Bowie

So "Approaching the Throne" and "A New Home" are basically exactly what was on the FYC. Interesting. Everything else is restructured and merged, and/or omitted, one way or another.

Wouldn't surprise me to find it's a global release lining up with midnight East West Coast US. But are we sure it was meant to be midnight of Tuesday 17th into Wednesday 18th? And not 18th into the 19th?

I'm optimistic about his chances among those potential nominees. I expect the most likely nominees will be: Alexandre Desplat, "Little Women" Thomas Newman, "1917" John Williams, "Star Wars: The Rise of Skywalker" And: Hildur Guðnadóttir, "Joker" Randy Newman, "Marriage Story" (with an outside chance of...) Marco Beltrami, "Ford v Ferrari" Michael Giacchino, "Jojo Rabbit" Daniel Pemberton, "Motherless Brooklyn" Alberto Iglesias, "Pain and Glory" I think Williams has a strong shot of standing out among those nominees with Academy voters and actually running away with the win.

Is it the B-section in the Imperial March?

A New Home & Grand Finale

In all seriousness, this is the most fitting title.

With 52, though, we could rank each nominated score according to a deck of cards.

Discuss.

Hope he incorporates subtle elements from "Han Solo and the Princess," such as that distinctive intervalic combination (i.e. re-mi-so-re.... re-ri-fi-ti,-do) This would actually make a great little competition idea for JWFan. Come up with a Solo theme!

At the very worst, Episode 9 will be the next and final thing he works on, and events cause it to remain unfinished. But there are teams of highly skilled craftspeople who'll be ready to sweep in and finish it in his honour if and when that happens. I don't want to jinx it, but I can imagine Williams going for another 5 years or so. Episode 9. Another Spielberg. And Indy 5.

Time for my patented "Best Listening Order". Here's what I've come up with this time: BEGINNINGS... 01. Main Title and Escape 02. Ahch-To Island REVELATIONS... 06. Old Friends 08. Lesson One 10. Who Are You? HEROES YOUNG AND OLD... 07. The Rebellion is Reborn 05. Fun with Finn and Rose 13. The Sacred Jedi Texts DARK FORCES... 03. Revisiting Snoke 04. The Supremacy 17. The Spark 14. A New Alliance DUELS AND FATES... 11. The Fathiers 19. Peace and Purpose 16. The Battle of Crait 20. Finale Tracks left out: Canto Bight, The Cave, Chrome Dome, The Last Jedi

I'm relieved to know you were actually trolling before.

"Proud deplorable" is such an Orwellian term, like "social justice warrior" being used somehow as a pejorative, and "free speech" advocates who whinge about critics using their free speech to condemn their (awful, awful) Fox News/Sky News-fed opinions. But in the spirit of The Post, I certainly respect the freedom of the press in Western liberal democracies, and your right to eat up such overtly fascist propaganda. But maybe you could be less of a "snowflake" when someone jests about how awful a Trump supporter is? Just asking! Really makes you think. Meanwhile, I'm looking forward to hearing John "Libtard Democrat" Williams' score for this movie.

Opinions, I guess!

You disagree?

First 20 minutes are really good so far. No stand-out new themes yet, but what strikes me is how intensely successful the Force Awakens' themes are. He did an incredible job there, and it's paying off here. EDIT: Holy shoot, Rose's theme is an instant classic. Simple, but it's something that would fit right at home in a score like The Fellowship of the Ring.

Australia. Friend who works at a local electronics store teed me up. (It's the morning of the 14th here now.)

My copy has arrived. Impressions to follow!

Let's have a look at the logical fallacies you've used: 1. Traitorous critic fallacy & Association fallacy ("PC police") 2. Abusive fallacy ("Grow a spine") 3. Appeal to tradition ("Pretty common phrase") 4. False dichotomy ("not a safe space") 5. False compromise ("not everyone is going to...") 6. Appeal to ridicule (sarcastic: "I'm sure misgendering would be an offense") Plus Kettle logic and Gish-galloping, uniting all of your fallacies together.

I too offer financial assistance to my new friend.

The suite will probably just be "Sophie and the BFG" from the OST, right? It's 8:03.

Not that Oscars matter but does anyone else get the feeling Williams may not make the cut this year? A mid-year Spielberg flop is not great for his chances, given of course that the score itself won't blow any minds, regardless of its inherent decent quality.

Nearly finished. I think the score can be summed up as 'lots of extremely enjoyable but relatively brief passages separated by lots of quite enjoyable but slightly longer passages, punctuated by a lovely main theme that verges on instant classic status, and a handful of less memorable but relatively distinct ones'. Well, in my opinion, anyway. Bottom line is someone could create a brilliant 10-to-15-minute suite from the material presented here, where less is more, and that rivals some of Williams' best.

The Lost World Theme (the album version especially) is absolutely a top tier Williams composition. It is not only exhilarating from start to finish, thanks to the tribal percussion beats and dark string and brass timbres, but is filled to the brim with ingenious other-worldly rhythmic melodies. It is I think one of the first and prime examples of Williams pairing a more broadly sweeping longer-note melody (in this case, the minor-key theme that is uniquely harmonised solely with major chords), with a more rhythmic counter-theme (the rapid, modal motif, which in a way is actually a sped up version of the longer melody), over the timpani/bass ostinato. Rey's Theme interestingly has a similar structure (although the rhythmic counter-theme doubles as an ostinato, and he instead throws in a second counter-theme for added variety... both of which build on top of each other before the real melody kicks in). Williams is quite deft at weaving ostinati in and out (e.g. Superman, Jaws) but after The Lost World theme, he really went all out with competing melodic contours.

Absolutely fabulous. You could tell these young people care about that music, because it was obviously very well practiced and rehearsed, and in some parts better than any world famous orchestra. The first violinist's Schindler's List performance was an exception among exceptional. My biggest complaint, if I can come up with one, was that The Lost World was probably too fast, which lent the piece great energy, but some intricate rhythms and motifs were swept a little under the rug by rushed players.