Leaderboard

I wonder what a potential tracklist would be. 1. Main Title: New York, 1932 (4:06) 2. Dead Composers Anecdote (3:54) 3. John Meets Steven (2:34) 4. George's Theme (11:38) 5. Dead Composers Anecdote (Reprise) (3:54) 6. Arrival in Boston (4:35) 7. The Microediting Montage (15:48) 8. Dead Composers Anecdote (Reprise) (3:54) 9. Scherzo for Turtleneck and Orchestra (2:49) 10. The Lasik Scene (5:23) 11. Journey To Tanglewood (3:45) 12. Dead Composers Anecdote (Reprise) (3:54) 13. Welcome To Vienna (1:42) 14. Turning 90 and The Adventure Continues (7:03) 15. Dead Composers Anecdote (For Violin And Orchestra) (feat. Anne-Sophie Mutter) (4:21)

Well yeah, that is the thing I especially don't want is for this thing to be stacked with actors who starred in John Williams movies but actually had little or nothing to do with his work or even knowing him very well as a person, like the AFI Lifetime Achievement award ceremony. I love Mark Hamill and his enthusiasm but I don't need him talking about how amazing it was to hear Star Wars for the first time. But good odds he'll be in here to tell me again! The interviewees I want to hear from regarding his film work are directors, editors, mixers, orchestrators, of course the musicians themselves. Many of these people are gone but not all, and there are always archival interviews. I would be more impressed if the lineup looked more like The Legacy of John Williams podcast guestlist than the casts of his movies. It shouldn't be that weird! A WWII documentary would be filled with first-hand accounts from absolutely nobody you've ever heard of yet movie-related documentaries can often use famous actors as a crutch. Milquetoast music documentaries are the same way which can end up with vague analysis of the end results and its legacy, when you really want to know what makes someone tick and how the sausage is made. That's what was so miraculous about the Get Back documentary. There was a great tweet saying the awful, ultra-slick version of it would have had the footage interrupted frequently with shit like Dave Grohl saying "Without The Beatles, there would have been no Nirvana." The bottom line about wanting this to be about process is not to uncover exactly how his mind works when he's writing music, because that's impossible, but there are things we can observe about how he works as a creative professional, especially him on the podium at sessions or at the mixing board or if Spielberg ever filmed him playing and talking through themes on piano. I would also love if they just interviewed him about his music AT the piano. Then he's not just sitting there saying "Dun dun dun dun" or talking about chords, he can demonstrate what he's talking about, that would be fantastic too. Just putting him against a black screen describing music to me, less interesting. I've seen it before. The other trap this documentary can fall into in covering his entire life is to be so broad that it lacks specificity. Not just skimming over areas of his career but also generalizing his personality. That's what actually sucks about ass-kissing and saying "He's so nice." I'm sure it's true that he's nice, tell me why he's nice! I've never met the man, he seems very nice. But other than just watching him for myself in interviews I don't have that many real anecdotes about why people have unanimously come to think he's so damn nice lol. So if this documentary ends up telling me over and over how this man is so nice, or smart, or charming, then please load it up with actual stories. But of course there's more to the guy than that. It doesn't mean there's a scandal waiting to happen (better not be) but stories like Lukas Kendall asking Williams if he ever "geeked out" on anything as a kid like soundtracks and movies, and Williams witheringly replied "Girls." There have to be millions of stories like that which aren't necessarily him being "nice" but shade different sides of him in interesting and funny ways we've never heard. I'm sure they'll have a few nuggets from his family.

They should interview Abrams and ask him about nothing except the tracking in TROS, then scold him accordingly.

You are going to need someone better than a JWFanner to compose this piece.

I recently updated the (chronological) bibliography on my website, which I am sharing here in case that may be of interest to anyone. I tried to make it as thorough as possible, although I'm sure several other sources exist. I excluded all dissertations/theses, interviews, and newspaper articles. You can find the bibliography here: https://sites.google.com/view/johnwilliamspiano/bibliography

I think the end credits of the documentary should have this little moment from Revenge of the Sith BTS where Kenny is trying to get them to raise the music over the sfx playing in the background:

PS. Johnny initially thought that I would need a better composer than him for the project.

