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Seems like I'll have to be making some updates to the Concert Arrangements section of the SW Thematic Catalogue! Based on initial impressions of the stuff that's genuinely novel in the program: General Grievous: Essentially the same as the ROTS OST track 5 up until the splice that happens at 2:19, where this arrangement just ends. So, 3m7 + 4m4, but not 4m4A. Enter Lord Vader: Essentially the same as ROTS OST track 11. (Entirety of 5m6) Binary Sunset: Nothing more or less than the sunset sequence from ANH, so the middle of "The Princess Appears" (3m1), starting from the the brief arpeggiated intro, through force theme, and with a sustained G-pedal to conclude rather than a transition to the rebel fanfare as in the original cue. Chrome Dome: Essentially identical to TLJ OST track 15 (7m69) Speeder Chase: Presumably taken from the Concert Arrangement from the TROS Signature Edition, or a portion of it. Has a new, tiny (1 measure?) swell to kick things off, followed by a slight reworking of the material 0:00-0:14, then proceeds exactly as the track 5 does. That is, up until the moment that corresponds to ~1:45 on the track 5. Everything following that timestamp is gone, replaced by a short but entirely new and quite sparkly new ending based on the cue's heroic theme. Kind of an odd arrangement -- would work brilliantly if more of the material was preserved from the latter portion of the track. Farewell (Rey and Ben): Just the opening portion of OST track 16, through the complete statement of Rey's theme. No kiss music, no Ben's death, etc. So, almost certainly just a segment of the large-scale concert arrangement we know JW prepared, but not its entirety. Narration on top covers basically the entire plot of TROS after Pasaana. Rise of Skywalker: Essentially the same as TROS OST track 3, up until the end of the tutti statement of Victory (3:30 on the track), segueing immediately to the ESB version of the End Credits (in Eb, so barely justified by the Bb cadence in Rise). Incredibly clumsy transition into credits music, but hey, haven't they all been since AOTC?! The lingering question for me is whether Speeder Chase is verbatim the signature edition arrangement, just part of it, or a new arrangement specifically for this series. edit: Asked and answered by @BSOinsider!

My fun article on the soundtrack, with its prior and current releases, for what it's worth: https://jurassicoutpost.com/the-lost-world-jurassic-park-soundtrack-by-john-williams-gets-a-new-2-cd-release

My story of Alien went on a longer time. I was already a big science fiction enthusiast since the age of six or seven. And there were these little booklets for kids from the farmacy. And it contained a synopsis of three monster movies (each with one illustrating picture). One was King Kong, one was Frankenstein and one was Alien. I had already seen glances of King Kong and Frankenstein and knew what it was about. But as I dodn't know Alien, so this was aspecially exciting as it played in space. One special thing about the descriptions of these movies that it was more or less about, that all these "monsters" are not really "bad". They are just animals following their instincts (except for Frankenstein of course). Anyway, I wanted to see that science fiction movie. My next encounter was in a book store. I used to hang around as a kid in book stores watching movie books, of course specially those dealing with science fiction and horror. There was a picture book telling the whole Alien movie story with frame by frame pictures and a little text for each image, like a comic. That was quite exciting. I was probably 12 or so. Then I saw, that the movie was on television for the first time very late at night. And I had to go to school the next day. I knew, my parents wouldn't allow me watching it. Video recorders didn't exist yet. So I sneaked out of bed to the living room and watched the movie late at night with very quiet sound. It is a miracle that my parents didn't wake up. We had quite a small flat. Of course the chest burster scene (I knew it from the picture book) was more or less cut out. But still I managed to see the film and that was really exciting. I was probably still 12 or 13 or so. Actually, I cannot really remember when I watched the uncut version later. Wasn't so exciting. I saw the movie in cinema only once, when that unnecessary director's cut came out. But I remember having tonns of nightmares from that movie being alone on such a dark gigantic spaceship in the middle of nowhere just with these aliens on board.

