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Now that we have less than 50 hours to release, I do just want to take a moment to say how much fun it has been to be a part of this community for the last few years. The possibility of new Star Wars movies scored by John Williams back in 2012 is what got me to lurking on this board and watch to see members speculate if he'd come back. The actual hype up to TFA and the actual score is what caused me to create an account. The last decade has allowed me to geek out with people about film score events in a way that I had always wanted but felt like I had missed out on. Part of me still can't believe we got another trilogy of Star Wars scores and an Indy 5 score alongside more Spielberg scores. Whether or not you like the movie, I hope you all find something to like in the new score. This little recess of the Internet has consistently been a fun little space to geek out on these things, and I've very grateful for it. This is truly the end of an era, and I'm happy to be here for it.

Turns out, every track is titled "New York, 1969."

From 4:09 onwards is a question about Williams. Mangold gives a wonderfully exapansive answer. I really can't wait to see and of course hear that opening sequence.

This is what these last 4 days are gonna look like:

From the Facebook Page of Sarah Willis.

If only there were a podcast out there that would be a perfect vehicle for this kind of discussion… like one that helps to preserve Williams’ legacy… @TownerFan

Me staying up at midnight to hear the raiders march for the millionth time

Also, extremely minor nerdy detail: based on “3M10”, looks like he’s continuing to use the type of numbering he used for TROS, where each reel starts over at 1: 1M1–1M12 2M1–2M12 3M1–3M12 etc. Rather than the numbering he used for TFA and TLJ, where the cue numbers continue to increase throughout the film: 1M1–1M9 2M10–2M19 3M20–3M29 etc.

Yeah, I guess it's Desplat's tendency when working with Wes Anderson, as French Dispatch and Moonrise Kingdom as well as parts of the other scores are similar in that aspect. It usually fits the film's visuals like a glove, but on a listening experience, it can be a bit repetitive. I wish Desplat could go back to doing a piece as exciting and intense as this one for a Wes Anderson film!

And got a great answer out of Mangold too, fantastic insight into his working process with Williams (instead of the usual waxing lyrical). I'm hopeful Mangold might do a podcast on their collaboration, like he did on previous scores.

Thanks for sharing that. That also increased my excitement for the opening and for the movie as a whole. I love the bit where he quoted Williams "I can do 70s films!". Adds to other comments that Williams is really loving and enjoying his latter years.

An untypically subtle, blink-and-you'll-miss-it, use of the dolly zoom:

I just found this uploaded to the Disney Music Licensing website. It's not the fragment of the Raiders March we heard a few weeks back, this is an actual film cue. Sadly we can only access 44 seconds via this website, and it sounds achingly sad. The release date is listed at 25/6, so this should come online imminently. https://www.disneymusiclicensing.com/track/NzkyMDI2MzEtM2MxYWUx

New poster:

How unusual here at JWFan!

Nice find! I love these details!

Even if JW scored Justice League the Snyder fanatics would still find a way to complain about the score being "too orchestral" and traditional and how Junkie XL is a superior composer bEcAuSe He WrItEs EpIc ScOrEs

Dunno if it has been posted yet but French Horn player Sarah Willis just posted a cue sheet front page 'Whip at a Gun Fight' from the sessions on her facebook page. https://www.facebook.com/100044566721973/posts/pfbid0dwDrqpsDddP3CST3anVF7PvSriLZdZTFXDJ2QHZhBRuQjsYatCEgrH6hAg7QxNdYl/?mibextid=Nif5oz

That's where she's kept now.

One of my favorite Silvestri themes and scores, it's a must!

Brett Mitchell has a piano cover up: Reminds me of the Rise of Skywalker concert arrangement when it's played on piano for some reason. Hollywood (as an industry) and Los Angeles (as a county) were among the most cautious in the world in easing restrictions. The 'Return to Work' agreement only expired in May, and this recording was done in February.

I thought he did a good job

Tell us what you really think!

#JerryGoldsmith 🌆🕵️‍🚗💧🔍👄

Based on the waveforms of New York, 1969 and the Raiders March snippet, shown below respectively, I'd say no

It plays when he goes to the store

What are you telling us Jay. Are you leaving us?

Re: The Indy Jones Collection ... it could easily be done but I can't think why you'd want one?

Much, much better than the previous one

That too https://twitter.com/DisneyMusic/status/1671256551229911040

Great song!

I know all that, dude, but it's still 100 times the film that TROS is.

A modern WESTERN. Any one of them, I don't care which. It's a shame the Cowboys was really his last word on the genre. Far and Away gave hints at how magical it would've been.

Yeah I had that version and was underwhelmed for years... until the FSM edition came out with much better sound: https://www.filmscoremonthly.com/cds/detail.cfm/CDID/452/Poltergeist/ FIVE: 4/ Giving DeForest Kelley his best acting opportunity in the entire series, for the scene of his "secret pain". 5/ Honestly, despite treating the supporting cast like shit (after they'd had great roles in the previous two Nimoy-directed entries)... in terms of the central trio of Kirk/Spock/McCoy, this is really some of the best character interaction we ever got. Also 1:32-1:51 of this is a great Trek moment IMO: Uh.... probably? My brain is saying The Other and Raggedy Man, but I'd have to go back and double check. Yavar

Fun to think about if he had returned to score the Lost In Space movie.

I hope it doesn't surface early lest my Electroweak and Strong Interactions exam be doomed

#JohnWilliams 🌍👽⚡️🚀🔥💔

And still I disagree with the statement, that Williams' style is not suitable here. Imagine a score more related to War of the Worlds, Dracula, maybe Far and Away for the folkloristic parts. And please now, don't take these 1:1. Because I am sure, he would have come up with something uniquely brillant. From what you say, I guess you would have never trusted Williams to write a score like Memoirs of a Geisha or Images because you don't see these kinds of scores in his spectrum. But he can do these things. He can do anything. He's an expert.

Why do orcs need sophistocation? They're orcs. Primal ugly violent weird rhythms are perfect.

If anyone's interested in hearing a small compilation of the best the score has to offer, I did a small suite of my favorite parts of the score, with all the different sections of the main theme. It's a classic Desplat-Anderson collaboration, and while it tends to get a bit repetitive (similar to what happened with Moonrise Kingdom), it's a nice addition to their works together, and it has some really beautiful parts. Even so, Grand Budapest Hotel remains my favorite score of their collaborations!

Finally saw Interstellar. God damn. It may be my new favorite Nolan film. Previously, the films I'd seen were probably ranked The Prestige > BB > TDK > Inception > Memento > TDKR. All have elements I love and elements that irritate me. So does Interstellar, but the ratio is different. Blew me away.

He's leaving to start a site called hzfan.com

Battle of Hoth is also compromised of several smaller cues. Yes, TLJ opening was butchered in the movie, but are you seriously not hearing any dramatic arc in the OST track? I do agree that the ST seems to have smaller musical cells but damn some parts in TLJ, like this one, are an exception to that. Also Way of The Force/Scherzo for X-Wings (FYC version, in the movie!), just to name an example. Coherent arc that goes on for minutes, even in a JJ Abrams movie. It is possible.

Fixed.

John Williams fans: "JW is getting so lazy and unoriginal! How dare he re-use parts of his other scores?" James Horner fans:

New covers for Indiana Jones and the Dial of Destiny