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Showing content with the highest reputation on 09/07/23 in Posts
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After listening to the OST a few more times, I really appreciate the Antiquity and Archimedes' themes now. I love how authentic the Antiquity theme sounds. If I didn't know the score and someone played to me Centuries Join Hands from 0:23 to 1:00 saying that it was a rejected cue from Alex North's Spartacus or one of Miklos Rosza Roman epics, I'll surely believe it. It's the closest Williams got to scoring something involving the Ancient Greeks/Romans, and he used it as an opportunity to bring back the sound of the old epics. The Archimedes' theme is filled with wisdom, but still imponent, stern and even a little distant. It's kinda like JW's lost Dumbledore theme had he scored the latter Potter movies. Both themes are great, and proof that our Johnny remains filled with creativity even at such an advanced age.9 points
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John Williams & Gustavo Dudamel conduct the LA Philharmonic at The Hollywood Bowl, July 7-9 2023
Andy and 6 others reacted to BrotherSound for a topic
7 points -
The Composer's Thread
WilliamsStarShip2282 and 4 others reacted to karelm for a topic
I composed a cantata for soloists, choir, and orchestra. KE_ATSOS_mid.mp35 points -
The way he uses Helena's theme in "Polybius Cipher" evokes the character herself most imo4 points
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John Williams & Gustavo Dudamel conduct the LA Philharmonic at The Hollywood Bowl, July 7-9 2023
Jay and 3 others reacted to BrotherSound for a topic
4 points -
SPOILER TALK: Indiana Jones and the Dial of Destiny
Jay and 3 others reacted to Datameister for a topic
@TolkienSS I didn't have a problem with the grossness of showing Voller's body, but it did stand out as the only time in the franchise we see the main villain's mangled corpse just lying there. Normally that stuff is swept away by supernatural powers. I was actually disappointed that Voller's death wasn't more gruesome, or at least more interesting. In the past, all the main villains have been taken out supernaturally. And Raiders and TLC gave theirs truly grotesque deaths. Voller just gets a plane crash. I was all ready for him to get rapidly deaged by the Antikythera! Like Donovan, but in reverse. Imagine him shriveling into a screaming fetus and beyond, eventually popping right out of existence, out of time itself! Sorry if I seem sadistic. I'm a pacifist, but when it comes to Indiana Jones, I want to see the boss baddie suffer.4 points -
John Williams duelling with Dudamel and stepping onto to the podium next to him and “co-conducting” The Imperial March is simply amazing, hilarious and charming at the same time. It’s so great to see that Williams at 91 is having the time of his life, enjoying every second of it. What a living LEGEND.4 points
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Theme from Jurassic Park Theme from Schindler's List Throne Room and Finale Flying Theme from E.T. (excerpt) The Imperial March Williams vs Dudamel lightsaber duel https://twitter.com/eddiepence/status/16775991719589683204 points
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Favorite John Williams Scores
Tydirium and 2 others reacted to JWilliamsFan1999 for a topic
Hey guys, My name is Rafie and I am from Clovis, California and I just want to say that I really admire John Williams' amazing scores from Star Wars, Jaws, Indiana Jones, Jurassic Park, etc. However, I would love to know what your guys' favorite JW score is. Let me know and feel free to reply in the comments. Thanks, Rafie3 points -
Last night before second viewing of Indy 5...not exactly random but unexpected:3 points
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Welcome Rafie! Great to have new fans around here Where to begin? Clearly you're well versed in his blockbuster scores, but in recent years I've found his scores for dramas even more rewarding. For sweeping yet intimate, and overflowing with emotional themes and flute & piano solos, check out War Horse: Memoirs of a Geisha is one of his best, dripping with atmosphere and Japanese instrumentation but with its roots in Williams' trademark sensibilities. Beautiful solos for cello and violin throughout. Tintin is modern yet with a foot in the door of his classic blockbuster adventure scores (especially Indiana Jones)! Great themes and swashbuckling tracks throughout: And of course there's Hook, one of his greatest scores. Incredible themes, some of the best action music of his career, and an all-time performance from the LA musicians. Amazing!3 points
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Full show, part I (July 7) Full show, part II (July 7) Superman March (July 8) Yoda's Theme (July 8) Imperial March / Second lightsaber duel and co-conducting / Final applause (July 8) Imperial March / Second lightsaber duel and co-conducting /Final applause (July 8, different angle)3 points
