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Ask them if it got cancelled because LLL are working on a new expansion and the old version could no longer be licensed

I don't understand this continuity and canon talk. Why even do stories about characters in universes and timelines we know if you're just going to actively contradict preestablished things that happened or will happen, things we and they know, ways they did or will act?

I was originally going to watch the episode and wait until the credits to see who scored the episode, but decided to check IMDB first. To be entirely honest, I was initially unenthused seeing Kevin Kaska's name; I had not heard of him previously, and his IMDB repertoire was... oof. But holy shit was I wrong! The score was incredible, easily the best TV (or film!) score I've heard this year (and maybe even last year?) His writing fits the show like the glove, and had I not looked up who scored the episode first, I would've easily thought it was McNeely or Debney. I too am very glad to have him on board!

I have always disliked Beethoven's ninth for the same sort of reason--I'm not interested in joy.

You could also add his age in there. Not joking, he's a motivation for me to stay healthy, and keep the mind healthy as an exemplar of getting every drop of enjoyment out of life without your physical limits dragging you down. He's definitely inspiring in his grace and kindness. Seems like the kind of guy who would take a lot to loose his cool. (Looking at you, America, the Dream Goes On). I love that he is humble and articulate, graceful and kind.... everything you would want him to be. His persona is precisely the humanity that you hear in his music, and that's really really cool. I consider myself a work in progress, and I'd like to think I'm moving towards trying to keep calm and be like Johnny. Role model? Definitely. Live a long healthy life, and make yourself and others happy with what you put out there.

Having watched the second episode (most of it, anyway) half-dead after a party night hangover i have to conclude: this was written and conceived by and for first graders, and not particular bright ones. The 'narrative threads' - if you want to call them that - are set up so transparently and often by deadening dialogue exposition that you can feel George's musty old directing fingerprints all over it, even if he doesn't seem to have anything to do with it.

I think the in only scene I've enoyed so far was the one with Obi-Wan and the Jawa in the cave. I'd much rather have a show centered around Obi-Wan living a somewhat clandestine existence in Tatooine than another galactic adventure with winks and nods to movies and meeting. legacy characters. It helps that my favorite sequence in ANH is also the journey of droids till they meet Luke

Just Seth showing yet more reasons why he's a great creator who values the composer.

The Emoji Movie by Patrick Doyle How did that movie inspired him that much that's beyond me. At least this score is really nice and fun

As much as anal-retentive collectors beg for every partial alternate of a 8-minute cue that has a different triangle run from 06:12 to 06:14, it makes most C&C editions really a seriously annoying thing.

Thanks to Multiverse of Madness, I've been binging Danny Elfman scores over the last few days: Doctor Strange 2 Nice! My favorite score this year so far. Planet of the Apes Okay, but the complete score drags and is a bit repetitive. One of the themes reminded me of Zimmer's Dune. Mission: Impossible So much fun! Edward Scissorhands Elfman's masterpiece. Sleepy Hollow Pretty good too, but I think I'll edit down the main score in the future, the complete score gets very repetitive by the end.

Here's one more for Centennial Overture Bingo!

I think the playful theme is almost hummable--a nice hybrid between his concerto and film themes. I like that the Horray for Hollywood motif plays as a sort of b-theme with some little variations--like it waiting its turn to shine at the end.

According to IMDB, Mark Mancina is scoring the upcoming animated Netflix movie The Sea Beast from the director of Big Hero 6. Think it could be quite a promising project based on the trailer and description…

That's not the only Disney Era SW sound I hear in this -- there's the opening motif of TROS's Friendship theme (G-A-F#-G-C), and the rhythmic profile of that Sabrina-esque metamotif he loves using (G-F#-Ab-C) sounds like some of the Tension and First Order music motifs. It's just pure Williams goodness, from start to finish: nothing we haven't heard before (inc. the Shostakovich and Walton echoes) but put together in a really compelling overall package. There's some of that impertinent comic scherzo style of his that I can never get enough of. The overture seems more developmental and motivically disciplined than usual, though curiously at the expense of a big, extended hummable tune. @Ludwig, correct me if I'm wrong, but is there what you'd describe as a traditional "grammatical theme" at all in this piece? Makes it tricky to know what to transcribe.

You will prolong your life by not listening to any of them.

I frequently ask myself at concerts, when 80 musicians at a classical concert manage to be there ready on time, why are then always these three to five guys from rock bands about an hour late at their own concerts?

You're right about that! He's very punctual too...I met him once backstage and asked for a quick picture. It was 9:00am the exact second the rehearsal window started. He said "at another time because rehearsal was starting". The orchestra was already tuned and he was at the podium by 9:00 and ready for a downbeat. No extra discussion or anything, not in a rush, just in total command of the schedule.

Tom has a lot of haters and he has made many blunders but I will follow him on any impossible mission and he can take me to the edge of tomorrow anytime.

I'm surprised the cinematographer manages to get any shots of Obi-Wan at all, with the sheer amount of times he's running away in this show.

The TruthbenderTM

Surprised you haven't heard of Kevin Kaska @Manakin Skywalker. He actually reconstructed Williams' Superman for Varese re-recording. And he co-wrote Lair video game score with John Debney. In fact he wrote some of the better action cues for that. And he also released an album with a collection of his very "filmic" standalone orchestral pieces: Karol

Oh god, so much this. There's a ridiculous amount of cases of productions trying to fit a round peg in a square hole and it's like no wonder everything is a mess Directly in the movies yes, but I wouldn't be so sure about those ideas not being in mind during the making of A New Hope. Take a look at this excerpt from an interview George Lucas did for Rolling Stone in 1977: Highly recommend people check out that whole article, some incredibly fascinating stuff that directly challenges a lot of the ideas that seem to be commonplace these days about how Star Wars was always meant to be camp and not take itself seriously: Archived version: https://web.archive.org/web/20201109030120/https://www.rollingstone.com/feature/george-lucas-the-wizard-of-star-wars-2-232011/

This. From their dialogue its not even clear that their parting involving a clash of swords. The idea of a duel and certainly the idea of Vader being a burn victim were both later additions in and of themselves. My favourite thus far is Leia and Obi Wan talking about the Force. "Luke, you have a power I don't understand". Quite.

