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  1. You could hear his internal monologue screaming “NOOOOOO!” when they were talking about going to say hi to him at the golf course.
    11 points
  2. I just came across this simple edit on YouTube playing Holdo's theme when she and Leia say goodbye to each other and the big climatic Holdo's Resolve music. This reoccurring motif popped up unexpectedly for me as I watched TLJ for the first time, and I instantly wanted more of this little gem. Unfortunately, I think the theme is very poorly represented in the OST although the big moment is edited into the end credits. From the way the motif is scored in the film, it kind of is the major musical propulsion for that whole middle segment of TLJ. I almost wish Holdo's Theme got the full concert arrangement treatment or at least better presentation on the OST. What do you, dearest JWfan reader, think?
    9 points
  3. 23. Have you ever visited JWFAN? "I personally haven't, Loert. But I remember Anne-Sophie once telling me about this wondrous network of music lovers. JJ Abrams and Mangold also seem to use this way of communication occasionally...what do you call it?...yes, social media. You know, my generation, we only know how to use a pencil. But I actually know the German word for pencil...Bleistift, ja, ja." [chuckles]
    9 points
  4. 23. Have you ever visited JWFAN? My secretary did. They strongly advised me against going on it. [JWFAN is an online forum dedicated to John Williams, J.R.R. Tolkien, and pointless C&C score releases.]
    9 points
  5. I just watched Godzilla: Minus One. A great film. Sure, the beginning was a bit slow, but once the story gets going, it is by far the most meaningful of any Godzilla films that I saw. I can't help but compare this movie to Godzilla (2014), America's attempt at making a serious Godzilla film; Minus One just have so much better characters. Everyone feels intimate, real, with a genuine sense of tragedy and redemption. The two leads, Noriko and Kōichi, really played off each other, becoming each other's salvation. Now compare that with Aaron Taylor-Johnson and Olsen's boring, mundane storyline, you can see that Minus One is a serious monster film done right. BTW, Naoki Satō's sore is brilliant in the film. I didn't get it on album, but now that I watched the film, I understand it better and it is one of the most effective scores of last year. I know everything comes down to just having an opinion, but some of the opinions in the film music community raise my eyebrows from time to time. Over the last couple years, I learned that Villeneuve is too pretentious, too artsy, and Dune: Part Two is not epic sci-fi because it isn't neo-romantic like Star Wars. I was told Lynch's Dune had better acting (not even remotely true) and was more "colorful." In another forum, people were drooling over Emmerich directing Dune II, and defending bottom barrel films like 10,000 BC. Then the James Bond crowd thinks the Craig films have too much character, too much personal storylines, and they want the franchise to be more trashy action films. A fanbase that consistently want their beloved franchise to have less dramatic depth. And now, I am hearing that Godzilla: Minus One is too talky, too boring, and the score is bad (literally the opposite is true for me). Instead, they want Michael Dougherty to come back, the guy that made the terrible King of the Monsters. Yes, the film has a great sense of scale, and some incredible shots, but Dougherty can't shoot people or action to save his life. Every time the monsters fight, the camera cuts away to the humans. Only the humans are as interesting as extras in the film. I mean, Minus One has more steady Godzilla footage with a $15 million budget. That is not to say that I don't enjoy GvK and GxK from a pure entertainment value. I do. But honestly, those films are so far away from the essence of filmmaking, they are becoming closer and closer to a CGI cutscene in a PS5 game than a movie. Here is the thing about Bay. He is an incredible cinematographer. The Rock is one of the most beautifully shot action films I ever seen. The use of lighting and effective framing added much needed mystique to a simple plotted action film. Bay's problem, as you said, is that he never grew out of his commercial/music video roots. Yes, if you have 20 seconds to get someone's attention, you constantly need stylish shots, but not when you have a 2 hours to tell a story. Having a camera panning 360 degrees around the actors looks cool, but it completely destroys the structure of the scene. Did he care? Probably not. Emmerich on the other hand is just too casual as a filmmaking. He doesn't care about style, or much of anything. Bay overused explosions during the Pearl Harbor scene, but his execution of an air-to-sea battle is still leagues more realistic and visually interesting than what Emmerich did in Midway. Emmerich has no standout personality or style in his filmmaking. You called that "refreshing." I called it mediocre filmmaking.
