, aggressive dynamics of his earlier Double Indemnity and The Killers as well as paying tribute to his lush romantic vernacular. In signature fashion, Rozsa writes an angular motif for the suspense in the movie, full of interval leaps and intensity. Getting equal attention in the other direction is his warm, ravishing love theme, itself full of dips and swirls. Both ideas permeate the score throughout with a degree of forward motion and pace. Keeping the orchestra in tempo is noted film music composer Lee Holdridge, who was brought in to conduct Rozsa’s “swan song” to the art form he so excelled at and earned three Academy Awards in the process. Intrada’s presentation of this splendid work has been assembled and mastered from the 1/2” three-channel stereo scoring session masters vaulted in pristine condition in the Universal archives. CD 1 contains Rozsa’s entire 62-minute score, CD 2 presents additional scoring cues and alternates. Footnote: Besides being the last soundtrack scored by Miklos Rozsa, this film was also the last to feature the incomparable costume designing of Edith Head. Score recorded in January 1982 by Robert Fernandez at The Burbank Studios. Lee Holdridge conducts, Miklos Rozsa composes. Intrada Special Collection 2-CD set available while quantities and interest remain! TRACK LIST CD 1 RÓZSA’S DRAMATIC SCORE 01. New Universal Signature (Jimmy McHugh) (0:18) 02. Prelude From Dead Men Don’t Wear Plaid/Stormy Meeting (3:56) 03. The Front Page (0:14) 04. The Exterminator (3:00) 05. The First Bullet (0:36) 06. First Clue (0:41) 07. Cleaning Woman No. 1 (0:42) 08. Memories (1:07) 09. Wild Jazz Piece No. 2 (1:34) 10. Looking For Hastings (2:21) 11. Love Theme From Dead Men Don’t Wear Plaid (0:48) 12. The Swede (2:56) 13. Marlowe Appears (2:06) 14. The Railroad Car (1:23) 15. Embracing Hands (Original) (2:28) 16. A Meal Ticket (1:13) 17. Alias Sam Novak (1:26) 18. One-Sided Passion (Alternate) (1:34) 19. Cleaning Woman No. 2 (0:46) 20. Peace Offering (0:50) 21. The Hoods (3:21) 22. Transformation (0:38) 23. False Pretenses (2:27) 24. Mistaken Identity (4:00) 25. Love At Last (1:50) 26. Prison Break (1:02) 27. Trust (0:55) 28. Delusions/Carlotta (3:44) 29. Carlotta/Carlotta Café (2:01) 30. The Visit (1:20) 31. The Drink (0:55) 32. The Big Fish (2:55) 33. Final Instructions (1:15) 34. Final Cleaning Woman (0:16) 35. Finale From Dead Men Don’t Wear Plaid (1:34) 36. End Credits From Dead Men Don’t Wear Plaid (4:05) CD 1 Total Time: 61:48 CD 2 ADDITIONAL SCORE AND ALTERNATES 01. Love Theme From Dead Men Don’t Wear Plaid (Orchestra Demo) (1:56) 02. Fruitcake (1:13) 03. The Brentwood Club (1:28) 04. Fancy Restaurant (1:58) 05. The Party Crasher (1:18) 06. The Party Crasher (Alternate) (1:24) 07. Seduction (1:04) 08. Piano Solo (1:07) 09. Wild Jazz Piece (1:21) 10. Embracing Hands (Revised) (1:15) 11. Fancy Dinner Waltz (1:30) 12. One-Sided Passion (1:21) 13. “Dead Man’s Bolero” (2:30) 14. Carlotta Café (Alternate) (0:16) 15. Finale From Dead Men Don’t Wear Plaid (Alternate) (1:34) 16. Finale From Dead Men Don’t Wear Plaid (Short Version) (1:14) 17. End Credits From Dead Men Don’t Wear Plaid (Alternate) (3:53) CD 2 Total Time: 25:04 " https://store.intrada.com/s.nl/it.A/id.12573/.f

Really exciting, I hope you guys enjoy and have a great night.

This is a special message for Jurassic Shark:

Huge news: Cinesamples just announced a subscription service featuring (scaled down versions of) their libraries called Musio! It will compete with EastWest Composer Cloud and has a monthly subscription fee of 20 dollars and a yearly fee of 150 dollars. There is a two week free trial automatically given to you at signup. The Musio player takes the Orchestral Tools SINE Player approach and lets you download just the patches that you want instead of entire libraries at a time. https://www.musio.com/

A few more hours until the main event!!! YES!!!

Tell him from me that Master and Commander is a great score.

Also, and this may be a controversial opinion here, I'd say she's considerably hotter than JW.

