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From the print edition of the 2024/2025 Berlin Philharmoniker season book Found on: https://www.facebook.com/groups/904229429654872/posts/7527258017351947/ I'll add links to the official website here when it gets added there.

Don't know if this should go here or in a score thread in the John Williams section proper. But I put on the complete(ish) Return of the Jedi today. (Some sort of mish-mash of sources. I think it's probably one of the ABC editions.) I don't know that there is another score, not even a Star Wars score, that takes me to THE first time that I saw a film the way Jedi does. I hear that intro of the Star Destroyer and Vader's approach as JW teases the Imperial March through the first minutes and I can feel the air conditioning and I can smell the popcorn. I can feel the summer heat when the doors open at the end. I can remember the cheers at the Fox and Lucasfilm logos, the hush during "A long time ago" and the cheers again at Star Wars. The Jabba music in particular can make me "hear" the ambiance of a cinema. We're film music nerds, and for many of us part of the appeal is re-experiencing a beloved film. But this isn't just the film, this is that exact DAY. I wonder why this one?

OMG! A video of Seth directly confirming that more Orville is coming! (start at 17:26, the play button should bring you right there) Hopefully it's a season 4, and not a followup movie, but I'll take either!

John Williams will be in the city I live in ON MY BIRTHDAY. WHAT COULD I WANT MORE

Cleopatra. Fantastic score, among North's best. Very rich and always interesting. The three principal themes are to die for. Karol

The initial shot of the Tydirium flying over the camera is underscored brilliantly. The whole sequence is fantastic.

I mean shit. One of the best cues in KOTCS is the departure. JW writes UFO themes for breakfast.

3 day birthday party 🥳

Berlin? Twice in... what... two years? And when was the last time you were in London, Mr. Williams? I'll tell you: July 4th, 1998 (!). I know, I was there!

I would love another big Williams score, but when I look at the Indy 5 soundtrack, for which he had to resort to copying old works to fill in the blanks despite having lots of time due to the constant delay of release, I don't think that he has a big action wall to wall score in him any more. Once you get that old, the energy level just goes down and everything takes much more time. But on the other hand if this movie is more of a kind like Fabelmans or the Post, requiring no wall to wall scoring, he might still be able to pull it off, if he really wants to do it and it really happens in the next 1-2 years. By the way, what I would really like is him writing another Tintin score, but I think that window of opportunity is passed, even if another Tintin movie will be made one day.

So this is now official, the releases are listed on the Deutsche Grammophon website, to be released on July 12! CD: https://store.deutschegrammophon.com/p51-i0602465572568/ Blu-Ray: https://store.deutschegrammophon.com/p51-i0602465112085/ 2xCD + Blu-Ray: https://store.deutschegrammophon.com/p51-i0602465150292/ 2xLP : https://store.deutschegrammophon.com/p51-i0602465112108/ Exclusive Gold 2xLP: https://store.deutschegrammophon.com/p51-i0602465572575/

Wow. Is this great or what? Young is blasting out career-best work left and right. Movement 1 is brilliant, truly capturing Young's melodic skills and detail in orchestration and, especially, his ability to play with horror tropes - but then the last 4 minutes from 8:00 are a brilliantly dark fable with children's choir and all the best Young orchestral tropes at full display. I love the fact that he ends the movements with that crazy blast of mayhem! Movement 2 is another encapsulation of a magnificent career that keeps escalating into stratospheres - the detour at 4:10 is touching and epic. Makes me wonder what Young would have done with The Lord of the Rings. Movement 3 is very impressive, very much Young exploring horror tropes and going very Goldenthal at times. It is now wonder he has had such a fan resurgence recently. We all know what he does so well. It is fantastic to see producers funding him to do this. I mean, The Empty Man is a great film but it was a massive flop. The Young score, again, is fantastic. So happy I supported the Nosferatu incentive!

This feels like a getting the gang back together vibe God damn do I hope he scores it!!!

From BMI's Instagram account:

As much as I love Elfman, my feelings are often quite mixed regarding the expanded releases. I'm happy to have all the music, but I tend to find the original albums completely satisfying. The exceptions would be Batman Returns, Darkman, Dolores Claiborne, Mission: Impossible, Spider-Man...and now Nightbreed. (I can get into the complete Planet of the Apes when I'm in the right mood.) This has always been a Top 10 Elfman for me. It somehow manages to be quintessential Elfman and something really quite distinct in his filmography at the same time. This release is like hearing it for the first time. There's always something interesting going on; so many odd sounds that come and go that make me think 'What even was that?' The tribal percussion sounds excellent, and I love how it dances across my earphones. The highlight of the unreleased music is absolutely 'Ohnaka Go Boom!' which reprises that jaunty, mysterious idea that plays during Carnival Underground and the End Credits. It's performance here is really quite devastating - a perfect fit for a scene that has always disturbed me. Some of the horror stuff doesn't make for pleasant listening, but it's Elfman's only real foray into straight horror, so that gives it a novelty. Walker's cue is fascinating in how it starts off sounding like someone just aping Elfman's material, but by the end it sounds entirely like Walker. It fits in with the rest of the score while still feeling distinct. A terrific release of a brilliant score. Such a shame the making of the film put Barker off directing. While his directorial skills could never live up to his imagination, we were surely robbed of some brilliant music if this and Hellraiser are anything to go by.