    9 points
  6. https://www.facebook.com/photo/?fbid=996160772519983&set=a.484587293677336 Universal Pictures Film Music Classics Collection Music composed and conducted by John Williams Limited Edition of 5000 Units RETAIL PRICE: $22.98 STARTS SHIPPING JUNE 24 La-La Land Records and Universal Studios proudly present the twenty-first title within the acclaimed Universal Pictures Film Music Classics Collection – THE SUGARLAND EXPRESS, a world premiere release of music from the original soundtrack for the very first collaboration between director Steven Spielberg and composer John Williams (JAWS, E.T., SCHINDLER’S LIST). Celebrating its 50th anniversary, THE SUGARLAND EXPRESS, released in 1974, stars Goldie Hawn as a Texas mother who breaks her husband (William Atherton) out of a prison farm when she is denied custody of their baby. Together they hijack a highway patrolman (Michael Sacks) and lead a convoy of media, onlookers, and countless police cars across the state. Spielberg’s first feature film balances comedy, drama and action in what Pauline Kael of The New Yorker called “one of the most phenomenal debut films in the history of movies.” Although Williams’ score never received a prior album release, the 50th anniversary of his historic partnership with Spielberg, along with a revisitation of the film for Universal Studios’ new 4K restoration, yielded the proper conditions to at last create an original soundtrack, which now takes a place of honor in the successful Universal Studios Film Music Classics Collection. While Spielberg originally hoped for a larger scale score for his first movie, Williams convinced him that THE SUGARLAND EXPRESS called for something more intimate. The great Belgian harmonica soloist Toots Thielemans became the principal musical voice of the film, supported by an ensemble of top guitarists and percussionists and a small string ensemble. The resulting music reflects the complex characters and the building tension of the story, with a bluesy, country vibe evoking the landscape and cultural backdrop of the tale. The album presentation, produced by the composer, delivers a distinctive musical journey and features material not used in the completed film. Classics Collection producer Mike Matessino mixed, edited and mastered the album from high resolution transfers of pristine 8-track master tapes, archiving the material as well as conforming the music for a new stereo mix of the film. Matessino also contributes in-depth liner notes detailing the history of the production, the creation of the music, and its place in the legendary Spielberg/Williams collaboration. Art direction by Jim Titus appropriately celebrates this historic premiere release. Hell yeah!!! Finally!
    8 points
  7. Release Date: 28th Jun 2024 Catalogue No: VSD00774 Label: Varese Sarabande Due for digital release on 28th Jun 2024 Order now and download on the release date MP3 $10.75 FLAC(CD quality, 44.1 kHz, 16 bit) $15.00 No digital booklet included https://www.prestomusic.com/classical/products/9637782--for-love-of-the-game 1 Main Theme 3:35 2 New York 2:41 3 Billy Traded 2:22 4 Run To Park 0:55 5 Park Farewell 1:44 6 Locker Room 0:49 7 Clouds 1:47 8 Tuttle Knockdown 1:50 9 Tuttle Out 1:37 10 Cat And Mouse 1:05 11 Jane To Game 1:47 12 Jane Putdown 0:42 13 Torn Dollar Bill 1:20 14 Dinner / Elevator 1:35 15 OK Billy Chapel 0:55 16 Birch Strikeout 3:01 17 For Love Of The Music 1:50 18 Hard Pitching 1:48 19 Old School 1:37 20 Heather Comes Along 0:44 21 Jane’s Home 4:59 22 Relationship Montage (Pt. 1) 3:38 23 Gus Hits It 1:18 24 Accident 3:11 25 Coming Back? 0:37 26 Lemonade 2:12 27 Doesn’t Matter Anymore 1:04 28 No Hits 4:49 29 Mickey Saves 2:50 30 The Decision 5:19 31 Can’t Get Clear 2:42 32 Last Pitch 5:19 33 Gus Farewell 0:53 34 Apology 1:55 35 I Need You 3:09
    8 points
  8. 8 points
  9. What surprised me was my reaction to the subject that I didn’t think would interest me: Golf. When Maestro spoke of it as a solitary and meditative act for himself to take a brain break and move a little… something about it made me legit choke up. This Godlike being, humanized in a way in which we rarely hear him speak. Not the Composer, not the Legend, but the man. This was authentic John. I conjured in my head an image of him enjoying this simple peaceful pleasure in and it struck me emotionally. That part was good.
