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I think this is a short term question and we should be so lucky to still be here in 5 years annoyed that John Williams is going "This Jabba the Hutt show really afforded me the great good fortune of writing the old slug his first theme. I just want to write a theme for Jabby!"

The natural consequence of interrupting Williams's "they're all dead" story.

Since that article is largely about Holt's score, here's the relevant parts about John Williams: Now on her second major Disney project, the British composer, classically trained violinist and “huge fan of John Williams” will share space in the canon of one of Hollywood’s most enduring franchises. And she’ll do it alongside the man who is “basically the reason why I noticed music in film as a child.” “John signed the Obi theme for me. I’ve got a printed Obi theme that he recorded and I’ve had it framed,” she told THR, excitedly. “It’s my pride and joy. I’m super happy to have his signature because he’s literally my hero.” The two didn’t directly collaborate for the show, but Holt says his work on the series’ main character theme helped give her the foundation she needed to musically access one of TV’s most anticipated 2022 series. Did you have a chance to work directly with Williams for this? We didn’t collaborate, but I did get to use his theme. He didn’t have very long and it was quite last minute whether he’d have time or not. But he really wanted to write that theme because he was the one character that he didn’t write the theme for in the original movie. So I think he had this feeling that he wanted to complete the challenge. I think he had two weeks and he came on board and wrote the Obi theme and a suite, which is the main title, and then a few variations of how the Obi theme can work. That was what he had time to give the project, and it was just a gift. It’s so perfect and in a way, once I had that Obi theme, it set the tentpoles up for the project.

Why is Williams hurling his lightsaber at Yo-Yo Ma?

Yeah, exactly this! ^ It was kinda distracting as I was trying to think if they had ever met before. The closest we've seen is Mike watching Kim, Jimmy and Lalo through the sniper scope. One thing I find amazing about this show is we're still getting new Gus and Mike scenes on a weekly basis, yet I'm not thinking "I can't believe I get to watch more of these legendary characters!". They're both so "in character" and is so consistently played, that you just get caught up in it all. It's not like Disney+ shows where you're like "OMG, it's deepfaked Luke Skywalker!", all for the sake of a stupid cameo.

"ARE YOU MY LITTLE SISTER???"

Hu—freakin'—zzah!! Bring it on! Also this: Theme and suite!

I'm not wondering and I'm taking what I can get

We're such geeks. What a time to be alive.

«SUPERMAN» – IN CONCERT REVIEW The Legacy of John Williams reports on the exhilarating world premiere of John Williams’ majestic score performed live to picture by City Light Symphony Orchestra conducted by Anthony Gabriele at the KKL Luzern on April 29, 2022. Rarely the 1978 film by Richard Donner starring Christopher Reeve looked and sounded more soaring that it did during this performance and the choice of presenting the Academy Award-nominated, Grammy Award-winning score by John Williams live to picture is really an inspired one. Read the full review and watch an exclusive video featuring exceprts of the dress rehearsal produced by The Legacy of John Williams. https://thelegacyofjohnwilliams.com/2022/05/03/superman-in-concert-review/

https://www.hollywoodreporter.com/tv/tv-news/obi-wan-kenobi-composer-creating-score-disney-star-wars-series-1235140180/

I apologize if this video has already been posted before, but it is new to me as far as I can remember

For the book I was in contact with 2 of the 3 musicians present at the Irish music session. So I just sent them a message asking them to listen to the film clip to try to confirm (or not) if it is them playing.

An entire forum just for the 1997 James Mangold film? It was alright, but seems like overkill

It's insulting the way they treat JW's music in these trailers

I’m usually not against trailer music as it’s a style in itself. But that one was boooooring.

Nope it's the Vienna Recording, the automatic tag set by Youtube is wrong. From the video description:

New trailer and poster May the fourth of May be with you.

He forgot to mention that JW also plays the guitar.

I used to listen only the main themes of movies on youtube (apart for the ones scored by JW for which as you know almost every cue feels like a sufficient main theme). By the end of 2018 I heard about the release of a 8 hours boxset containing all the music from JW's HP movies which I got for Christmas along A.I. Artificial Intelligence Expanded Archival Collection. After listening to all this incredible music, I began to collect every JW expansion from the movies I loved starting with Superman, E.T. and CE3K until I blindly purchased the score of The Fury a movie that I've never seen nor heard about but which had this precious score in it. This pushed me to collect even the score from the movie I've never heard of as long as JW was scoring them. Then my love for JW pushed me to join this forum, where I discover Goldsmith through the What is the Last Score thread, and here I go collecting Goldsmith now, and then Horner and so on. Now I've come to a point where I purchased scores regardless of who composed them, if I love it (and the money is here ) I purchased. And I have to add that this forum and the speciality labels are a big part of my opening to film music.

