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Yep

Williams's assistant is showing him this thread right now. "I am a bit confused. Are you saying that these are my biggest fans?"

Singapore Airlines rather unexpectedly had “In the Tracks of Alexandre Desplat”, a 2014 documentary interviewing Desplat, as well a many of his key directorial collaborators including Wes Anderson, Jacques Audiard, Stephen Frears as well as his agent Laura Engel and his wife Dominique Lemonnier. Have to say that I learned a lot more about Desplat in this than I did about JW in his documentary. Some interesting insight into his compositional methods and approach (not to mention he’s a pencil and paper guy and doesn’t have a team). It made me appreciate his music all the more and even if you’re not into his style there’s no denying his love and care for the art form. No idea where you might watch it aside from booking a seat on Singapore Airlines (although if you are travelling long haul, I highly recommend them).

A few years back, I bet my life savings that a football team would win the Super Bowl. Sort of a good news/bad news sort of thing. I won, but my I had recently blown most of my money on an OOP Witches of Eastwick CD from eBay. So, I walked away with $8.53. Silver lining was that it did lead to the most satisfying Arby's Combo that I ever ate.

So good to have you back! This is one of the real gems of the 1993 set. I'll have to listen more closely and compare the 1997 set. Those horns have a kind of echo of the beginning of The Duel. Or The Duel has an echo of this. They absolutely made the right choice with the insert. The emotion over the cold abstraction. The music isn't telling you what to feel. You're feeling it already. The music is agreeing with you. (That opening shot of the x-wing in the clouds is five star!) EDIT: Wow. Every once in a while it really hits again how VARIED the Darth Vader theme is. At 3:55 I adore how he weaves the March into the Boba Fett motif (or whatever we're calling that motif that plays over Fett's progression back to his ship). This score is just so damn good!

My prediction is that Williams's final score will be the last one that he does.

Tariffs were a stupid fucking idea. This is not a political opinion, it is an objective fact.

I am very much looking forward to reading the 20 page "How much of Spielberg´s Untitled UFO movie did Bill Ross write?" thread.

Nice cover! I like the detail of the moonlight casting a shadow on the composer credit.

Once and for all, the alleged working title The Dish was a wrong assumption by whoever picked it up from the original article—“The Dish” is the name for every scoop article at Deadline.com, who revealed some of the casting members for the first time. The fact that the film still doesn’t have an announced title isn’t a novelty for Spielberg—Bridge of Spies was “Untitled Cold War Thriller” for a very long time, while The Post was called “Pentagon Papers Drama” for a while. About the fact that the two men are planning this as a final grand statement on their collaboration, I think it’s just hindsight assumption from our part as fans. Certainly they know they don’t have another ten movies together ahead of them and for the last 10 years they’ve been likely aware that each collaboration could’ve been the last one. However, the fact they’re still playing ball means that first and foremost they enjoy the actual process of doing it, without thinking too much if this is the tenth, twentieth of thirtieth time doing a movie. They love their job and they love each other. It’s really the perfect match.

Mark Graham.

Borne Ralfe and Michael Giacchino

Pretty sure it's Binary Restenosis and Mardi Gras.

While watching with the kids, I was reminded just how striking the night sky background is throughout this feature. Plus, Guaraldi's score is art.

Oh it's so so so silly. And I couldn't love it more WhatsApp Video 2025-10-29 at 18.14.45_fb82d9c9.mp4 One thing which I think is a little odd now that I think about it.... There doesn't appear to be any mention of Mike on the packaging. Celebrating 50 years with a brand new stereo mix... but we're not going to tell you who did it. Weird.

In general we place too much importance on the idea of a final artistic statement, as though a filmography is a narrative unto itself. The very last thing only matters when it's really great, otherwise it's irrelevant. That said, I do think it's nice that now Dial of Destiny won't be the thing at the end, it'll be a Spielberg movie. And most likely, if we are lucky enough to have yet another score to look forward to, it'll be Spielberg again. So it just speaks to the strength and longevity of their partnership. But even if Williams hadn't done this, they had Fabelmans in the 2020s which illustrates the same thing.

