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JWFan was born 25 years ago today! Hard to imagine back then that the site would still be up and running two and a half decades later, let alone that the Maestro would still be active after having composed nearly thirty more film scores and a similar number of concert works, as well as conducting over 200 concerts including Vienna, Berlin, Milan and Japan! Dozens of his film scores have received perfect releases during all this time, providing fans with the confidence that many more will come in the future, while maintaining and further enhancing the collective appreciation and admiration for the music we all love and which will remain with us for the rest of our lives. The analysis and discussion of his work has reached such level of comprehensiveness and detail, that our forums have become an essential reference for fans and scholars, while fomenting the creation of fascinating projects that expand and deepen the study of the Maestro’s oeuvre and contribute to increasing its appreciation by future generations who, without doubt, will continue to ensure that his name is in the place it deserves in the history of music and cinema. Thank you, Mr. Williams, and thanks to all those who have contributed during this time to make the site such a wonderful place. Here’s to 25 more! PS. The following quoted post, written for this thread 10 years ago, provides a short summary of the origins of the site:

I'm not going to lie—I was excitedly curious how quickly this news would hit JWFan! For those who don't know me, I've been writing about film music and interviewing composers (and directors and actors) professionally for the past decade. Besides the many liner notes, I also write articles and create radio stories for mainstream news outlets like the L.A. Times and NPR. I teach a film music history course at USC. And I've been a card-carrying member of this site since 2003. I won't divulge too much just yet, because it's still a little early, but I was excited to finally make it public that this book is happening. I've been working on it for three years now, and I've interviewed approximately 150 people. The big kahuna, of course, is John Williams. I plan to share the story of how that happened one day, but not yet. Thanks for your excitement! I can promise you that there are many things (stories, facts, quotes) in this book you have never heard... Tim

Apparently Tim Greiving has just announced the first English biography on John Williams, to be released in 2025: https://timgreiving.com/john-williams-in-his-adventure-on-earth/

The happy news I cryptically alluded to last week is now something I can make official: I just signed a book contract with OUP for 𝘛𝘩𝘦 𝘚𝘬𝘺𝘸𝘢𝘭𝘬𝘦𝘳 𝘚𝘺𝘮𝘱𝘩𝘰𝘯𝘪𝘦𝘴: 𝘔𝘶𝘴𝘪𝘤𝘢𝘭 𝘚𝘵𝘰𝘳𝘺𝘵𝘦𝘭𝘭𝘪𝘯𝘨 𝘪𝘯 𝘚𝘵𝘢𝘳 𝘞𝘢𝘳𝘴! It's a book it feels like I've been writing in my head for a long, long time -- since middle school, kinda? And unless Williams somehow returns to write another entry in the series, I'm treating it a chance to provide a properly 𝘴𝘺𝘯𝘵𝘩𝘦𝘵𝘪𝘤 investigation into these scores, all nine of them. Even Rise of Skywalker?? 𝘌𝘴𝘱𝘦𝘤𝘪𝘢𝘭𝘭𝘺 Rise of Skywalker! My hope is this book does some justice to the complexity, challenge, and sheer magic of this music. Now, back to the grindstone! https://www.facebook.com/Falstaft/posts/pfbid0L6wUjeDDxj6AmhwHh1f9obrVMJfYbPx4GJM8YaEWiZtqxwp37A88monPFVDxBQ26l Congratulations, @Falstaft!