And it seems to be connected to his Wanda theme from Age of Ultron as well. At least the second part of that theme. Karol

Robin Williams was perfect. I can't imagine anyone else coming close. An actor with impeccable comic timing and yet he could play 'forlornness' and 'loneliness' so beautifully. None of those other actors (as much as I love some of them) could have portrayed Alan Parrish as well as Robin. God bless him. WHaaat

Once upon a time when I was a little boy, I watched movies and I liked movies, and I heard music in them and I liked the music, and I wanted to listen to it. So I bought the soundtrack. Sometimes it still happens pretty much like that. Eventually I noticed some people wrote more than one soundtrack that I liked, because I was a big boy who could read the cover. So I wanted to hear soundtracks not just because I had already heard them in the movie and liked them, but because it seemed likely that if I listened to a soundtrack by John Williams or Danny Elfman or James Horner, then I would like listening to it. So I bought the soundtrack. Or borrowed it from a library. Or I stole it. Violently. Sometimes I can still hear the screams. The pleading. The jewel cases hitting the floor. Sometimes it still happens pretty much like that. Sometimes I would listen to the music without even watching the movie. Sometimes I didn't even want to watch it. Sometimes my parents wouldn't even let me watch it. And I would say "why not" and they would say "because it's rated R" and I would say "why" and they would say "go to your room" and I would cry and listen to the soundtrack for Schindler's List. And I would plot my revenge against them. Sometimes it still hap-- well, no. It's been many quiet years now since I had to do that.

There's no simple "I like film music" option...?

Clearly, the Balfe takeover means that whatever Faltermeyer did here is gone. It's going to be a lot of post-post-modern riffs on the HF theme and nothing......else. Surprised that HZ is giving up so easily. The Gaga thing is not really an issue here - it sounds like HZ and HF composed a score years ago and that got repackaged into a Balfe 'product'.

lol, it was me... although you may have spotted Dawn French a couple of rows back. And yeah, Maria Friedman was in it. She was great doing Mrs Lovett with Michael Ball as Todd.

Thats...... 🕶😎 Strange. 🙂

I am listening to the score right now. What a great piece of work this is. Haunting and beautiful at the same time. He was obviously really feeling this movie when he first watched it.

i really like the main titles

Another acronym of OCD. It means complete and chronological.

It's very unlikely that it's anything more than this since the original announcement listed it as a collaboration with JW and Deutsch Grammophon (both of which are covered by the video).

For me - and I don't know why exactly - it was the very specific genre of spy music which got me noticing film scores. Not just things like Bond (though that was the main draw), but even the knock-off parodies like Johnny English and Agent Cody Banks. I saw the latter on a plane and despite crappy headphones and all the noise from the engines, the music stood out, and I became obsessed with John Powell. I believe that was on route to a holiday in Colorado, where I picked up the Johnny English soundtrack in Denver and made my parents listen to it over and over again in the hire car. ("Truck Chase" is a hell of a cue!) A couple of David Arnold CDs - Tomorrow Never Dies and The World Is Not Enough also came shortly before or after that. I forget the exact order.

I think the way of the future (as each of these streaming services jacks up their pricing to try to attain profitability) will be to rotate through streaming services. Watch the stuff you want on Netflix and then cancel, maybe pick it up a year later for a few months and then cancel again. That’ll be my plan at least. Otherwise at some point, my streaming bills combined would look like a cable bill (which is why I dumped cable in the first place).

It was a licensed song, so it shouldn't have been included in the first place. Frizzell produced the end credits song "Lesbian Seagull", though. So this one should have been an extra. Speaking about that odd old score release, there was a 33-second cue featured twice on that set ("B&B Meet Muddy"). It's both on OST04 (0:36-1:08) and OST06 (0:55-1:28). The three unreleased tracks are more than you think, "So Many Slots In Vegas" consists of 5 cues alone. I have one in chronological order, but the new tracks need to be incorporated yet.

My soundtrack infancy was essentially starting to notice prominent tracks from a large handful of movies that came out (mostly) in the very tail end of the 90s and start of the 00s. Jurassic Park, LotR, Gladiator, Potter, Shrek, Signs, The Mummy and more I'm no doubt forgetting. So at least to start with, I would notice music in films and want to hear it as music. And I do mean literally the version I heard - my strong preference for exact film mixes (not edits) has been there since the start and I noticed alternate versions from the word go. Nowadays I have a ton of albums that to me are concept albums as I've never seen the associated film or show. I also find that an indication of a good piece of music from a concept POV is whether I create a visual association, and how easily. If I'm listening to a cue and immediately start visualising a place or circumstance, that's a strong track. With others, nothing happens in my head when I listen it - it doesn't evoke anything. In those cases maybe it changes when I see the film and sometimes it doesn't.