Lmao

Nobody hates JWFan more than you do I wouldn't be so sure, why else has Spielberg been keeping all his recording sessions footage secret?

Small update: Spielberg is currently editing a documentary centered around his longtime composer, John Williams. That’s been taking up most of his time. https://www.worldofreel.com/blog/2023/10/25/9q4ycdqgif8m49o49d4cy18p19a47q

It's Friday again. Realizing that I just repeated myself with another track from the Connie Haines album earlier, I had to make a txt file with my own (and everyone else's) picks in this thread so as not to repeat albums too much. At some point, one reaches the end of the albums, obviously, and will have to repeat. But that's OK. Anyways, today's selection is from the 1957 album HOLIDAY IN SPAIN by the Lew Raymond Orchestra. Williams appears as pianist on two tracks, including the show-off number "Malaguana". Just listen to Williams flowing freely across the keys, capturing the Spanish temperament of the music. Goosebump-inducing! Alas, I could find this album neither on Spotify nor YouTube, but I've uploaded it for you here: 02 Malaguena.mp3

Daniel Radcliffe: You need a better interviewee than me for your documentary. Steven Spielberg: I know, but they're all dead.

These are supposed to be dropping in Japan 1 week from today, and there's still no cover art available at either Ark Square or Tower. The releases are not up on Amazon JP yet, either. HOWEVER, Tower Records' website has been updated with the tracklists, and guess what? It's not the OST albums for the original trilogy, but the 2008 Concord programs. https://tower.jp/item/6194577/Raiders-Of-The-Lost-Ark https://tower.jp/item/6194515/Indiana-Jones-And-The-Temple-Of-Doom https://tower.jp/item/6194599/Indiana-Jones-And-The-Last-Crusade https://tower.jp/item/6194503/Indiana-Jones-And-The-Kingdom-Of-The-Crystal-Skull So there you go.

Holt has confirmed in a reply on twitter that there will be 2 volumes. (See below) My theory: This episode's ending I feel is gonna have repurcussions for the whole MCU and I think the final 2 episodes are gonna be big. So I wouldn't be surprised (because no music was released this week) if the first volume of music is from episode 1-4 and and the 2nd for the final 2 episodes. Just a theory. It also could just be that the album wasn't ready yet

Agree! Great episode. I feel Loki is the best Marvel has done in the last 3 or 4 years. It has its flaws, but it also has real emotions, and it feels like something is about to happen, making you more invested in the show and its characters, while in other recent Marvel stuff you never feel like there are any real stakes at all. I hope they can conclude the season on a high note, and finally establish Kang as the ominous and powerful villain he's supposed to be! There haven't been any news on the music yet, so I guess they will do a single album when the season is over. I hope it's a long one!

I'm not sure it's "self-indulgent" to have the whole thing scored by licensed Williams music. It IS a documentary about him, after all. I can't remember if there was any original music in Tornatore's Morricone documentary, but as far as I could hear, it only contained the maestro's own music, sometimes playing underneath talking heads, sometimes allowed display in full scenes for maximum impact. I'm guessing the same will apply here. What I'm looking forward to the most -- and what Tornatore didn't have to the same extent -- is all the footage that Spielberg shot on the recording stages himself, presumably all the way from THE SUGARLAND EXPRESS onwards. THAT will be interesting to see and hear, as I've already seen every single film that John Williams scored (and 75% of his television work).