#2.34 ESB (1980) - 9m6-10m1 Carbon Freeze (Wook link)

Roger says Coming Nov 4th and just in time for Halloween next year. New and greatly improved. https://www.facebook.com/groups/95015405220/posts/10173064400060221/

The event in question: https://www.juilliard.edu/event/182056/john-williams-composers-life-night-stories-and-music Currently streaming here: https://www.juilliard.edu/live Discuss that event (outside of this news) here. Full quote:

I didn't want to like Andor, any more than I hope to like anything I spend my precious time to check out. I kept an open mind through the initial three, kinda slow episodes. They ended in a fairly exciting way, so I tried the next three episodes which grabbed me whole a lot more. And then the Prison Arc became my #1 favorite Star Wars thing, ever. Not because I wanted it to topple The Empire Strikes Back. It just did, through its own merits. Just because you didn't have the same experience doesn't mean you get to declare my experience, or that of any other Andor fan, as incorrect. Why do you feel the need to try? You love what you love and I'll love what I love. I'll be rewatching Andor for many years to come. Probably more than I will rewatch the original Star Wars trilogy (even if the original versions are commercially released), at this point. And it lives up to the title and promise of "Star Wars" much more than even the original trilogy did, IMO. (In practice that really ended up being much more simply "From the Adventures of Luke Skywalker" by the end, didn't it? More of a family drama rather than a sprawling space opera about a Rebellion fighting against an authoritarian Empire?) Yavar

I understand why people want to like Andor and wish to believe it was something extraordinarily special. It's not. But it had its moments.

I believe it was the main title and ‘The Starkiller’, possibly the end credits. Notably, that’s all music that doesn’t require any precise synchronization to picture, since that’s a pretty specialized skill.

It's more like an Abrams movie isn't it?

The Post is good!

I don't think this is true. After The Last Crusade, Spielberg, Lucas and Ford convened it was enough and everyone was more than happy to let go. Nothing at that point seemed to indicate they were willing to do more and nobody seemed to have been infected by the nostalgia virus that would've spreaded later on. When Lucas officially announced the Star Wars prequel trilogy and a fourth Indiana Jones film as part of the Lucasfilm revival in 1994, they agreed to do one more, but as it's notoriously known they had a hard time agreeing on a script (the pact has always been that the script should satisfy all three parties on the same level). Then everyone got busy with other projects and personal things, so it wasn't until 2005 that they seriously committed to put the fourth one on the launching pad, but at that point it seemed like everyone wasn't exactly enthused with the idea of doing more. Indy 5 was mandatory after the Disney purchase, but again the fact there were lots of problems with the script and that Lucas wasn't involved made everything look like a forced project. I know many fans craved for more Indiana Jones adventures and have the series become a very long one in the footsteps of the James Bond films, but the reality is that the Indy films were kind of lightning in a bottle type of creative ventures, made possible because of the fortunate conjunction of talent, youthful spirit and timing of these people getting together to make something fun.

The real dig is that he doesn't like Vangelis either!

So glad we've forgotten about Andor so we can get back to how creatively bankrupt Star Wars is.

IP: Is is about UFOs or Nazis? JW: Sorry, Joshua, Steven is going with Rieu this time.

That and this sort of "top secret" aura they're trying to build around it Thing is that whatever their box office, I still see a good amount of support from cinephiles for West Side Story and The Fabelmans, for now. WSS kind of inspired a different surge of appreciation for Spielberg from critics and fellow directors. I've noticed ongoing respect for Lincoln and Bridge of Spies everywhere but JWFan, and Tintin seems to retain a small fanbase who still want a sequel and people like calling it a better Indy movie than 4 or 5. I feel like I see very little comment anymore on War Horse, BFG, Ready Player One, or The Post.

JNH - The Last Airbender (complete) I have a complicated relationship with this one. It has brilliant moments that are incredible, but large swaths of it are just dark, textural material. The score as a whole has a dark, brooding atmosphere with almost no moments of levity (Aang and Paku Spar is a highlight), which makes listening the whole thing a bit difficult. I guess that, after his epic 90s (Wyatt Earp, Waterworld, The Postman) and early 2000s (Dinosaur, Atlantis, Treasure Planet, Peter Pan, Hidalgo) scores for big budget action fantasy movies, James' style for this kind of blockbuster got darker and more disturbing after 2005. What happened in that year? Well, he was forced to merge his style with Zimmer's for Batman Begins, scored the tragedy of King Kong and then did Blood Diamond and got an Oscar nom for Defiance. As a result, even movies whose target audience was less, well, "mature" than that of Begins and Kong got darker scores with a lot of brooding atmospheric Batman-like music: Airbender, Snow White, After Earth. Things only got "lighter" again with Maleficent and the Fantastic Beasts saga, even though those still had dark moments. The long atmospheric parts of Airbender and After Earth and the "Zimmerness" of Snow White make those scores a little hard to enjoy. But there's no denying that, when they're good, they're peak JNH.