5m3 and 7m1 🎺 📯

I didn't know it was horror (despite the now famous tagline).The poster was so mysterious, I just knew I had to see this movie. I actually expected a thriller/action movie in space. I borrowed a friend's (who was 16) indentity card, pinned my photo on it (yes, all quite possible back then), but was never asked for it at the box-office. When the blood appeared on Kane's t-shirt, I really thought I made a mistake and that I was going to find out the hard way what adult movies are truly like. I too saw the 70mm blow-up print of Alien, in the same theater where I saw Star Wars, Blade Runner, 2001: ASO, ...

Like Alex (I think), I was fortunate enough to see ALIEN at the cinema, and in 70mm. Scary as fuck, but brilliant with it. The masterstroke in ALIEN, is not the two minutes of absolute terror, it's the 113 minutes of waiting for it.

Technically, the Indy 5 OST on CD at Disney Emporium would qualify as "unexpected random encounter"...

I got it, coming in October, but if I could get some sucker to pay 2 grand for it, I’d sell it in a heartbeat

COMPOSER ANNOUNCEMENT: JOHN DEBNEY! Wonderful news in my opinion.

"There, like this ... It's leviOOsa, not leviosAAA!"

Mine has landed!

I personally can't understand how this is so mystifying, really. Many scores have multiple ensembles for different types of scene (orchestra, soloists, etc) and it sounds like the number of active recording studios in L.A. is shrinking. The idea of having to go across town a few times to different places, depending on where's available and what they need on that particular occasion, doesn't seem even remotely strange to me. And that's without considering any pick-ups if they decided later in the process that they needed an additional bit of score for something.

I envy your experience of being there at the time of release, and seeing it in the theatre for the first time. My story is a few years later. I was younger than you at the time. Around 11-12 years old, ca. 1989. I was already getting into horror, sci fi and films in general, and had noticed ALIEN being shown on Norwegian telly a few times in the last couple of years, but never been allowed to see it. This particular night, it was shown on Norwegian TV again. I argued my case, my mom was against it. It was too late in the evening, and I was too young, she said. My dad, on the other hand, said I could take it, and in this case he won the argument. Well, both were right, in a way. It's one of the most traumatic film experiences in my life. At the same time, it ignited my whole interest in film in a serious way; I wanted to know HOW and WHY a film could have such a profound effect on me, what were the tools? So obviously hugely important in defining who I am today, and my whole choice of profession. Suppose we all have stories like these.

I was kinda hoping 'Oma Tres' would make a cameo appearance somewhere in the film.

So we'll probably get a competent but fairly unremarkable score.

I got curious how a visual breakdown of COS's original and less-than-original passages would look, and I came up with this image. Green (62%) = new material Yellow (9%) = transitions/adaptations Red (27%) = direct HP1 quotes Purple (2%) = adapted from other scores This is based off of the score proper (no concert suites, tracked music, or alternates) as heard on the LLL set. My criteria were slightly different from Holko's. The "transitions/adaptations" category comprises passages where there's still a strong, clear, direct influence from HP1 material, but noticeable changes have been made - instruments added/changed/removed, chord progressions altered, tempo dramatically changed, new countermelodies, etc. It doesn't include new statements of HP1 themes - if it's a new variation, I've counted it as new.

I think I have that picture book you are talking about. I'll post a photo tomorrow.

The Mission, as featured on the 2019 boxset. I haven't yet compared the sound quality with the original 1986 CD, but I'm confident that the sound has been enhanced. Definitely an audiophile's choice.

Leading up to the film, I vowed to not look at any material from ALIEN. I shunned all magazines, poster books, bubblegum cards, and the like. I refused to watch anything about it, on television. I wanted it to be really fresh. I bought "The Book Of Alien", by Scanlon and Cross, but I read it after I'd seen the film. It paid off. I had no expectations going into the movie. I'd not seen THE DUELISTS, so I had no idea of Scott's previous work. The only thing I had seen was the famous (in the UK, at least) Hovis TV advertisement, with Dvorak playing in the background. To say that ALIEN had as profound an effect on me as CE3K did, would be to tell an untruth, but I know that I will never see a scarier film, and that counts for a lot.

What? They did that in Germany? I know you dub films, but cutting out central scenes like that is taking it too far.