WOOOOOOW! Episode 4 of season 2 was a rollercoaster. After last week with the stuff they did with Miss Minutes I thought they couldn't top that. But this episode went beyond. I am gonna talk about spoilers below, so beware if you haven't seen it yet. The box kill scene was fantastic. The way Miss Minutes looked when it happened was so creepy. And I'm surprised that Disney let this show go that dark. As for Miss Minutes' "death". That was cool. Very spooky. I love how menacing they were able to make a cartoon clock. Then for the final moments with Victor Timely. I was so shocked when he turned to spaghetti. That was incredible and then that cliffhanger ending! Where is this seties going??? This felt truly like a season finale but we have 2 more episodes to go. Will this set up Kang as the villain he should be? Will have anything to do with Deadpool 3 or Secret Wars? Personally, I feel that the timelines have been reset and all the characters are back to where they were taken from. It feels like something very big is coming and I'm here for it. This is the Marvel that I love! After Ant-Man 3 & Secret Invasion were downers, this is truly Marvel at the top of their powers. Now let's hope it continues beyond Loki.

Original score coposed by Hans Zimmer Michael Giacchino Original themes by John Williams adapted by William Ross The City Lights Orchestra Lucerne of Prague Philharmonic Orchestra conducted by Dirk Brossé

Conan films coming from Arrow with iso scores! https://www.filmscoremonthly.com/board/posts.cfm?threadID=152483&forumID=1&archive=0 Conan the Barbarian and Conan the Destroyer FINALLY announced for 4K It's a day early, so no official announcement straight from the source, but the fine folks at Arrow Video are going all out, as they're not only handling both films as individual and lavish releases, but also throwing out a two-film set for folks that want both in one convenient package: 4K ULTRA HD BLU-RAY LIMITED EDITION CONTENTS - Brand new 4K restoration from the original negative by Arrow Films - Double-sided fold-out poster - Six double-sided collectors' postcards - Illustrated collectors' booklet featuring new writing by Walter Chaw and John Walsh, and an archive set report by Paul M. Sammon DISC ONE – FEATURE (4K ULTRA HD BLU-RAY) - 4K (2160p) Ultra HD Blu-ray presentations in Dolby Vision (HDR10 compatible) of three versions of the film via seamless branching: the Theatrical Cut (127 mins), the International Cut (129 mins) and the Extended Cut (130 mins) - Newly restored original mono audio and remixed Dolby Atmos surround audio on all three cuts - Optional English subtitles for the deaf and hard-of-hearing on all three cuts - Archive feature commentary by director John Milius and star Arnold Schwarzenegger (Extended Cut only) - Brand new feature commentary by genre historian Paul M. Sammon, author of Conan: The Phenomenon (Extended Cut only) - Newly assembled isolated score track in lossless stereo (Extended Cut only) DISC TWO – EXTRAS (BLU-RAY) - Conan Unchained: The Making of Conan, an archive documentary from 2000 featuring interviews with Schwarzenegger, Milius, Stone, Jones, Lopez, Bergman, Poledouris and several others - Designing Conan, a newly filmed interview with production artist William Stout - Costuming Conan, a newly filmed interview with costume designer John Bloomfield - Barbaric Effects, a newly filmed interview with special effects crew members Colin Arthur and Ron Hone - Young Conan, a newly filmed interview with actor Jorge Sanz - Conan & The Priest, a newly filmed interview with actor Jack Taylor - Cutting the Barbarian, a newly filmed interview with assistant editor Peck Prior - Crafting Conan's Magic, a newly filmed interview with visual effects crew members Peter Kuran and Katherine Kean - Barbarians