This!!

The most unbelievable part of this story is that you ate at Arby's.

One of the best horror scores of all time. The Intrada expansion is a revelation, with so much that didn’t make the film or OST. But 3 CDs is too much for me. So my playlist clocks in at 90 minutes. The Dracula “Toolkit” cues are aptly named. Good for bridging tracks or introducing a motif, or as a coda for a longer preceding piece. I like Brian May probably way more than I should. And oddly, I don’t own either of his Mad Max scores. This is a decent and very listenable B Movie horror score with choir that is somewhere between the Omen and Carlin’s Burana. Also some “contemporary” sounding dramatic themes to offset the horror. I still need to watch this movie. I don’t really like Golden Age scores. They’re just too sing songy and melodramatic in a bad way. Bride of Frankenstein is over the top, but in a good way. I’ve loved the re-recording for decades, but I’m happy to have the surviving soundtrack of the original as well. It’s just. So. Good. This is better to put in as background music than as something to actively listen to. Carpenter creates some atmospheric drones, but they are too sustained, at least in this expansion. I could trim it down to feature more of the pulsating action material, but I’m too lazy. The Silver Shamrock jingle sung to the tune of London Bridge is the best thing ever. I always had a soft spot for this film, catching it on HBO as a kid and recognizing the music as James Horner without help from the credits. I discovered Georges Delerue late in life, and have come to adore his string heavy romantic power anthems. So it’s not surprising that the best bits of this score are his End Credits theme for the rose colored victory of the protagonists. As for the rest of the score, it’s okay, but not Delerue’s strength. Horner is the easy winner for me. I love that this exists though. This is a great smutty Euro Horror vampire flick. I’m not familiar with the composer, but this must’ve been a side gig in between a bunch of spaghetti westerns because it has a bit of a jaunty main theme. This was a decent listen though. I closed up my pool for the winter listening to this.

NOW I believe it! 😊😎

This would be the time when Spielberg reveals he’s about to start shooting another picture to be released at Christmas 2026.

Opa Tres being portrayed by Anne-Sophie Mutter?

John Williams scored Flashing Spikes, a 1962 episode of Alcoa Premiere directed by John Ford, no less. It starred Jimmy Stewart and was about baseball. Here it is:

U.F.O. Unidentified Flying Object.

One thing I find interesting about the timing of him doing this now is that he made a couple comments after Fabelmans that seemed self-aware in reference to not making scary or suspenseful movies anymore. There was a Directors Guild speech where he kinda roasted himself saying he knows people would rather see a shark or dinosaur movie, and he accepted an award in Berlin where he mused "I gotta get back to those scary movies." So while I don't think he cares THAT much anymore about ruling the box-office, he may have a little bit of a sense that audiences have moved on, the way his stuff just hasn't really been a draw, plus his belief in the theatrical experience. It could be interesting if he's trying to prove something. The danger is making a movie that's too familiar and like he's playing the hits, but the fact that it's based on an idea he's had for awhile is intriguing.

I will second what Maurizio said. All this talk about " final collaboration" " farewell to scoring" is something that the filmmakers don't even think about Neither do I I don't care about JWs FINAL film scoring assignment . I just want something great for his NEXT film . Fingers crossed we get it🥳

I've watched Jackson's LotR before ever reading Tolkien, and having read Tolkien, I appreciated how seamless their additions were woven between Tolkien's bits. And contrary to many, I believe The Hobbit in dialogue and spirit to be closer to Tolkien than credited. Arguing whether they can carry Tolkien's feel and spirit is way behind the question that will define the legacy of this film to begin with: whether they exclude modern movie tropes and forced messages.

I sometimes wonder if Spielberg could have even made DOD work. Then I remember that it doesn’t exist and the monks simply implanted false memories of it in all of our brains, so it doesn’t matter.

It will be released on Compact Dish.

They haven't announced the movie's name because they are hiding the fact that it is actually a sequel to E.T. Josh O' Connor is playing Elliot's son and Emily Blunt is playing a grown-up version of Drew Barrymore. Source:

Oct 25: JW World Premiere (in Vienna!) Oct 26: JW World Premiere Oct 27: Announcement of a new JW Score (possibly recording within the week) Not sure that there has been a more eventful stretch of 3 days in the history of JW fandom.

This isn't a JW Scoring Spielberg film thread. This is a Spielberg making UFO film thread.

Cue news about Spielberg pulling out as director and Mangold taking over.