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Favorite John Williams Scores
Cerebral Cortex and 2 others reacted to Thor for a topic
Welcome, Ralfie! There are many previous threads on this topic (I'll leave it to others to link), but it's always nice when someone comes into the forum with unbridled, fresh enthusiasm. I haven't done a top 10 in a while now, but it could possibly look like this at the moment: 1. JURASSIC PARK 2. Return of the Jedi 3. Jane Eyre 4. Angela's Ashes 5. A.I. 6. Hook 7. Indiana Jones and the Last Crusade 8. Far & Away 9. E.T. 10. Not With My Wife You Don't Or something. Except for the top 3, these things change a bit.3 points -
The Custom Covers Thread
12-Mile Reef and 2 others reacted to raferjanders for a topic
3 points -
Watched out of sheer curiosity. Sad old Indy is sad, no surprises there. My conceptual objection to the movie stands unchanged. In and of itself, its not a bad motion picture but it is a very peculiar one. I think the moment that underlined just how much I associate Indiana Jones with Spielberg and that retro aesthetic was the map montage: it just looked so different. But the thing that's really different is the sensibility Mangold gives to some of the storytelling. This film doesn't feel like Logan (nor should it!) but it does share one thing with that film: the wanton, unceremonious killing of bystanders. It happens multiple times in the movie, not to any dramatic effect: its just there. Feels very incongrous in an Indiana Jones movie.3 points
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It was a long and complicated process, though it started very simply with me pitching the idea with a cold-email back in early May. The thrust of what I wrote initially was more academic in tone, and I had a few more examples in mind: the theme from Slalom on Mt. Humol; the key changes from Bug Tunnel/Death Trap; the rhythms of Ants!; that brass canon Belly of the Steel Beast; and even a mention of Falcon Flight from TROS (as proof that JW "still got it" when it comes to action scoring). But during editing, everything was, quite logically, focused down onto more to a few key examples. The biggest editorial note I received was to make it all more autobiographical and assertive in its opinion, which was a tone I was not used to writing in. But I think it worked out -- the personal touch in particular (anyone else have that Kid Stuff album?; it really was formative to me!). Once everything got going -- after Dial came out, primarily -- the editing process was really supportive and pleasant. As far as the multimedia element, I can only point to the incredible design team at the Times. I just specified the timestamps and they worked their magic behind the scenes. I was super lucky that they had access to that high quality, recent video of JW conducting the Scherzo for Motorcycle and Orchestra with Berlin, that was a real coup.3 points
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Indiana Jones and the Dial of Destiny (Score in the film) - SPOILERS ALLOWED!
Edmilson and one other reacted to Docteur Qui for a topic
Eh, it's not like Marion or Leia's themes are anything like their respective characters either - both have similarly abrasive and interesting personalities that are nothing like the emotionally charged and passionate themes Williams gave them. It's just a thing he does to inject some romanticism into his scores, it works fine.2 points -
Favorite John Williams Scores
Martinland and one other reacted to JWilliamsFan1999 for a topic
Thank you so much @Andy, I really appreciate this so much Has everyone here heard his scores for the Olympics? Soooo good as well. And Yes, @Andy, the new Indiana Jones film made me join the forum. I just enjoyed that movie very much that I wanted to show my appreciation for John Williams as well so It's my pleasure to be here.2 points -
Welcome Rafie! Glad you found us, hope you’ll stay. Did the excitement of the new Indiana Jones bring you here? I’m one of the over 50 members here, so I’ve been listening a long time. Rather than list my top 10, I’ll list suggestions for where you should explore beyond the scores you mentioned. To really explore John Williams, you should enjoy trying works from ALL eras of his career. My personal opinion is that ANYTHING from 1975-1984 is absolutely worth your time. And that includes Heartbeeps and Monsignor. So in very rough chronological order: Early Comedies: How to Steal a Million Fitzwilly Both are standouts in whimsical and romantic playful writing that would pop up later in more famous works (and Sabrina harkens back to these) Early Drama: None but the Brave Doesnt get much love, but it shows early dramatic writing promise Westerns: The Cowboys is a must! A fine example of Coplandesque style and Americana. The Missouri Breaks and The Man Who Loved Cat Dancing are both Westerns that use a more 1970s contemporary approach. I recommend them because they both show Williams’ talent and versatility as a songwriter. They have pop sensibility and songs that could’ve and did have lyrics and pop style recordings. Special Mention Period Drama: Jane Eyre You absolutely MUST give this a try. Probably most of us never saw the film, but it doesn’t matter. This will fuel your imagination to conjure up a powerful English period drama in your mind. It’s astonishing this was written so long ago, but parts of it sound like they could be from a Harry Potter mystery. Highly recommended for listeners who don’t need action music to appreciate Williams. 