Being stuck on the Amalfi Coast with no people... god how awful ;-)

Speaking of Debney, there is a music featurette on the upcoming 4K release of Cutthroat Island from Studio Canal. Karol

Was listening to Silvestri's Predator today. This was always one of my favorite tracks. I think it has the same vibe going for it.

JW fever is building! Here are some pics from Facebook of the concert hall foyer in Matsumoto (hope it’s ok to reproduce these photos here - if not, please delete)

"That could be a true story!" Always read your contract and the bonus situation before you sign up?

CD Japan has shipped to Germany...due August 31.

Quite a few cuts were used to keep the concert close to the 2 hour mark. The specific cuts are listed by another user earlier in this discussion. Speeder Chase was HL Signature, with a sizable cut from 61-114. Yes, measure 61 in HL corresponds to just about 1:45 on track 5. Farewell (Rey and Ben) was just the opening 15 bars of the 70 bar piece. Rise of Skywalker was also cut short with an added transition as you describe. I anticipate that that specific transition spot will be reworked before the Boston and Japan performances.

Sam Witwer has done additional voices in almost every new Star Wars project He was the Stormtrooper in TFA talking about T-16s I wouldn't read much into this unless he's given a full credited role

OK, my initial thoughts are that this a cool idea for a concert, and that it was largely successful at doing what I felt like it was trying to accomplish. However I kept thinking of improvements they could do to make it even better... I will be curious to see if the Boston and Japan concerts are tweaked at all. Biggest takeaway for me was of course hearing General Grievous, Enter Lord Vader, Chrome Dome, Speeder Chase, Farewell, and Rise of Skywalker live. More detailed thoughts on everything later, but for sure, Speeder Chase and Rise of Skywalker are wonderful additions to a live John Williams concert, and I hope I can see himself conduct them somehow someday!

No, but he loves the movies.

a candidate to Spielberg's best movie. i liked it more with age, weirdly enough.

The September 9 concert is being recorded in video and made available through DG's Stage+

@CGCJ Let me help out with this.. 1m00 Main Titles (Dsitmom) - Danny Elfman 1m01 Ribbon Monster - Chris Bacon 1m03 Strange Awakens - Danny Elfman 1m11 Are You Happy - Danny Elfman 1m12 Wong's Theme - Chris Bacon 1m14a Gargantos Pt1- Danny Elfman 1m14b Gargantos Pt2 - Danny Elfman 1m14c Eyeball on a Stick - Chris Bacon 2m15 Pizza Talk - Chris Bacon 2m16R America Explains the Multiverse - Chris Bacon 2m17 Wanda at Home - Chris Bacon 2m18R Wanda Wants America - Danny Elfman 2m19 Sorcerers Prepare - Danny Elfman 2m20 Sorcerers vs Wanda - Danny Elfman (cues not split) Sorcerers vs Wanda (Con't) - Danny Elfman 3m20a Music Box - Danny Elfman 3m21 Mirrors-Reflections - Danny Elfman 3m22a America Opens Portal - Chris Bacon 3m22b Multiverse Music Jam - Danny Elfman 3m23aPT1 Discovering America Pt1 - Danny Elfman 3m23aPT2 Discovering America Pt2 - Chris Bacon 3m23aPT3 Discovering America Pt3 - Chris Bacon 3m23bS Cafe Source - Danny Elfman 3m23c Discovering America Pt4 - Chris Bacon 4m25 Mordo Spikes Tea - Danny Elfman 4m25END Window Sting - Danny Elfman 4m26 Wanda Possessed - Danny Elfman (not present) The Ice Cream Song - Danny Elfman/Michael Waldron 4m27 Alt Christine - Danny Elfman 5m28 Wundagore - Danny Elfman 5m29 Illuminati - Danny Elfman 5m30 Wanda Wants - Danny Elfman 5m31 Tribunal - Chris Bacon 5m32a Illuminati vs Wanda - Chris Bacon (cues not split) Strange and Mordo Wait - Chris Bacon (cues not split) Illuminati vs Wanda. Pt. 2 - Chris Bacon 5m32b Strange Alone with Mordo - Chris Bacon 5m33 Mordo Fight - Danny Elfman 6m34 Christine Tries to Help America - Chris Bacon 6m34END Hand Sting - Chris Bacon 6m35 Prof X's Mindscape - Chris Bacon 6m36a Corridor Meetup - Chris Bacon 6m36b Corridor Chase - Danny Elfman 6m36bEND Wanda Sting - Chris Bacon 6m37 Book of Vishanti - Danny Elfman 6m38 Looking for Strange - Danny Elfman 6m39a Sinister Strange - Danny Elfman 6m39b Strange vs Strange - Chris Bacon 6m40aS-40b Lethal Symphonies/Wong on Cliff - Danny Elfman 6m41 Wanda Drains America - Danny Elfman 7m42 Strange Dreamwalks - Danny Elfman 7m43 Strange Breaks Rule #3 - Danny Elfman 8m45 Goodbye Christine - Danny Elfman (cues not split) Goodbye Christine, Pt A - Chris Bacon (cues not split) Goodbye Christine, Pt B - Danny Elfman (cues not split) Goodbye Christine, Pt C - Danny Elfman 8m46 Goodbye America - Danny Elfman (cues not split) Goodbye America, Pt A - Chris Bacon (cues not split) Goodbye America, Pt B - Danny Elfman 8m47 Strange Repairs Watch - Danny Elfman 8m48 Main on End (Dsitmom) - Danny Elfman 8m49a Strange Meets Clea Intro - Chris Bacon 8m49b Strange Meets Clea - Danny Elfman 8m50 End Credits Score Suite 9m00 Wild 9m01 Wild Brass Clusters 9m02 Wild Percussion Stingers 9m03 Wild Strings and Brass