JWFans when Natalie Holt is announced as the sole composer of Kenobi

I had moderate hopes for this, after the outstanding (for Chibnall tenure standards, i.e. moderately solid) Dalek episode, but it was back to unengaging all over the place Chibnall non-story telling. Is it just me, or do they have a higher rate of quickly mumbled expositional dialogue than they used to? In any case, if I don't pay full attention (which is hard with these episodes), I miss most of the explanations of who does what why. Not that they make much sense when I do get them. I don't buy the better production values argument. I thought the FX were alright even in RTD's early series, helped by the then low resolution and the general non-overuse of them. Now everything is full of "cinematic" effects, but it just highlights that they're not that great, and often poorly timed. The Sea Devils looked ridiculous, whereas I have always been impressed with the Catkind makeup in the early episodes. And as for the Doctor and Yaz… they stand out purely because of casting. Both have great chemistry and manage to get *something* out of their characters even though there's pretty much nothing on the page. Whenever they capitalise on that in any way, it briefly elevates the episode to something that I could actually care about. Whatever they can make of that is better than pretty much everything else they've been doing. I thought (unlike apparently everyone else) S2 was excellent and S3 good but unnecessary. Agreed on the rest though. Indeed. On the other hand, any theme he's written for anything in the show is more exciting than all the current themes put together… none of which I've ever been able to recall. The only noticeable moment in this latest score was another attempt at a 7/8 motif - but the only memorable thing about it was the 7/8 idea, not the music itself.

He absolutely did not. (You might be thinking of Star Wars.) The novel of TMP is one of the most Roddenberry things ever. It's also actually very good. Um... My biggest objections to that comparison is that 1) Spock is meant to be a leading character and Jack Sparrow is not and 2) I LOVE At World's End more than I love The Search for Spock. (And I love The Search for Spock.) He has a Story By credit. I spoke to him (yikes!) 30 years ago before I knew the history of TMP as well as I do now. It's convoluted to say the least. The only thing I remember (other than me being a painfully spazzy fanboy) was that he sadly shook his head and said something like "The only thing in that movie that's mine is the first ten minutes." Here is a little more of the history: Roddenberry wrote a story for his TV series Genesis II called Robot's Return. He asked Alan Dean Foster to adapt it into the pilot for the second Star Trek TV series that was being developed. Harold Livingston turned that story treatment into a script. Then the new TV show was scrapped in favor of making a movie with Livingston continuing as screenwriter. Apparently at some point Foster took the film to arbitration and that's how he ended up with Story By.

I would definitely give it until about halfway through the first season or so. As @Cerebral Cortex says, it starts off trying to be closer to an out and out comedy rather than a generally dramatic show with comedic elements which work much better when they are natural parts of the show than forced for the sake of a joke. I mean, let's face it, most of the 90s Trek shows took 3 seasons of 24 episodes each to get going, so half a dozen episodes to get into its stride is pretty good! The second season is definitely more solid.

I enjoy the range of instrumental colors you're using in this re-score. But if I could offer two pieces of feedback: 1. The theme for Ashitaka has some noticeable melodic similarities to the original theme which makes it hard to appreciate your theme without being reminded of the original. 2. Some of the cues seem to be moving too fast for the scenes they accompany. The speed of the music seems a little ahead of the action or maybe a little too busy for the on screen action? To be clear, I am enjoying your music and you sharing this project here.

That doesn't make it false. John Williams' distinction is that is the greatest composer alive. Not sure about that. Not out of the question though. But he should have won it for Interstellar. Zimmer should have 3 Oscars: The Lion King, Gladiator, and Interstellar.

Can you make similar comments about Hook, SW, and Indy please and thank you

If Williams wasn’t involved (he is) they should have shot down that report the second it came out

You could honestly start with season 2 and if that jives with you more than go back to season 1. IMO I think season 2 overall is a more solid execution of what I think it is they're trying to go for with the show. The first couple episodes of season 1 almost seem like they were forced to be somewhat comedic and then the show quickly mellows out tonally. It feels like MacFarlane pitched the show as a comedy so that it could get made when in reality he just wanted to make something in the spirit of TNG so the first couple episodes almost act as an appeasement.

Here's an interesting analysis of JWFan from the reddit thread about this rumor: " FWIW: the randos on the John Williams fan forums are surprisingly well-connected folks when it comes to this sort of thing. It's a remarkably unique community in that they're so singularly obsessed with a figure that isn't frequently known for that level of obsession, and they've been more or less a close-knit (it's like, 30-40 people there driving all the conversation) community in pursuit of unearthing literally EVERYTHING even tangentially related to that man's work for almost... damn, 20 years now. And the amount of stuff they get, and get right, is pretty high. They're sort of like a highly specialized nerd commando unit trained to do one thing: Find out everything there is to know about John Williams. The J-Team, if you will. That all said: I would not recommend doing anything other than lurking that place. But then again, you don't really need to do anything more than lurk that place if you're interested in John Williams (or film scoring in general). "

An FSMer who pre-ordered this set received this email: Source: https://filmscoremonthly.com/board/posts.cfm?threadID=147456&forumID=1&archive=0