1974 - 1984 masterpieces: The Towering Inferno Arguably nothing in the score reaches the soaring heights of the Main Title, but it’s a fine predecessor to the disaster and action style scoring heard later in Superman. Jaws 2 Some people argue it’s a better score than Jaws. I don’t think so, but it is absolutely glorious. Dracula/The Fury These make a fine double feature of operatic, gothic Williams from his golden period. 1941 its been mentioned, and I’ll add that it is just so much fun. And it sounds like Williams had fun writing it. Heartbeeps Has a bad reputation probably because it’s attached to an unpopular bomb. I’d argue that it’s very experimental, and in its own way playfully romantic. My advice: start with the End Titles. Some of the melodies and intervals are much like the friendship theme from E.T. a year later. The River Sumptuous Americana writing. Some pop style rhythms to make it contemporary. Transitional Years: SpaceCamp An absolute gem that stands out in his transitional years to more mature dramatic writing Far and Away Perhaps my favorite from the 90s. Oozing with charm. Starts out Irish flavored, transforms to American Western. Sublime and thrilling. The Land Race is easily a career best. The Lost World Better than the original. Jazzy, gripping, tribal. This score has a throbbing pulse that doesn’t let up. Hook Richly thematic. Very sugary, but also some exciting swashbuckling music. The kind of writing that would appear in Home Alone and Harry Potter. “Modern” Era: A.I. Artificial Intelligence Complex, frighteningly dark, but achingly beautiful. It took me a few years to appreciate this for the masterpiece that it is. War Horse A more modern take on emotional friendship that proved that although years have passed since E.T. Williams can still get you in the heart with a friendship story between a boy and his, er, horse. Those are my highest recommendations. Honorable mentions go to the Witches of Eastwick , The Patriot, Memoirs of a Geisha, the Book Thief, and Lincoln. I’m sure I’ve forgotten some. The score I could listen to every day and not get sick of it is Indiana Jones and the Temple of Doom. Happy listening, and hope you stick around.2 points
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Indiana Jones and the Dial of Destiny (Score in the film) - SPOILERS ALLOWED!
Damien F and one other reacted to JWilliamsFan1999 for a topic
Here you go, @Jilal and everyone here in the JW forum. A chronological soundtrack of Indiana Jones And The Dial Of Destiny, hope you guys love it.2 points -
The Composer's Thread
WilliamsStarShip2282 and one other reacted to karelm for a topic
Yikes, I provided no details at all. It is from poetry by Walt Whitman and John Gillespie Magee. About reaching towards the untrespassed regions of space and time and being in awe of the drama and spectacle surrounding us...perhaps even to reach the face of god.2 points -
Official Danny Elfman Thread
JWilliamsFan1999 and one other reacted to filmmusic for a topic
Thank you. Of course I recommend it. It has 2 of the most beautiful themes in Williams's oeuvre. (Sayuri's theme and The Chairman's waltz) You haven't heard it yet? The film is quite good too!2 points -
@JWilliamsFan1999, his catalogue is very deep and however deep you dig in it, you'll only find gems. I love his Henry Mancini-inspired How to Steal a Million:, one of his first bigger jobs for a bigger film with big names: Images is a very experimental out there score for only strings and strange percussion, this is the most accessible piece: The complete film recordings of Eiger Sanction are a recent discovery for most of us, and its diversity and emotional power blew our collective minds: Black Sunday is a groovy terrorist thriller score recorded very shortly before the original STAR WARS: The Fury is a grand over the top horror score, a throwback to 50s B flicks and Bernard Herrmann scores: The River is a joyous rich take on 80s rural Americana: Always is mostly a small-scale romantic score with some grand standout powerful moments: Minority Report is a scifi crime thriller from one of his most beloved golden ages (1997-2005):2 points
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Indiana Jones Unreleased Music Resource
Pieter Boelen and one other reacted to Faleel for a topic
"George Might be Next" Narrator: he was.2 points -
What's a score you wished John Williams did?