And finally...last but not least... BANGARANG!!! HOOK – THE ULTIMATE EDITION: EXPANDED & REMASTERED LIMITED EDITION (3-CD SET) LLLCD 1632 Music by John Williams Limited Edition of 5000 Units RETAIL PRICE: $39.98 STARTS SHIPPING DEC 1 Available to order now at www.lalalandrecords.com La-La Land Records, Sony Pictures, Amblin Entertainment and Sony Music present HOOK – THE ULTIMATE EDITION, a remastered and expanded 3-CD soundtrack presentation of legendary composer John Williams’ (STAR WARS, E.T., HARRY POTTER) original motion picture score to the 1991 adventure-fantasy HOOK, directed by Steven Spielberg. An undisputed masterwork within the treasured John Williams and Steven Spielberg collaboration that has spanned five glorious decades, HOOK is an astounding orchestral odyssey that exemplifies the Maestro’s musical genius—a sonic epic that soars with imaginative joy, wonder and adventure! This remastered ultimate presentation unleashes Williams’ iconic score as never before, expanded beyond any previous soundtrack release, with never-before-released score, alternate tracks, songs and source music. Produced, edited and mastered by Mike Matessino, in consultation with the composer, Disc One of this deluxe reissue contains the score presentation, which continues through Disc Two with additional music tracks. Disc 3 offers a sumptuous bounty of songs (highlighting the wonderful songwriting talents of Leslie Bricusse), alternate cues and source music! With stellar art direction by Jim Titus, this limited-edition release of 5000 units features a 48-Page booklet that includes exclusive in-depth liner notes by Matessino and associate producers John Takis and Jason LeBlanc. The track listing is featured on a 12-page second booklet within the package. TRACK LISTING: DISC 1 SCORE PRESENTATION 1. Hook Prologue (Extended Version) 1:33 2. We Don’t Wanna Grow Up (Extended Version) * 2:57 3. Banning Back Home (Film Version) 3:21 4. Wendy’s Entrance 2:12 5. The Bedroom 1:08 6. The Nursery Scene 1:40 7. Saying Goodnight :57 8. Hook Returns To Kensington 2:00 9. Hook Is Back 2:09 10. Forgotten How To Fly :56 11. The Stories Are True 2:24 12. The Arrival Of Tink 3:33 13. The Flight To Neverland 2:40 14. Pirate Town And Presenting The Hook 5:09 15. Hook’s Entrance 2:42 16. Draw Your Sword! 2:14 17. Peter’s Challenge 5:42 18. From Mermaids To Lost Boys (Film Version) 4:26 19. Enter Rufio 1:19 20. The Lost Boy Chase 3:35 21. The Face Of Pan 2:42 22. Hook’s Epiphany 2:16 23. Smee’s Plan 1:46 24. Pick ’Em Up * 2:56 25. Hook’s Lesson 3:08 26. The Banquet 3:14 27. The Never-Feast (Film Version) 4:41 28. When You’re Alone * 3:17 29. Goodnight Neverland 1:45 Total Time Disc One: 78:54 DISC 2 SCORE PRESENTATION (Continued) 1. Stop That Clock! 4:05 2. Home Run And Follow That Shadow 5:24 3. Peter Remembers (The Flying Sequence) 8:23 4. You Are The Pan (Film Version) 1:26 5. Tink Grows Up 2:21 6. The Ultimate War (Film Version) 8:02 7. Death Of Rufio 4:23 8. The Sword Fight And The End Of Hook 7:07 9. Farewell Neverland 10:18 10. Hook End Credits And Exit Music 5:52 Total Score Time: 2:16:23 ADDITIONAL MUSIC 11. Hook Prologue 1:25 12. Banning Back Home (Extended Version) 4:24 13. From Mermaids To Lost Boys 4:26 14. The Face Of Pan (Choral Version) 2:43 15. The Ultimate War 7:54 Total Additional Music: 21:00 Total Time Disc Two: 78:32 DISC 3 SONGS, ALTERNATES AND SOURCE MUSIC 1. We Don’t Wanna Grow Up * 1:52 2. God Rest Ye Merry, Gentlemen 1:10 3. Childhood * 3:54 4. When You’re Alone – Moira’s Lullaby * :46 5. The Stories Are True (Alternate) 2:24 6. The Arrival Of Tink (Alternate) 3:35 7. The Flight To Neverland (Alternate) 2:33 8. Low Below – Pirate Sequence * 4:58 9. Hook’s Entrance (Alternate) 2:42 10. The Lost Boy Chase (Alternate) 3:34 11. The Never Song * 2:04 12. The Never-Band 1:20 13. The Never-Feast 4:42 14. When You’re Alone (Instrumental) 3:19 15. Mothers * 2:26 16. Stick With Me * 2:00 17. Take Me Out To The Ball Game 2:18 18. Remembering Childhood 11:06 19. Believe * 3:01 20. Farewell Neverland (Short Version / Alternate) 6:54 21. Hook Exit Music (Alternate) 1:48 BONUS TRACKS 22. Pirate Sequence (Instrumental) 3:59 23. Smee’s Concertina Medley 4:50 24. Presenting The Hook (Vocal Version Segment) * 1:38 Total Time Disc Three: 79:17 Three-Disc Total Time: 3:56:43 * Lyrics by Leslie Bricusse This is a CD format release https://www.facebook.com/lalalandrecords/posts/pfbid0v345Qm15U7zFVDxCpCQ1Xv3cJRByUzeWBTASjKsLmzW59uKwsNhhYCCuoN8ujV53l https://lalalandrecords.com/hook-the-ultimate-edition-expanded-remastered-limited-edition-3-cd-set/