I totally disagree with this. I think the piano chords sound absolutely rubbish. Totally doesn't fit the scene.

Surely Zeroh is worse?

i remember Aliens, i was 19 and I loved it. I also watched The Abyss, The Thing and The Thin Red Line that same week.

I have ages ago and may have noticed, but memory fails me. A good excuse to watch it again. 👍 Here's a little trivia... Chris Mueller Jr., the man who sculpted parts of the 'Gill-man', also sculpted the beached orca in Jaws 2. He put a lot of detail in the mouth seen here, which unfortunately was lost onscreen.

That's fucked up. It was a very tense and frightening experience when I saw Alien in 1979. And I was 15!

I went to the movies yesterday for $4!

You're absolutely right. All the cues have been available on GEMA repertory for a while. There are around 140-145 cues in total.

When the bubble becomes an echo chamber. And then the echo is your own voice. And you hear yourself complimenting yourself.

Yes, I think it's the best adaptation so far despite some flaws. The Will Smith one is terrible.

"Andris, she's *my* muse!"

A great score, from a thoroughly underrated film. The dogs of war... The best **** mercenaries in the business Great film.

Agreed! Kiner's score is a mish-mash of styles. At times, Kiner pays proper tribute to Williams' legacy, while elsewhere he drops in a heavy metal song during an action scene. Ugh! It's so bad. And then that tonally bizarre piano that you can hear above for Baylan Skoll during the opening assault on the Rebel ship is laughably bad. It sounds like piano cover you'd hear on YouTube. I mean, props for trying something different but as Ian Malcolm once said, "(They) were so preoccupied with whether they could, they didn't stop to think if they should." -Erik-

I wonder whether, if those shows didn't exist, it would matter that much... I mean the original Star Wars trilogy was nominally set mid-story and each film back filled certain amounts of plot. You just enjoy the mystery of certain elements as, one assumes, they will explain them to the extent required for those who haven't watched the animated shows. It's only because those shows exist do people try to second guess how much you need to know to enjoy Ahsoka. In all likelihood, the answer is you don't need to know anything but if you do know something, you get the joy of easter eggs (I mean, every TV show sequel/remake/spin-off has to be full of easter eggs these days it seems and not just stand on their own). Having said that, I'm thinking this is finally the point at which I don't know if I give a shit about Star Wars any more. I've only seen the first episode, but it felt kinda plodding and not very involving. I'm going to stick with it as hopefully it'll become more involving. The music felt a bit more appropriate and was more interesting than Obi-Wan (although agreed that the Sith massacre section with the piano chords was... a choice) but not as distinctive as Mandalorian.

pretty much confirms the Grievous piece