Alan Silvestri – What Lies Beneath (Original Motion Picture Soundtrack - Deluxe Edition CD) UPC: 888072574021 Release Date: May 3, 2024 Regular price$ 20.00 Expected to ship the week of May 3, 2024. What Lies Beneath (2000) was a first for filmmaker Robert Zemeckis: a serious, adult-minded ghost story starring Michelle Pfeiffer and, in a rare turn (and twist) as the villain, Harrison Ford. Originally developed for Steven Spielberg, the film was a Hitchcockian throwback of slow-burn suspense, with gorgeous Vermont locations supporting the A-list talent. Scoring What Lies Beneath was, as always for Zemeckis, his long-time collaborator, Alan Silvestri (Back to the Future, Forrest Gump). Silvestri conjured up a dark, moody soundscape of suspense, orchestral violence and eerie beauty for the supernatural hauntings and real-life threat that is closer than the heroine realizes—ably recalling the spirit of the classic Hitchcock–Herrmann partnership, with Silvestri’s own vernacular and modern dramatic sense. Varèse Sarabande released What Lies Beneath as a 9-track, 30-minute program at the time of the film. This long-awaited Deluxe Edition premieres the complete score in a 25-track, 60-minute program, with new liner notes by Daniel Schweiger interviewing screenwriter Clark Gregg. Track List: 1. ImageMovers Logo 2. Main Title 3. Panic Attack 4. Sobbing Neighbor 5. Claire Visits Feur House / I Thought I Saw / Watery What? 6. Broken Photo 7. Binocular Spy 8. Discover Key / Full Bath 9. Ouija Board 10. You Know 11. Newspaper Clipping 12. Madison’s Room 13. Forbidden Fruit 14. Jody Fesses Up / Electrocuted 15. I Opened The Door 16. Claire's Drive 17. Key Decision 18. Norman Attacks 19. Passive Aggressive Masterpiece / Norman Falls / Bloody Hand 20. Norman's Gone / Claire Steps In Blood / Hand Moves Sting 21. The Getaway 22. Reunited / Peace At Last 23. End Credits 24. Restaurant Source 25. The Four Seasons: Autumn https://varesesarabande.com/products/what-lies-beneath-cd

Exactly right

I liked it a lot, and it has some amazing cinematography and "impossible" camera moves, that Zemeckis is so good at.

Ha! That's true isn't it. I spoiler-blocked it here.

Yeah I mean, she is stone old, probably dry as the desert and... turned to dust. Would be almost impossible for everyone. (I apologise in advance for that tasteless joke, but I couldn't resist.)

I love Alex North. My favorite score from him is A Streetcar Named Desire, and I'm not even a jazz fan! Also really like The Agony and the Ecstasy, Cleopatra, Spartacus, Dragonslayer...

I love it dearly but for me The Agony and the Ecstasy takes that title. 😀 Karol

It's basically the same score and film!

Immediately blocking the calendar and already permission from Mrs GlastoEls received!

This are the greatest news. Berlin is one of the absolute finest orchestras in the world. Of course Williams would love to return there. Personally, I'm over the moon that he's returning and I have all in motion already to be there.

Translated: Thu 5/6/25 8.00pm Fri 6/6/25 8.00pm Sat 7/6/25 7.00pm Berlin Philharmonic Orchestra | John Williams conductor Excerpts from film scores What would films like Star Wars, Jurassic Park, Indiana Jones or Harry Potter be without him? John Williams, superstar of American film music, gave them all their unmistakable sound. His magical, sparkling soundtracks are not only catchy tunes, but also congenially deepen stories and characters. In 2021, John Williams made his debut with the Berlin Philharmonic and led the audience through the cosmos of his work. This season we can see him conducting his works again: a great moment not only for film fans. Live on June 7th, 2025 in the Digital Concert Hall Tickets Concert Category 5 Advance sale from February 23rd, 2025

Gorgeous score! Perfect blend of traditional orchestra with some oriental influences. Lovely and memorable main theme that gets developed extensively, alongside two other main themes, showcasing a strong and emotional narrative, that sounds more complex and mature than the film is scoring. Arturo Cardelús is a great composer and I hope this score allows him to be more recognized. If you enjoy this one, I also recommend his score for Buñuel en el Laberinto de las Tortugas, another fantastic score with a brilliant main theme!