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)

https://variety.com/2024/film/news/john-williams-oscars-star-wars-steven-spielberg-collaborations-1235929403/

SCORE ONLY VERSION!!! https://thedigitalbits.com/columns/my-two-cents/101023-0700

It's real. It exists. Pictures courtesy Mike Matessino, who shares them with this message Once again it didn't feel real until I actually saw and held it as a three dimensional object. So much work went into this with so many people involved. It's taken years but here it is! I can't emphasize strongly enough that listeners should enjoy the crafted album experience of Disc 3 as we've presented it. I'm so thrilled this can finally be shared.

For Helena’s Theme

I made this last year and now I can finally use it!!!!

These must be preserved for future generations!

Feature Story | February 2, 2024 An Interview with John Williams By Simon Woods https://symphony.org/features/an-interview-with-john-williams/

Beautiful

I know it’s mentioned a lot, but I’m not sure we really recognise how incredible it is that this music was written and mostly conducted by a 90 year old man. Most people his age are either dead or not eating solid foods. I know we have some legitimate complaints about the album presentation, use of older themes etc, but how many other 90 year olds are active and working, let alone writing a cue like “To Athens”. It is an astonishing achievement whatever you think of the soundtrack. Just listen to the orchestrations in “Tuk Tuk to Tangiers”. A man who statistically should be dead sat down at his piano and came up with that. I remember back in 2015 when we all freaked out because he’d pulled out of writing music for Bridge of Spies and 8 years later he’s conducting at the premiere of the 5th Indiana Jones movie. Blessed we be.

Okay quick thoughts since I know you guys are waiting End credits order is Indy fanfare for the main credits (that appear one at a time) Maybe 2-2.5 mins Helena's theme begins when the scrolling portion starts. Full suite played. Following that - seemed to be like another suite, going through as many as 4-5 themes. Most of these are sinisite / villain or macguffin themes. I think there are 2-3 villain themes and 2-3 macguffin themes. This is where the credits end, the Indy fanfare is not reprised after the villain suite. (This could be a film cue too). Some other thoughts Honest to god, score is mixed well. None of should be able to complain. I could hear it throughout, but was I paying attention to it all the time? That's a different question. Guys, I am at Cannes and let me tell you this is a very tough place to watch movies. You are always exhausted and can't always focus. Helena's theme in the score proper is frankly okay. It kinda even sounds different than the suite. There are several villainous themes as I noted above, they are good. I couldn't detect a direct Dial theme - it has some motifs for sure but I dunno if I might call it a direct theme. But then again, my mind is half shot at this point. I think there are some straight lifts from Tintin. I think the Tintin End Credits piece is ripped off for one of the set pieces. Almost note for note. B part of Indy's theme is also used. If you have any questions, I can try to answer. But I'm in screenings all day long and don't really have much of a chance to check my phone. Edit: orchestration and conducting is credited to Williams and Ross.

Wow, thanks everyone! Obviously, the most important question to address is how I got those italics. Simple! https://lingojam.com/FacebookFonts As for the timeframe: I have over a year to hand in the finished manuscript, but my goal is to have it completed well before that. It's a big book, and publishing is a very slow process. But everything so far is proceeding as I have forseen... It's not a guide to the scores really, but something more holistic, with each chapter looking at cues from all three trilogies from some angle: musical referentiality, thematic transformation, concert arrangements, and so on. There will be a ton of music examples (all my own annotated transcriptions as usu.), hopefully presented in an accessible way that draws in people who can't read sheet music. I know notation and music-theory jargon can be intimidating, and I'm hyper-aware of the potential gatekeeping effect it could on an already niche readership. But at the same time, I think we can all agree this music warrants deep and serious analysis! It's a balancing act for sure... Alas, I don't have special access to recordings, and can't speak to official expanded album releases, as amazing as they would be! Incidentally: I don't see it trumpeted nearly enough on these boards but Chloé Huvet came out with a book on SW music (mainly the OT and PT) a couple years ago that is absolutely brilliant and similarly synthetic in approach. The book is in French, which limits the audience, but it's worth getting your hands on if only for the fantastic music examples and charts. The amount of insight in her prose is incredible too, and it's been a major source of inspriation to me.