And if the excuse will be that otherwise you can't give the character the emotional arc you want - first off, so far we're not seeing a well done arc, secondly, why not do something else with someone else sometime else then?

Must. Have. Every. Cue. Every. Alternate. I. Am. Borg.

JW is an example to me of dedication to one's work. He doesn't speak to the notion of passion much, but his love of music is clear. He is an inspiration to me. I also appreciate how in control he is of his own time. He is polite but not particularly generous with his time. This has been touched upon in several interviews with people who know/work with him. JW is always polite, but very conscious of his own time. He is very disciplined and that quality resonates with me.

I’m on record that continuity is a death cult and that much like the major comics companies were before it (and will be again), Star Wars was well served by a continuity reboot. However, that ComingSoon article isn’t actually talking about continuity, but is talking about an assumption we all made based on Vader and Obi-wan’s dialogue in Star Wars about when they last met. It’s a logical assumption, likely the MOST logical, but still just an assumption.

I'm talking less about the official Disney statements and more about a lot of the actual fans defending it (on Twitter and various forums). For Disney properties especially, it seems like a lot of the supporters dismiss any detractors as having some kind of moral failing (racism, sexism, etc). There are of course a lot of actual racist fans but I feel like a lot of legitimate fair criticism is being shot down on false moral grounds.

The Disney statement on racism was specifically directed towards people sending explicitly racist comments and messages to an actor. Other people who didn’t like the series assumed (it had something to do with) (the world revolved around) them and got their knickers in a twist.

Very interesting poll. I cannot say that practically I have not chosen to do or not do anything consciously following Williams's example. However, I do think his discipline is a concrete way of showing what it takes to be successful in the long-term. Natural talent is necessary, but it is rarely sufficient for a lifetime of success--hard work, even when tedious and boring, is just as necessary. I appreciate his modesty. I know it could just be a social affect, but it still is preferable to insufferable arrogance shown by many in all ways of life. Plus, he is an example of my theory on the key to a long life: avoid manual labor at all costs.

Kenobi VS Vader ‘Music’ 3.52-4.16 https://youtu.be/7Bsa4Nq1TuI?t=232 Was this the temp track? 7.24- to end. https://youtu.be/4FgHkfi-9Cs?t=444

Along with being talented and in tune with audiences, Spielberg is kind of a perfect storm in Hollywood of somebody who has a million friends (don't forget he produced three Columbus scripts), commands a lot of respect, has experience as director, producer, and executive that makes him uniquely skilled at navigating artistry through studio politics, and on top of it all is very nice, makes himself available, and probably knows how to give effective feedback while still being supportive. And he would know what kind of note to give based on where they were at, e.g. if there were no chance of reshoots he'd focus on post-production fixes. I'm no longer surprised whenever I see some interview or article mention that Steven Spielberg gave input at some stage of the process. I have no idea how he has the time for all this.

For all the soundtracks I bought, I came to realize I really only listen to my favorites and anything else was just padding out my library. I listen to, for example, Rocketeer when in a Horner mood, I don't need Perfect Storm. When the mood for the latter ever comes (and it isn't often), it's on YT/Apple Music anyway and I can just listen to a suite or whatevs.

I wish i would find something in these old chestnuts, alas...

Four at a time. Guess, to which one I listened first.

The bit about Vader fighting with Kenobi and falling into a volcanic pit was already included in the fourth draft of "The Adventures of Luke Starkiller as taken from the Journal of the Whills, Saga I: The Star Wars".

I do think Nick, as much as some of these plot developments do really, really, REALLY not inspire confidence, the show deserves - ahead of its airing - all the good faith that this board extends to that slew of Star Wars shows.

Here is the Japanese SACD edition unboxing @lairdo@lairdo It's Stereo..

This is for sure part of it. Paramount said "about 55 percent of ticket buyers were over the age of 35" for the opening weekend, which is unheard of for a modern blockbuster.

Muldoon and Hammond set to return for Jurassic World 4.

Fixed.

Ooh, going back in time, are we? KOTOR2 had some pretty good music. Hopefully TFU gets one too. Quick, somebody upload the two promos and see if they get copyright-struck!

I watched Episodes 1 & 2 so far and it baffles me how Holt not uses Williams' Themes... so I rescored the Rooftop Fight / Leia's Rescue scene (more or less in JW's style) with Obi's Theme, Leia's Theme and the Force Theme. I kept what I think is Reva's Theme because I quite liked it.

I got my copy I kind of envy those who are hearing this for the first time

Skimming a few tracks on Spotify now. There are some occasional moments of 'that's not bad, I guess'. But it's still got essentially all of the hallmarks of a typical RCP score where no one's gone for any sort of originality. It even sounds crap, like someone's uploaded a really bad 128k mp3 transcode. (I hope to god that the artifacts causing that reaction aren't intended) The bit I don't entirely understand is why a short album is the outcome of a troubled production. Perhaps the composer ultimately doesn't feel it's their best work so they don't want to release large sections of it. But in this case it sounds like the film has little score to begin with, which begs the question even further of how it takes so many composers to produce such a small amount of music, which varies from functional to downright rubbish.

Apparently Spielberg had Herrrmann in mind for Close Encounters.