Yes, there are composers, that I like primarily for their great themes, like Elmer Bernstein, John Powell or Joe Hisaishi. And there are others, that I like for their way of musical textures, motivic development, variety, poliphony, counterpointing, harmonization, rhythm etc. like Danny Elfman, Don Davis, Dario Marianelli, Franz Waxman. There are few, who seem to have it all. John Williams is for me one of them. Hans Zimmer wins for me on none of these fields. But as I said, that's just me. But the Lone Ranger theme in that video is really nice. Thank you for the hint.

No, you need to get the OST. The score is static and beautiful, like a trance. But one hour suffices.

Sorry for the tiny cover, it's all I could find. This remains my favourite of Carl Davis' silent film scores, I think (out of the 20 or so I've heard, he did a LOT!). Accessible, delicious darkness, a little bit religioso.

It has some of his best meat and potatoes underscore, or sneaking around music, that picture.

Sail Barge Assault and Faking the Code are two of my favorite cues of all time.

Maybe because by then, after two films, you saw the pattern, knew the conventions, and as a kid, you were so hyped for the outcome to the ESB cliffhanger, your brain was recording the experience differently. Nevertheless I do agree with you, and you articulated it well. It does capture the essence of the experience somehow. Whether that’s inherently the score (nature) or our childhood responses (nurture), I’m not sure.

How about Thin Red Line? Have you heard it? It has a good reputation and I’m currently force feeding it to myself to decide if I want the LLL CD. 10 tracks in and I’m wondering why the good reputation. The one time Zimmer ever got my attention was in WW84. The early scenes in the Mall were sort of jubilant heroic fun. Williams has it covered. Between Private Ryan, Schindler, Empire of the Sun, Midway, Indiana Jones, Amazing Stories - The Mission, None But the Brave, and yes 1941, he left no facet of the war unscored.

I couldn’t agree more. Probably was a combination of shots being more expensive and time consuming to set up and a desire to streamline the process for efficiency, cost, and comfort of the crew and actors. They found their safe groove, but in some ways it got boring. I actually really enjoy the early TNG seasons for the reasons you mentioned and for the livelier scoring as well.

Update: She was suitably dismayed. The "It's a peaceful life" meme was icing. So thank you, all!

So is early TNG, at times! Rob Bowman in particular did a lot of cool angles and dramatic lighting, as director. Oftentimes the writing in early TNG is very hit-or-miss, but the directing was actually far more interesting/striking than when the show "got good" (it become more homogenous and didn't swing for the fences directorially, as much). Yavar

The Sound Of Vinyl lists the 2xLP release, and it doesn't seem to be a Japan Import: https://thesoundofvinyl.com/products/john-williams-in-tokyo-vinyl-lp Amazon.fr also lists 4 releases coming on July 12: CD release: https://www.amazon.fr/dp/B0D1LQXX36 2xCD+Blu-Ray release: https://www.amazon.fr/dp/B0D1LMHGTY 2xLP release: https://www.amazon.fr/dp/B0D1L856PL Bluray: https://www.amazon.fr/dp/B0D1YQL2KD

Spielberg: Johnny I need you for my UFO movie JW: Steven I'm retired, come on man Spielberg: fine guess I'll call Giacchino... JW: I'll be right there.

Scherzo for Abduction and Rectal Probe

Is this the first Mansell expansion? We were all wrong!

They'd get away with it if they were spoiling ESB, but this is not a huge movie and a lot of people will never have seen it. I think I've seen bits, but I certainly hadn't remembered the ending.

Sigh. I've never seen this movie and now I know... Varese copywriters probably thought this is a 23 (almost 24) year old movie, so the "spoiler rule" doesn't apply anymore.

Added What Lies Beneath (Varese) to Paramount (who know owns old Dreamworks films) Added DOOM (Varese) to Universal

Alsop probably has her own agendum.

Ah. It took me some time to see if "wtf are you kidding me" came out as positive or negative. (Positive, apparently.) Sometimes when I'm navel gazing and thinking "How would I make the Animated Series into live action?" I realize the I would know what the sets would look like, I'd know how the actors would act. But I would be utterly out of my depth with the cinematography. Balance of Terror stands apart a little bit even in first season TOS. It's very moody. This was a great quote from X: "Early TOS was like noir in color." Oh heavens, yes. I love SNW. It's my second favorite Star Trek. But when they went back to Balance of Terror they went with the common conception of "Kirk is a cowboy who shoots from the hip". (I have since come to adore Paul Wesley in other episodes.) HOW can you do that Kirk in the very episode that has him going full Hamlet with Bones? "What if I'm wrong?" He's never a cowboy. Although he does decide that the Romulan vessel has to be stopped. I always say that the two sides of the Star Trek coin are Balance of Terror and The Corbomite Maneuver. Or put another way The Wrath of Khan and Star Trek: The Motion Picture.

Well, I'd say no but Spielberg+Aliens=John Williams I think it depends on JW's health

Really special score. The amount of material makes it hard to come up with a truly definitive presentation, but it's great to see it getting this treatment. Really a masterwork of film and music.