    8 points
  10. The two releases I would expect to see this year are The 13th Warrior and The Sixth Sense. Both celebrate their 25th anniversaries and deserve re-releases. Karol
    8 points
  11. I go off-grid for a few days (won't return in full until this evening, actually), and THIS is the news I see when I log in! I never thought I'd see the day. Of course, the news is AMAZING, as it fills an important hole in Williams' discography. But it's also kinda devastating, as I can't afford it (the total will amount to my food budget for a week!), so I'm hoping it will stay in circulation for a while (5000 is promising in that regard...but it IS a Williams premiere) until I hopefully come into possession of some money down the line. Fingers crossed! Some interesting context bits -- THE SUGARLAND EXPRESS was actually the most recent Williams score not to have a soundtrack release (if you disregard short films A TIMELESS CALL and DEAR BASKETBALL). Now the NEW most recent Williams score not to have a soundtrack release is.....yes, you guessed it....STORY OF A WOMAN! I consider CONRACK sorta released, since it's so short and the title sequence that was released on FSM actually constitutes a healthy portion of the score. Also, we haven't been spoiled with archival Williams premieres in the last decade. If I'm not mistaken, this is only the third since 2011. NIGHTWATCH in 2011, the PETE'N'TILLIE portion of STANLEY & IRIS in 2017 and now this. Which makes it all the more precious. As for the score itself, I've always kinda liked it. Yes, the main theme is the star, but the shuffling percussion stuff has a twangy Americana feel that grows on you after a while. Thanks to LaLaLand, Mike and everyone else involved in getting this out there.
    8 points
  12. Although Williams’ score never received a prior album release, the 50th anniversary of his historic partnership with Spielberg, along with a revisitation of the film for Universal Studios’ new 4K restoration, yielded the proper conditions to at last create an original soundtrack 2027, Mike! We're counting on you!
    8 points
  13. "What theme? Holt? I think the name is Holst."
    7 points
  14. I never noticed this before, but in the Sorcerer's Stone cue 8m4 The Mirror Scene, the trombones are playing Hedwig's Theme underneath all the rest of the orchestra playing Voldemort's Theme/general harmonization. I never would have noticed this without the score - its something that you don't really pay attention to, since it adds to the harmony perfectly! Such a classic JW moment. I stand by my opinion that the Harry Potter soundtracks are some of his best works. (timestamped moment)