Now that we have less than 50 hours to release, I do just want to take a moment to say how much fun it has been to be a part of this community for the last few years. The possibility of new Star Wars movies scored by John Williams back in 2012 is what got me to lurking on this board and watch to see members speculate if he'd come back. The actual hype up to TFA and the actual score is what caused me to create an account. The last decade has allowed me to geek out with people about film score events in a way that I had always wanted but felt like I had missed out on. Part of me still can't believe we got another trilogy of Star Wars scores and an Indy 5 score alongside more Spielberg scores. Whether or not you like the movie, I hope you all find something to like in the new score. This little recess of the Internet has consistently been a fun little space to geek out on these things, and I've very grateful for it. This is truly the end of an era, and I'm happy to be here for it.

Yes, I thought was interesting too! Glad he had the cataracts removed. I hear from others who have had that it is truly altering to see more colors. I hope JW is getting the joy of that experience. Thanks. Really, there was way too much going on to even process everything. With my fellow IndyCasters who I have not seen since 2020 (or even longer ago), being out on the red carpet. Getting to meet Ke Huy Quan (Short Round) after the movie. The person who organizes these events for Disney is married to one of my former students, and that person spotted me in photos from the organizer and then told him to go meet me, to being steps from one of the actresses in the film. Still, while I had predicted the appearance of the Maestro to play music, by the time the event started, I had forgotten about that and then the curtain rose to reveal him and 80+ musicians. In terms of the music in the film and without giving spoilers (other than locations but all of which are in the trailer): First off, it's generally audible most of the time it plays. There is a lot of it as Mangold has told us, and still there are some action sequences where no music was used (not dissimilar to Star Wars when the music drops out). I do suspect those moments had music scored for them and the absence now was editorial. (I'm already pining for unreleased music!) The first 20% of the which takes place in the 40s is pretty much all scored and many old themes and motifs from the franchise can be heard winding their way through the action. I'm not entirely sure when we get to hear this separately (if we do) that it will feel very coherent though as I got a sense of jumping around a bit. It works in the movie though, and I wonder about it as a listening experience without the film. As I hoped and guessed on our recent podcast, the sound and music of the era made appearances at times including one key early moment as the movie transitioned to 1969. That is not at all a decision by JW - it was clearly in the script as the music diegetic - but in terms of the overall score of the picture it worked. Generally after that the score charted to some new areas and themes. Helena's music is very differently used than say Marion's theme and different pieces of it the suite we have heard since last summer show up in the right spots with varying orchestrations, tempos and blends with other themes. I liked that. This felt similar to how the Solo suite was used as a basis for numerous moments in that film. Of course the difference being JW's own use of his themes vs. Powell's (which was still quite good). There are plenty of action sequences and one in particular was scored in a manner that JW would have done in the late 60's or early 70's. I felt vibes of Lalo Schifrin and some amount of homage to The French Connection and similar films set in NY in that era. I found that refreshing although perhaps a bit of an oddity compared to to the rest of the score. Definitely heard shades of Tintin when the film was in North Africa which was either how JW scores all those locales or was his own homage to his past work. I suspect the former. It was not a straight lift or anything blatant and worked with the action. Probably missing for me was a clear statement of themes for the Dial itself (although I think it is there) or Voller, the main bad guy. A few times, clearly Mangold just let the music dominate as much as the visuals would allow. Not to the level of Spielberg (e.g. the Truck Chase, Scherzo for Motorcycle and Orchestra, the jungle chase stuff in Skull), but not as infrequent as in the recent Star Wars films. Overall, highly satisfied and looking forward to whatever we get on the soundtrack (which is going to woefully inadequate unless there is a surprised deluxe digital version) and looking forward to deciding where this sits amongst the other 4 films.