and Northmen, a newly filmed interview with filmmaker Robert Eggers on the film's influence on The Northman - Behind the Barbarian, a newly filmed interview with John Walsh, author of Conan the Barbarian: The Official History of the Film - A Line in the Sand, a newly filmed interview with Alfio Leotta, author of The Cinema of John Milius - Conan: The Rise of a Fantasy Legend, an archive featurette on the film's literary and comic book roots - Art of Steel: Sword Makers & Masters, an archive interview with sword master Kiyoshi Yamasaki - Conan: From the Vault, an archive compilation of on-set cast and crew interviews - A Tribute to Basil Poledouris, a series of videos produced by the Úbeda Film Music Festival, including video of Poledouris conducting a concert of music from the film in 2006 (remixed in 5.1 surround) and interviews with collaborators such as Paul Verhoeven and Randal Kleiser - Rarely-seen electronic press kit from 1982, featuring over half an hour of on-set footage and cast and crew interviews (from a watermarked tape source) - Outtakes, including a deleted cameo by Milius - Split-screen "Valeria Battles Spirits" visual effects comparison - Conan: The Archives, a gallery of photos and production images from 2000 - Conan the Barbarian: The Musical, an affectionate comic tribute to the film by Jon & Al Kaplan - US and International teaser and theatrical trailers - Image gallery 4K ULTRA HD BLU-RAY LIMITED EDITION CONTENTS - Brand new 4K restoration from the original negative by Arrow Films - 4K Ultra HD Blu-ray (2160p) presentation in Dolby Vision (HDR10 compatible) - Newly restored original mono audio and remixed Dolby Atmos surround audio - Optional English subtitles for the deaf and hard-of-hearing - Archive feature commentary by director Richard Fleischer - Archive feature commentary by actors Olivia d'Abo and Tracey Walter - Archive feature commentary by actor Sarah Douglas with genre historians Kim Newman & Stephen Jones - Brand new feature commentary by genre historian Paul M. Sammon, author of Conan: The Phenomenon - Newly assembled isolated score track in lossless stereo - Casting the Destroyer, a newly filmed interview with casting director Johanna Ray - Cut from a Different Cloth, a newly filmed interview with costume designer John Bloomfield - Dune and the Destroyer, a newly filmed interview with art director Kevin Phipps - Swords, Sorcery & Stunts, a newly filmed interview with stunt coordinator Vic Armstrong - Behind the Destroyer, a newly filmed interview with John Walsh, author of Conan the Barbarian: The Official History of the Film - Conan: The Making of a Comic Book Legend, an archive interview with writers Roy Thomas & Gerry Conway - Basil Poledouris: Composing the Conan Saga, an archive interview with the composer - Theatrical trailers - Image gallery - Double-sided fold-out poster - Six double-sided collectors' postcards - Illustrated collectors' booklet featuring new writing by Walter Chaw and John Walsh, and an archive set report by Paul M. Sammon The street date for all three releases is currently January 16. I'm still astonished that Universal missed the big 40th anniversary for the film in terms of a home video release and limited it to just some screenings of the first film, so Arrow is more than making up for lost time with how stacked the release is for the first film, featuring all three cuts and what sounds like a very substantial extra for Basil Poledouris' iconic work on the film featuring performances of the score in 5.1 surround sound. And while I'm no fan of Destroyer, it is good to see that they're not letting fans of that film (of which there are many!) wither on the vine with what appears to be a very impressive release for that film as well. Perhaps this is what's best in life after all!