    7 points
  15. This is what Williams had to say, at least in regards to using Leias theme in Ben's Death -
    7 points
  16. Lulz at anyone taking this new shit seriously. It's just expensive corporate fan fiction at this point.
    6 points
  17. Yeah, it's quite suspicious.
    6 points
  18. I've gone through the Volume 1 soundtrack release and put together a spreadsheet if anyone is interested in a breakdown: https://docs.google.com/spreadsheets/d/1MrTx5pNjbe3crpmiaf_GbjpClPfrUUdD_b0d-b86rdY/htmlview The release is by no means complete: Episode 1 is missing 02:32-03:13 (00:41), 09:50-10:50 (01:00), 24:55-25:39 (00:44), & 28:14-28:33 (00:19). Episode 2 is missing 00:01-00:43 Recap (00:42) - Unsure if tracked. Episode 3 is missing 00:01-01:00 Recap (00:59) - Unsure if tracked. That's just for what I assume are entirely missing cues, almost every included cue is incomplete/cutdown in some way, mostly due to the combining of cues cutting off openings & endings. There was also two things I wasn't able to locate: Meet Osha [00:29-End] Bazil's Theme
    6 points
  19. Do "regular" people do that? You may be using that word wrong.
    6 points
  20. Here's a great interview with Chris Malone all about digital soundtrack remastering with a special focus on The Empire Strikes Back
    6 points
  21. Yeah, I guess they all sound the same to you, don't they? Speciesist! Reported.
    6 points
  22. They were completed at the same time Episodes X, XI, and XII were locked.
    6 points
  23. Mike: "Here's the Sugarland Express!" JW: "Eh, it's not good enough on its own merits to warrant such a special release." Mike: "How about for the 45th Anniversary?" JW: "Hmm... Still not special enough." Mike: "50th?" JW: "Yeah, yeah, that could work. See you in six years."
    6 points
  24. I mean, I enjoyed King of the Monsters as a dumb and fun movie, and it has a brilliant score by McCreary, but Minus One for me is on a whole other level in every aspect. More profound and complex characters, emotional connection with them, actual stakes, and a great use of its titular monster as a raw force of nature, both scary and awe-inspiring. If that film it's too boring and too artsy, then I guess that's my kind of film, because I prefere Minus One over Godzilla (2014) by a long shot, even if I also enjoyed it. Also, Noaki Sato's score works brilliantly in context, and I agree that it's one of the most effective scores of that year. Cues like Resolution or Pray have been frequently on repeat since I saw the movie!
    6 points
  25. https://www.filmscoremonthly.com/board/posts.cfm?threadID=157212&forumID=1&archive=0
    6 points
  26. Miklós Rózsa - Eye of the Needle (The Deluxe Edition) - 2-CD UPC: 888072580954 Release Date: July 12, 2024 Regular price$ 25.00 Expected to ship the week of July 12, 2024. Miklós Rózsa’s penultimate film score comes to a comprehensive two-disc Deluxe Edition featuring both the film recording (previously unreleased) and album version. Eye of the Needle was a WWII thriller based on a 1978 novel by Ken Follett, starring Donald Sutherland as a Nazi spy living in England. Stranded on a Scottish island while trying to return to Germany with vital war information, he starts a torrid romance with the unhappy and lonely wife (Kate Nelligan) of the local shepherd. Richard Marquand’s direction so impressed George Lucas that it won him the job of directing Return of the Jedi. By the early 1980s, Miklós Rózsa was the only major Golden Age composer still alive and laudably writing the same kind of timeless symphonic score that made him a Hollywood institution. His grand, sweeping music for Eye of the Needle is unabashedly romantic—vintage Rózsa—at turns suspenseful and brooding, pastoral and uplifting. It magnificently connects the film to its period while enhancing the emotion and drama. Rózsa recorded his music for Eye of the Needle twice: first for the film, with the Royal Philharmonic Orchestra in London, and then in an album version with the Nuremberg Symphony Orchestra in Germany. While the 13-track, 42-minute album (on disc two) has been released by Varèse Sarabande, this is the premiere release of the 23-track, 61-minute film version (on disc one)—making for the ultimate Eye of the Needle release, with