SCORE OF THE YEAR INDIANA JONES AND THE DIAL OF DESTINY, music by John Williams BEST ORIGINAL SCORE FOR AN ACTION/ADVENTURE FILM INDIANA JONES AND THE DIAL OF DESTINY, music by John Williams Full list of winners http://filmmusiccritics.org/2024/02/ifmca-award-winners-2023/

Kind of like we did with Rise of Skywalker, let's have some threads of pure positivity and appreciation for the specific cues, tracks, and themes from Dial of Destiny. Why not begin with a track I think we all agree is beautiful and quite affecting: "To Morocco." Here are two of my observations. First, the statement of the Raiders A theme at 0:35 is an all timer, don't you think? Sure, the first phrase ("Give 'em hell, Indiana Jones!") is lifted more or less without alteration from Crystal Skull 2m13r. But after the pause, you get the rest of the phrase in a totally new way, first this tender clarinet solo, and then a broad brass chorale of an ending. As far as I know, it's the only time the theme has been presented in this way. Or that the 1-2-3 melodic line is harmonized with a IV6-V6-I progression. Just a gorgeous way of fitting in a lot of complex emotions--melancholy, vulnerability, strength--in an incredibly short span. The second detail: hearing the piano figure for the Antikythera (1:06) in relatively close proximity to the incipit for Helena's theme on the celesta (2:05) brings out a certain intervallic sympathy between the two, doesn't it. The first is D6-D5-C#5-D6-D5-C#5, the latter F5-F6-Gb6-A6-Bb5-C6-F6. The first, an octave drop and semitone step down, the latter an octave leap and semitone step up. Maybe nothing, but undeniably pretty!

Uh oh, maybe we failed at press release writing if that wasn't obvious. Yes, this is not just a new main program followed by a long bonus track collection. This is two albums in one. First a new 2-disc album of the complete score that includes the film's three finished songs. Then Disc 3 is a carefully curated and arranged album that takes you through the story in a whole new way. Every track is carefully placed to not only create a strong narrative, but to showcase the musical that almost was in the best way possible. Mike, John (Takis), Deniz and I all really hope people will listen to the main program of Disc 3 as it is when their set arrives, as opposed to cherry picking tracks and jumping around to start. You'll have the rest of your life to listen to all this music in any manner you like, but only one chance to introduce yourself to the songs the way they are presented here, which was in full consultation with Williams and Bricusse. It's amazing how the songs strengthen the score and the score strengthens the songs. It's like a continually rewarding experience for a long while after you get it. I've never experienced anything quite like it in all my years of film music collecting. I hope everyone finds it as rewarding as I do. Oh, and the extra space at the end of discs 2 and 3 was a great place to be able make the overall release complete, while still maintaining the integrity of the two new albums within it. Everything worked out beautifully!

Great discovery of the weekend! While remembering the Blu-Ray menu gave us the clean version of the "Rey Training" cue which is unreleased, I wanted to see what the DVD menus had since those usually contain additional screens for the "Scene Selection" and "Language/Subtitles". The amazing @crumbs found a complete DVD rip and we were able to find another previously unreleased cue, not featured on the Blu-Ray!! It is the "Meditation" cue, featured in the "Scene Selection" menu: tros-amp.mp3 Another DVD exclusive menu for the language setup comes with the section of "Reunion" that contains Rey & Yoda's Theme, which is on the OST, so no other unreleased music there. This is all new information, right?

Listening will answer many questions. The liner notes will answer many more. The various upcoming podcast episodes will answer even more. Lots of discussions to be had about this masterpiece in the coming months!

Have at thee !