The big question is: who the heck is gonna score this doco? It's way too important to have generic library music, and seems potentially self-indulgent to score the whole thing with licensed Williams music. Thomas Newman might be a fitting choice, or even Randy if Spielberg wants to complete his Newman Brothers trilogy. He could even write a song - Big Baton, Lotsa Cattle!

Indeed. Well played Disney!

NEW SCORE AVAILABLE: Amazon Studios Silver Dollar Road (Alexei Aigui) [23 cues] [Link: https://amazonmgmstudiosguilds.com/titles/silver-dollar-road/?type=listen&id=653aadcab59b2#in-depth] I’ll get the individual audio file links and other information updated tomorrow.

Yes, on my way home - a brilliant evening.

It's already sold out.

I think we have the poster sorted already… bless you Gary Larson.

In the same FSM thread, MV says: Of the Eight titles I previously wrote of... Five Titles are officially locked for Black Friday 2023 One title has been moved to 2024 And the remaining two titles are still in approvals. If they don't get cleared by months end they too will move to 2024 MV And then Mike Matessino says: My five! Or to be fair I should say four-and-a-half. One started when the president was vice president. What a year. TGIF.

A fellow Ladyhawke appreciator!!

There is some gorgeous stuff here. And it's two of my great loves: Star Trek and Blender! I don't believe so.

That's a great sell-in, Under-Terrestrial! Lots to like in what you said. Alas, I didn't have the immediate love of the track you shared, but I'll definitely check out the whole album. Thanks for the tip!

More like a year and a half, Tim's announcement said Spring 2025

Come to think of it, if it's SS editing his recording session videos, are they even going to need a score for the most part? Unless this is going to be an hour of backslapping and praising Williams, in which case this forum goes wild, and I'll go and hibernate somewhere

Very much the DNA of his other famous score, THE MAN FROM SNOWY RIVER, complete with drum kits so it almost borders on LSO Plays Classic Rock kitch, but I love that, so it gets free pass. Übermelodic and pastoral, very nice. Rowland is still around at 81, by the way, although I haven't heard anything from him in decades.

First cue released

Definitely. DOD was expected to go through the roof. In the end, it barely reached the first floor mezzanine. If The Mouse isn't careful, it'll be in the same state that it was at the beginning of the '80s - losing money hand over fist, and with a lot of staff leaving.

David Yates Says Fantastic Beasts Franchise Has Been “Parked” by Warner Bros

It’s against the rules not to post a link, Bes! https://fb.watch/nWKrlqLFT0/?mibextid=cr9u03

My voice to text shenanigans The other day I said Price is Right it heard Christ is Right

Don't worry. Even though the soundtrack is now longer than the movie itself, there's still stuff missing. Like that 6-8 min. long Venice Club source cue he composed.

Right now I'm a hundred times more excited about the idea of receiving the Blu-ray with iso score than I am about finally getting this score on a piece of plastic.

I completely agree. I get that people were asked not to share details about what was discussed, which is fine. But not that many people are even sharing general impressions, who they met and interacted with, stories of hanging out before or after, etc etc. It's surprising!

No, I don't think that's right. As with everything in life - but particularly with art - you don't look at what the artist say, you look at what they do. So, rather than using what George Lucas said about Star Wars, you look at the films themselves for what they are. Lucas is hardly the first filmmaker to try and present his work in a light that's incongruent with the way it plays to audiences, but he's probably the most tendentious.

Stop whatever you are doing and go immediately to listen to Mahler's 2nd symphony!! (seriously, it's one of the greatest symphonies ever written by anyone - especially due to the last three movements)

They have to mine the raw materials to make the c.d.'s

Although I have attended a lot of concerts featuring John Williams' music for the Star Wars films over the years, this one had so much that I had not heard live in concert before. You could tell the concert had been put together by genuine Williams fans, so well done to @mahler3 (whom I spotted waiting in the wings a few times!) and to @TownerFan who was evidently responsible for the informative and pleasingly accurate programme notes. As well as the UK concert premiere of music from The Rise of Skywalker posted above by @Biodome, yesterday was the first time I had heard the revised version of Han Solo and the Princess in concert. It might take a bit of getting used to, but having heard it live I think it's a grower. I was happy that the full version of Luke and Leia (apparently conductor Stephen Bell's favourite piece of music from the saga) was played rather than the truncated version heard sometimes more recently. The Lucasfilm Logo, The Adventures of Han Solo and The Rebellion is Reborn were also treats which I had not sampled live before. I thought the Royal Philharmonic Orchestra was excellent yesterday evening. I did not notice any flubbed notes at all, the exposed horn solos in Princess Leia's Theme and Luke and Leia usually very unforgiving but both played perfectly. I was in the choir seats immediately behind the xylophone, glockenspiel, vibraphone, cowbells, etc. and I loved watching the percussionists dart about between the various instruments. I had not noticed before that the opening of Rey's Theme was played on vibraphone, glockenspiel and marimba. It was also nice that the conductor made the first violins stand after The Asteroid Field, as the other sections of the orchestra usually get the love. Here are a few grainy photos taken from my vantage point.

You forgot vaccination.

Rhetorical question of the century. Which century?