Not Mr. Big and one other reacted to Alejandro for a topic
I’m a teacher and I like to put Williams music into the film clips I show in class so I don’t get bored. I put General grievous music in the U2 spy plane crash and it worked quite well! And Reunion from Sleepers inserted at the end of Imitation Game and Stanley and Iris all throughout School Ties also was enjoyable.2 points -
Can someone break down what is on film during the pieces on the OST, please? For example I assume Marion's theme during The Perils of the Deep is when Indy tells Helena about his separation from Marion.2 points
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Heck of a montage for “Duel of the Fates”! They got ten films in there! (Sadly missed the relevant scene in Solo as far as I could tell.) This was a treat to watch even at fingernail size. I’ve never seen Williams at the Hollywood Bowl, but as a CSO four-timer, I can’t complain. Every year when these reports and videos surface, it’s like attending a wedding for someone you love: the happiness isn’t quite yours, but you’re glad it’s there and glad to crack off a piece of it for yourself.2 points
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Mission: Impossible 7 & 8
MaxMovieMan and one other reacted to Marian Schedenig for a topic
I think #1 is a very good De Palma thriller (but quite different from the later films), #3 is solid as well, and #4 essentially starts a string of films that form the series as we know it today. Not by rebooting anything, mind you, it's just that the fourth one is where the series finds the formula that it sticks to from that point on. #4 to #6 are uniformly excellent in my mind. Different people have different favourites among those three, personally I don't feel a need to rank them. Except that musically, the last one is a big letdown.2 points -
The Composer's Thread
Manakin Skywalker and one other reacted to michael_grig for a topic
Guess who I tried to imitate here XD.2 points -
Isn't this the score that gave Desplat the ticket to Hollywood, if I'm not mistaken? Well, I can listen to it more "enjoyably" than later Desplat scores.1 point
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What Is The Last Score You Listened To? (older scores)
Naïve Old Fart reacted to Thor for a topic
WHITE EAGLE is about 10 years earlier, but yes -- I can definitely see where you're coming from. There's a lot of TD DNA here.1 point -
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What Is The Last Film You Watched? (Older Films)
PokeDocMatt reacted to Marian Schedenig for a topic
Nyman studied baroque music, published new editions of works by Purcell and Händel, and frequently uses chord progressions by Purcell and Mozart in his own modern compositions. Also, some of the music in The Piano is based on traditional songs and melodies. I'm sure he was aware of what he was doing.1 point -
Indiana Jones and the Dial of Destiny (Score in the film) - SPOILERS ALLOWED!
JWilliamsFan1999 reacted to Jilal for a topic
@JWilliamsFan1999 Welcome to the forum.1 point -
Favorite John Williams Scores
Naïve Old Fart reacted to Thor for a topic
He, he, yeah. Fortunately, a list of 'favourites' is more personal than trying to more objectively assess his 'best' (which is impossible to do objectively anyway), so that leaves space for inclusions like that. SCHINDLER'S LIST is a masterpiece, but it's a tough listen and one I rarely play. NOT WITH MY WIFE YOU DON'T, on the other hand, gives me immensely more pleasure as a listening experience.1 point -
And those were all stylised cartoon violence or mostly offscreen, unlike the camera lingering on gruesome realistic burns.1 point
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Interesting.... and Ordered!!1 point
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Indiana Jones and the Dial of Destiny (Score in the film) - SPOILERS ALLOWED!
Dr. Know reacted to Not Mr. Big for a topic
It often feels like you don't even like film music1 point -
What's a score you wished John Williams did?
mrbellamy reacted to Marian Schedenig for a topic
The Book Thief?1 point -
Why do orcs need sophistocation? They're orcs. Primal ugly violent weird rhythms are perfect.1 point
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Decided to take a little dip into Tintin. The old version of Sir Francis and the Unicorn. As with many other scenes in the film, JW wrote two versions of the cue for Haddock's first vision (in the desert). In fact, the visions were originally organized in a different way: apparently, at first we were just shown two ships, and Francis giving orders [cues The Unicorn (unnumbered) and 1m20A Sailing with Sir Francis, recorded in 2010, were written for this version]. And already in the next vision (in the hospital) we were shown the fight with the pirates, the appearance of Rackham and the beginning of the confrontation [cue 1m21B Old Enemies Meet was written for start of this sequence]. This version can be seen in the featurette about music. That's why the old version is much shorter than the final version. In this version also interesting the pulsation of the drums throughout the cue (3 hand drums and 1 with sticks, dubbed by synth are indicated). The syncing in my video is very uncertain: I'm pretty sure that most of the shots have been redone over the year, but here's my rough attempt. Later, a full-length battle was created, as well as a teasing appearance by Rackham at the end. So in 2011 an insert was written for the end of The Unicorn (4m20R The Unicorn) and a new cue 4m19C Sea Battle. JW strategically adapted material from 1m21B Old Enemies Meet (1:00-1:25 in the video), and used a snippet from the old version (1:42-1:52), but everything else is original material. In fact, the percussion is also noteworthy here: the pulsation now indicated as 3 'pirate' drums was still to be heard a lot, and should even have appeared in the middle of 4m20R. However, apparently, they were already abandoned during the recording, and so the last bars of the insert were retimed, and even recorded without the click track (because the pulsation is now gone). @TheUlyssesian did a video with synced OST version, and I tried to restore this along with drums and other bits: the chime hit for the pirate flag, the glisses of the harps when the pirates descend, the flutes during the piano solo...1 point