OK I got through the whole film. I found that there's 1:55:20 of score in the film, which runs 2:34:34. So that's ~75% of the film scored with original music! Of course, about 2:30 of that is Bill Ross's "Pulse of the City" cue. And then, there is tracking in the film, too, so that number doesn't represent unique Williams score heard. The only tracking I'm sure about currently is the four spots that the GEMA list easily reveals (because it lists the cues in the order that they first appear, if a cue intended for later in the film apepars earlier through tracking, it stands out in the list). 1 - "Helena's Tutorial" is heard in the scene where she follows Indy into the bar (0:27:05-0:27:43) and ends up being the first appearance of her theme in the film. But this cue was written for the scene where she is translating for Voller with the dynamite in her pocket, and appears again where intended then. 2 - A piece of "Voller's Interview" is stretched out and tracked into the opening (0:28:22-0:28:41) of the first scene with Voller in his hotel room (with the room service guy), but it was written for his later scene where he's being interviewed and appears again there (unstretched). 3 - Part of "Centipedes" is tracked into the "Eels" scene. I haven't figured out the timestamp yet (Eels in general is 1:21:46-1:23:32) 4 - "Teddy Is Kidnapped" (which runs 1:39:10-1:41:55 overall) has two bits replaced by tracked music. First, a short section of "To The Airport (Patch 2)" is heard somewhere (don't have the timestamp handy), and then when they steal the wedding car, 34 seconds of "Helena In Action" is tracked in from 1:40:26-1:41:00. This is an interesting one, because the title could imply its a "wild" recording of her theme in action mode. It doesn't appear anywhere else in the film, but Williams put it at the end of the "Tuk Tuk In Tangiers" OST track, where it's almost twice as long as this film use. Has anybody noticed any other tracking in the film? I'm talking specifically about Indy5 music being tracked, not temp-track re-records which is a whole other topic... Anyways, a simple cue list, for the cues used in the film, without the inserts and patches list, just the "main" cues, in order, goes like this: American Spy Bombs Away! Indy Driver It's a Fake Indy Rescues Baz Combat Train-ing Jump (If a cue for Helena following Indy on the street was recorded, it'd be here) Nazis I'm Not Selling This, Am I? The Archives Helena Runs! Pulse of the City Voller's Interview Sallah to the Rescue Departures It Must Be Destroyed Indy Recognizes Professor Schmidt Doing Helena's Bidding Rossini's Menu Rahim Arrives You Don't Need Me? Streets of Morocco Tuk Tuk Chase Airplane Mutiny To Athens Sunken Ship Indy's Regret Eels! Water Ballet Polybius Cipher Escaping the Boat Melting Wax Teddy is Kidnapped The Crescent Centipedes Handcuffed Archimedes' Tomb Confrontation at the Tomb To the Airport Airport Nazis Through the Portal Ancient Syracuse Centuries Join Hands For Who...Whom? Finale Raider's March Helena's Theme End Credits Part 3 Sorting out which patch and version is which will take a lot of time, and not all is capable of being figured out, but a list of all the patches/inserts/versions used in the film would look like this: American Spy (orig, Patch 1, V2, V2 Patch 2) Bombs Away! (orig, V2) Indy Driver (orig, Part 1 V2, Part 2) It's a Fake (V2, V2 Patch 1) Indy Rescues Baz (V2) Combat Train-ing (V3, V3 Patch 1) Jump (V2) (If a cue for Helena following Indy on the street was recorded, it'd be here) Nazis I'm Not Selling This, Am I? The Archives Helena Runs! Pulse of the City Voller's Interview Sallah to the Rescue Departures It Must Be Destroyed (orig, To Morocco Again) Indy Recognizes Professor Schmidt Doing Helena's Bidding Rossini's Menu Rahim Arrives You Don't Need Me? Streets of Morocco Tuk Tuk Chase (orig, Patch 1 Rev, Patch 2, Patch 4) Airplane Mutiny To Athens (orig, Patch 1) Sunken Ship Indy's Regret Eels! Water Ballet Polybius Cipher (Helena's Tutorial) Escaping the Boat (orig, Patch 1) Melting Wax (orig, Insert) Teddy is Kidnapped The Crescent Centipedes Handcuffed Archimedes' Tomb Confrontation at the Tomb To the Airport (orig, Part 1 Patch, Patch 2, Part 2) Airport Nazis (orig, Patch 1, Patch 3, Patch 4, Patch 5) Through the Portal Ancient Syracuse (Version 3, Planes In Trouble Insert) Centuries Join Hands (orig, Patch 1) For Who...Whom? Finale (orig, Patch 1) Raider's March (JR Edit) Helena's Theme (Rev, Rev 2) End Credits Part 3 Now lining up the OST album with the right cue names wasn't terribly hard, but there are some spots I couldn't identify. Anybody recognize these bits? 1 Prologue to Indiana Jones and the Dial of Destiny [0:00-1:08] (1:08) - Not in the film, but is it an unused cue or an album recording? 8 To Athens [0:00-1:09] (1:09) - this was a surprising one! Not sure what it could be for 9 Perils of the Deep [0:00-0:35] (0:35) - I think I recognize this but can't place it.... Until those bits are identified, this is the best I can do breaking down the OST album: 01 Prologue To Indiana Jones And The Dial Of Destiny (6:00) 0:00-1:08 (1:08) = not in film and could have been recorded just for the album 1:08-end (4:52) = End Credits Part 3 02 Helena’s Theme (3:30) 0:00-?:?? ?:?? Helena's Theme Rev 2 ?:??-end ?:?? Helena's Theme Rev 03 Germany, 1944 (4:42) 0:00-2:19 2:19 Indy Driver 2:19-3:00 0:41 It's a Fake 3:00-3:22 0:22 Indy Rescues Baz 3:22-3:48 0:24 Combat Train-ing 3:48-end 0:54 Jump 04 To Morocco (3:21) 0:00-1:11 1:11 Departures 1:11-end 2:10 It Must Be Destroyed 05 Voller Returns (3:06) 0:00-1:17 1:17 The Archives 1:17-2:36 1:19 Voller's Interview 2:36-end 0:30 Nazis 06 Auction At Hotel L’Atlantique (2:58) 0:00-0:19 0:19 Indy Recognizes Professor Schmidt 0:19-1:37 1:18 Doing Helena's Bidding 1:37-end 1:21 Rossini's Menu 07 Tuk Tuk In Tangiers (3:35) 0:00-2:28 2:28 Streets of Morocco 2:28-end 0:37 Helena in Action 08 To Athens (2:17) 0:00-1:09 1:09 unidentified 1:09-end 1:08 To Athens 09 Perils Of The Deep (2:31) 0:00-0:35 0:35 unidentified 0:35-1:35 1:00 Sunken Ship 1:35-end 0:56 Indy's Regret 10 Water Ballet (4:53) 0:00-0:56 0:56 Eels! 0:56-end 3:57 Water Ballet 11 Polybius Cypher (2:39) 0:00-0:38 0:38 Helena's Tutorial 0:38-1:59 1:21 Polybius Cipher 1:59-end 0:40 Escaping the Boat 12 The Grafikos (4:39) 0:00-2:05 2:05 Melting Wax 2:05-end 2:34 Centipedes 13 Archimedes’ Tomb (3:01) Archimedes' Tomb 14 The Airport (4:46) 0:00-0:53 0:53 To the Airport 0:53-end 3:53 Airport Nazis 15 Battle Of Syracuse (2:50) Ancient Syracuse 16 Centuries Join Hands (3:02) Centuries Join Hands 17 New York, 1969 (4:17) 0:00-0:47 0:47 For Who...Whom? [pitch-shifted] 0:47-2:19 1:32 Finale 2:19-end 1:58 Raider's March 18 Helena’s Theme (For Violin And Orchestra) (4:59) not in film but probably recorded under this name Again this list only sticks to the "main" cues, I haven't attempted to figure out patches/inserts/version stuff yet.