The Gene scenes all take place after Breaking Bad. Jimmy/Saul goes into hiding in Omaha. One of his final lines to Water White is even "If I'm lucky, I'll end up managing a Cinnabon in Omaha" which is exactly where we find him. There have been no Gene scenes this season so far. The "home impound" scene is an exception. We don't know exactly when it takes place, but it's safe to assume it's shortly after Jimmy goes into hiding via the "disappearer". So the full chronological order is: Better Call Saul > Breaking Bad > home impound scene > Gene scenes How Jimmy ends up with that crazy house is what we're waiting to find out, as they don't have the money for that yet. And obviously, what happens to Kim, Lalo etc. There are only a couple more "teaser poster shots" left to be revealed in the show itself. I've only just spotted this detail - can anyone explain why there's what looks like either a cat or a miniature llama in the back of Mike's car?

You should also check out the Daily Mail comic strips compiled by Titan. Faithful and Bond looks exactly like Connery !

The ones with Toby Stephens? They're great.

Imagine Arnold in the scenes when he's coming to terms wih the world having changed (for the worse) without him. Running around the house calling for his parents.

I always loved that song Life Begins At The Hop. The video was always a place I thought I'd like to be incredibly high within. But then all their music videos were a bit trippy.

Looks like a neat video, though

Btw, the music in this episode was: Best Things In Life by The Dreamliners Glidin' Along by Bennie Green Sneaking by The Crooked Spoke Jimmy's "Are we on a roll, or are we on a roll?" line could very much be the writers addressing the audience directly. I can't believe we're only 4 episodes in - it feels like SO much has happend already. I wasn't sure of the relevancy of his mention of his son's drug addition (given Kim and Jimmy are trying to frame Howard as having a coke habit, I thought that might send Kim off in a different direction), but then when he acknowledged he was connected and could help Kim out with her pro bono practice....something happened. She realised he was serious, and she and Jimmy should maybe have played it straight all along. In episode 1, Kim was really keen to develop this "Saul Goodman character" with the flashy car and cathederal of justice. Jimmy was the one who was acting cautious and thinking they should look over their shoulders. But although Jimmy is now viewed as this pariah at the courthouse, he's suddenly got all this new business because word has spread that he got Lalo off. So he's now happy and confident, and pressing on finding a new office. (It's a mirror of the "It was one of the best days of my professional life..." scene from 6.01). However, Kim is now the one (literally) looking over her shoulder at the end of the episode. They've switched places.

I've been soundtrack collecting for the better part of my 50 years. Phase 1: Get LPs of movies I really like (the score probably having a lot to do with why I like the movie) Phase 2: Notice who composed the scores in my small collection Phase 3: Seek out more soundtracks by those composers, still within films that interest me Phase 4: Branch out into more and more composers, still within "my genres". Phase 5: Buy a score from a composer of a movie I don't really care for, but I like the music. Phase 6: Buy a score from a composer of a movie I've never seen. I am now a Film Music Fan Phase 7: Buy expanded scores from Phases 1-6 Phase 8: Complete my JW collection Phase 9: Pursue JW non-film work collecting Somewhere along phase 7, I grew to really appreciate the older score expansions more than modern new films. I see so many others interested in modern film scores, and I'm sort of envious, that there's something missing in me that I'm not feeling the interest. I sort of feel my enthusiasm for film music in general peaked but is now diminishing. But it all started with a childlike love of movies, mostly scored by JW.

I dislike my own compulsion to have to buy for sonic improvement. I've no complaints on the previous edition, and could've been happy calling that one "done" for the rest of my years. Yet, here I am experiencing FOMO that the new one will sound that much better. I guess the previous edition was (The Next to) The Last Starfighter. Is this one truly The (Last) Last Starfighter?

Good topic, Gerry! It is, however, one with a complex answer. None of the options in the poll fit me, necessarily. My love of soundtrack albums stems from other forms of music, not really films -- so an extension of my interest in progressive rock and electronic music originally. I'm attracted to them because they have a great concept feel (if arranged properly), much like a prog rock album or a classical symphony. However, as opposed to classical music, film music has a higher degree of "directness" about it. It needs to, because it has a set time within to develop and needs to get to the musical/emotional point quicker. Not much time for ornamentation in the classical sense. This immediacy is an attraction to me.

These interviews are always so cringe. They never know what to ask a composer.

@Jay Thanks for the links about the book. I can write again to the two music editors if you think this version is not the right one. @bollemanneke Thank you for your interest in the book. It is the culmination of ten years of research and four years of writing. The source material comprises 400 referenced sources, including 70 exclusive interviews with directors, producers, and musicians, as well as 30 hours of recorded interviews with James Horner’s family and close associates. I can't remember if I shared this here. Sorry for the duplication if I did: Here is an overview of the chapter on Titanic that will be in the book. The first three lines (39 pages) tell about the creation of the score, month after month. All this work was possible thanks to James Horner's collaborators who shared their memories for dozens of hours. For example, in this chapter there are exclusive recollections from Jim Henrikson, Joe E. Rand, Simon Franglen, Sissel, Eric Rigler, James Thatcher, Sara Horner, Ian Underwood. I'm sure I'm forgetting others. There are of course quotes from James Horner, James Cameron, Celine Dion from the already known interviews. The fourth line at the bottom is the musical commentary.