new liner notes by Rózsa expert Frank K. DeWald. Limited edition of 2,000. Produced by: Mike Matessino and Cary E. Mansfield Edited by: Mike Matessino Mixed by: Eric A. Tomlinson (Original Motion Picture Soundtrack Scoring Mixer), Willy Luther (Original Motion Picture Score Album Recording Mixer) Mastered by: Mike Matessino Track List: Disc One: The Original Motion Picture Soundtrack Performed by The Royal Philharmonic Orchestra 1. Prelude From Eye Of The Needle 1:57 2. English Wedding (Film Version) 1:27 3. The Boarding House / The Needle Strikes 1:30 4. Storm Island / The Blond Agent 2:21 5. The Bedroom 2:02 6. Blondie’s End / The Needle 3:18 7. Camouflage / Pursuit 4:28 8. Search On The Train / Confrontation 2:49 9. Escape / The Boat 2:24 10. The Meeting 1:14 11. Love Scene / No Regrets 2:37 12. Heartbreak / The Transmitter 1:49 13. The Fight (Film Version) 2:46 14. Passion (Film Version) 1:43 15. Frantic Drive (Film Version) 1:09 16. Despair / Realization 3:26 17. The Broken Heart / Revulsion (Film Version) 3:11 18. Escape (Film Version) 6:00 19. The Gun 1:20 20. The Axe / The Firebomb 2:28 21. The Hostage / The Lamp (Film Version) 3:18 22. Retribution (Film Version) 4:18 23. Finale / Epilogue From Eye Of The Needle 2:58 Disc Two: The Original Motion Picture Score (Album Recording) Performed by The Nuremberg Symphony Orchestra 1. Prelude From Eye Of The Needle 2:13 2. English Wedding 1:56 3. The Blond Agent / Blondie’s Death 2:54 4. Camouflage 3:08 5. Love Scene 1:56 6. The Fight 3:06 7. Passion / Love Theme 4:28 8. Frantic Drive / Despair 3:05 9. The Broken Heart / Revulsion 2:54 10. Escape 4:33 11. The Hostage / The Lamp 3:21 12. Retribution 4:40 13. Finale / Epilogue From Eye Of The Needle 3:19 https://varesesarabande.com/collections/cd-club/products/miklos-rozsa-eye-of-the-needle-the-deluxe-edition-2-cd
    5 points
  27. My vinyl story is that I grew up on CDs and digital files, and then at some point in the mid- to late-aughts, artists seem to have gotten brain damage and reverted to putting exclusive b-sides on shitty sounding vinyl records and it’s only gotten worse and I’ve been mad ever since.
    5 points
  28. Born in 1972. My Vinyl Story begins here: Power Records! Thrilling dramatic stories with voice actors and library music. And talk about all the hot licenses! Star Trek! Marvel! Planet of the Apes! D.C.! Space 1999! Six Million Dollar Man! Marvel Monsters! They were incredible. I still love them to this day, and bought all the important ones in minty shape to digitize them about 20 years ago. Growing up a 1970s Monster Kid, I was also really into Halloween records, loved the sound design and scary images they'd conjure up. My record player looked something like this. I'll never forget the Christmas I got it, and the Superhero Christmas Album after getting a concussion sledding into a tree. But being a kid, I was tough on my records, and it wasn't long before they got scratched. Badly. I mean, some of them were left near a window and warped in nifty wave patterns. This Dinner With Drac 45 that cracked radially, right through to the center. But it still played. Sort of. The scratches got worse and worse. I wasn't very old before frustration with the format began. Checking records out of the public library? Well, the more popular the title, the more badly scratched it was. I am convinced most of the young vinyl enthusiasts of today have never heard a REALLY badly damaged record. Nobody would want to drag their expensive stylus over such damage. So, my vinyl story begins with a lot of fun being gradually ruined by scratches, and skips. When you think of it, there are really TWO types of skips. A literal skip, where the needle jumps a portion of the vinyl and you miss important Batman dialogue. (Replacing some of my Story Records as an adult revealed long lost dialogue. It was revelatory). And then there's the mind-crushing repeating skip, where the needle is stuck in a groove interval forever, and ever, and ever until you throw a sneaker at it or stomp your foot on the shag carpeting to jar the needle forward, or worse, backward only to fall into the repeating rut once again. And so time went on, the records got worse, and I entered the Soundtrack Era with these two beauties: Magnificent! But not without flaws. No rewind. No fast forward. You could only skip rails to parallel sections on the four tracks. May not seem like a big deal to you, but believe me when the Disco Tune from the Andromeda Sisters came on the BSG soundtrack, you wanted to get to a different part fast. And sometimes the tape would come spitting out of the player, chewed up in with accordion shaped folds. But this was great! No skips! No scratches! I was happy. But I still got more vinyl than 8 Tracks. They must've been either more expensive or harder to find. Empire Strikes Back LP for Christmas of 1980. Raiders LP for Christmas of 1981. E.T. and Tron for Christmas of 1982. I used the public library a lot for Superman II and Star Trek II the Wrath of Khan. Oddly, they didn't have the original records in either series. Cassettes came along somewhere around 1982. That's when I got the idea of playing the record just once and recording it on a blank cassette. Sort of like ripping a CD today. So, Return of the Jedi and Temple of Doom got only a couple of plays. I had become the kind of kid who knew how to take care of things by this point. Some time around the mid 80s I discovered Goldsmith, and that's when I went into a cassette buying frenzy, no doubt because I had paper route with spending money at that point. Twilight Zone The Movie, Patton, Hoosiers, Explorers... all on cassette. Along with rebuying all my favorite Williams scores. But not everything was available on cassette. So I picked up lovelies like these at the House of Guitars music store for cheap. Alien, Black Hole, Jaws, Jaws 2, Splash (Hey I was an adolescent, and it included a poster of Daryl Hannah), Star Trek IV, Explorers, Mad Max Beyond Thunderdome. Then in 1987, I got my first compact disc player, and these beauties: And that changed everything forever. For someone growing up with vinyl as long as I could remember, to hear this level of clarity and fidelity. It cannot be overstated or exaggerated. It was like hearing the music performed live. I was in love. The horrible crackle of vinyl was dead. And it would stay dead, never, ever to return. Or so I thought. I hung onto my records simply as collectible novelties and for their artwork. Oh sure, every once in a while, I'll pick up an old Christmas record, or a Leonard Nimoy LP, but I'll never put on a life jacket again. Anyway... We delivered the bomb.
    5 points
  29. Whatever its flaws, KOTCS is fun. Which is more than I can say for DOD.
    5 points
  30. Don't watch those. Just let you kid think the original trilogy is all there is for as long as you can
    5 points
  31. "Mr. Williams, what is your actual honest opinion on the music of Hans Zimmer? What do you think about Michael Giacchino? What do you think about how he handled your Star Wars themes on Rogue One?"
    5 points
  32. Andy

    John Williams Autograph

    I want this airbrushed on the side of a black 1970s van. With Frank Frazetta art on the other side.
    5 points
  33. Ian McKellen Says He’s “Hugely Indebted” To Medical Staff As He Recovers From Fall & Is ‘Looking Forward To Returning To Work” – Update
    5 points
  34. @Miguel Andrade's review: https://thelegacyofjohnwilliams.com/2024/06/17/bernstein-williams-violin-concertos/
    5 points
  35. lol i know you're joking (i hope) --- but music aside, which no matter who's performing/conducting is a pleasure, but i like to hear John's very gentle voice and stories when i see him live (which has only been like 3 times) these are not the same without that
    5 points
  36. I swear! Some of my best friends are Wookiees!
    5 points
  37. "Don't get excited!" ~Andy
    5 points
  38. I'm stunned that this actually happened. Based on listening to it once or twice before, I'd say it's one of my least favorite JW scores, but it has such phenomenal historic value that I don't know if I can resist. And it's always nice to support these folks' efforts, especially on the releases that seemed impossible for so many decades.
    5 points
  39. Here I was going through General Discussion, seeing this topic and going "naaaaaaah, ain't gonna happen." Only to see the announcement thread five seconds later.
    4 points
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