Challenge accepted!

Not sure if this warrants its own thread or not, but I've done a first pass at transcriptions of the new themes from DoD. I don't know if we've come up with consensus labels for all of these, besides the obvious for Helena and Voller. Also have little confidence that the Archimedes theme is transcribed rhythmically 100% accurately, or the tertiary Nazi theme harmonically. Helena (transcribed from arrangement that premiered last year): Antiquity/Antithykera Mechanism (transcribed from "Prologue") Antithykera Mechanism (transcribed from "Archimedes Tomb") Antikythera Piano Figure (transcribed from "Battle of Syracuse") Archimedes (Transcribed from "Prologue") Nazis 0 "Voller" (transcribed from "Airport") Nazis 1 "Spirit" (transcribed from "Prologue") Nazis 2 "Supremacy" - exotic and furtive (transcribed from "Prologue") Nazis 3 "Might" -- chorale(transcribed from "Prologue") Nazis 4 "Determination" -- Transcribed from "The Airport" Syracuse -- Transcribed from "The Battle of Syracuse"

For those interested in film score analysis, I'll be giving a virtual guest talk on harmony in John Williams' action music. The talk is with the Academy of Scoring Arts this Sunday, Sep. 10th, from 10am-12pm Pacific Time (they're based in L.A.). I'll be breaking down two cues from the original Star Wars trilogy: "Attacking a Star Destroyer" from The Empire Strikes Back, and "Fight in the Dungeon" (the Rancor scene) from Return of the Jedi. The idea is to give a sense not only of the kinds of chords Williams often uses, but also how he tends to use them in an action scene. You must be a member to attend, but you can sign up entirely for free on the Academy's website. Here's the link for the talk on the ASA's site (includes a link to sign up with ASA): https://scoringarts.com/event/the-music-of-john-williams-with-special-guest-mark-richards/

https://www.nytimes.com/interactive/2023/07/07/opinion/indiana-jones-movie-john-williams-music.html Wonderful article just published in the NY Times, and written by @Falstaft! Check it out!

Saw the movie on Monday. If I had to compare the score to any of the previous parts in the series, I'd pick "The Last Crusade". There was also really one leading new theme (Grail) and the compelling action music that dominated the score. There is even more of it here. Helena's Theme we hear more often in the film itself in adventure arrangements (that are really great) than the one we know from last concerts. It's only in its full "Golden Age" glory during the end credits. But there is a lot going on here, it is dynamic and dense, because there is no shortage of action in the movie. There are also some musical surprises. In one of the scenes I heard something that would fit to "Dirty Harry" or "Bullitt" or other Shiffrin's scores form 70's. Very unusual for Williams. There's another theme, more exotic, similar to "Tintin". And a lot of "Raider's March" and twice The music is very intense, just like "The Last Crusade" mixed with "Tintin". And sometimes it rushes like "The Lost World". The music accompanying action scenes, with motifs accompanying the antagonists, is very intense and the whole score is very "busy" , if I may use such a word. Williams had a lot to do here. And must have had fun! And there is theme related to the McGuffin - very simple one. I can't wait to hear the score from the album and I have no doubt that it will be a great listening experience. Williams and Ross are listed as conductors. And the movie itself? Without giving away any spoilers, I really liked it. A lot of humor, lots of action, with a solid emotion in the background. There were moments that really surprised me. The biggest acting star here is indeed the fantastic Phoebe Waller-Bridge. Can't wait to see it again!

THE LOST WORLD: JURASSIC PARK EXPANDED AND REMASTERED (2-CD SET) MUSIC COMPOSED AND CONDUCTED BY JOHN WILLIAMS LIMITED EDITION OF 5000 UNITS Coming From LA-LA LAND RECORDS AUGUST 8, 2023 https://www.facebook.com/photo/?fbid=778068147662581&set=a.484587307010668 https://twitter.com/LaLaLandRecords/status/1686435772700979200

The majority of the release comes from analog tape that Shawn Murphy saved his brilliant stereo mixes of every take to, in 1991. Nobody has to worry about any sound issues with this release -- as the samples should already tell you. Just compare the samples of "Flight To Neverland", "The Ultimate War (Film Version)", and "Swordfight and The End of Hook" to the same music on the 2012 edition. The songs (which were not recorded by Shawn Murphy) were saved on various different formats but sound just as good.

Like HunterTech said, it wasn't a mistake on their end. Disney quickly pulled the intended 4K re-release at the last minute and decided to repack the original discs instead, for some unknown reason. Those 4K discs with the isolated score did however end up in the big 9-film boxset. I've been waiting months for a reason to post this...

Eagle has landed. Love the spine and how this looks with the JP set!

Long time reader, first time poster. Bought the Lost World expansion today. Never was a huge fan of the score until maybe 3 or 4 years ago, I gave it another try and truthfully I think it passes JP overall, so I can’t wait to grab this. Was motivated by all of the wonderful cover art concepts and just had to add my own one slight improvement.

I'm relieved the cat is finally out of the bag! I've been e-mail-communicating with Tim for at least a year (maybe two?) regarding this project, and I've given some assistance and some discussions for other issues where I've been unable to assist. But I've been sworn to secrecy all along! I'm (obviously) very much looking forward to this project. As some of you know, I was working on a similar book project myself, but for various reasons that will take too much self-absorbed time to go into here, it fell through. So when Tim contacted me, I was only glad to pass on the baton. My own John Williams book project is not dead, but it will take on a different -- more personal -- form now if it ever comes into fruition. It will NOT be the be-all, end-all biography book that I had originally planned, but that THIS will hopefully be. Looking forward to the release date in a couple of years!

Thanks everyone. I actually wrote this well before Dial came out, but was glad I was able to sneak in a last minute edit about "The Battle of Syracuse." My secret hope is that some Disney exec sees this article and realizes a score-only presentation of Indy 5 would be a good idea!

John Williams fans: "JW is getting so lazy and unoriginal! How dare he re-use parts of his other scores?" James Horner fans:

This has turned into the stupidest thread about an expansion ever. Not only has the joke run out of steam, but the coal car is empty, the company supplying the coal has gone into chapter 11 restructuring, the coal mine has been depleted of all its economically recoverable ore, and, um, Congress passed an anti-coal bill with rare bipartisan support.