Omen II

The best seats for sound are generally considered to be in the stalls and the grand tier boxes.  I would recommend blocks H, J, L or M in the stalls and because the rows of seats are steeply raked your view will not be blocked by the people in the row in front of you.  I prefer the rows towards the back of the stalls rather than the front, as the further back you are the higher up you are and therefore will see more of the orchestra.
 
The parts of the hall directly opposite the stage (so at 6 o'clock if the stage is at 12 o'clock) can be good for live in concert screenings, but the sound of some sections of the orchestra can be completely lost (e.g. the violins).
 
If you can, I would definitely try to avoid the sections of the circle nearer the stage (blocks P and Y), as many of the seats have a restricted view in that you can only see half the orchestra.
 
Some people like the seats in the arena (especially the front few rows to be up close and personal with the conductor), but because the rows are all on the same level you cannot see some of the players towards the back of the orchestra and can have your view blocked by the person in front of you as the seats are not staggered.
 
I also like the second tier boxes as there are only five seats in each and you get a great view of everything from most of them (except from the 'fifth' seat at the back, which is sometimes sold as restricted view).  The pictures below show the view from the back of the circle (1), from one of second tier boxes (2) and from the stalls (3). 
 
 

The best seats for sound are generally considered to be in the stalls and the grand tier boxes.  I would recommend blocks H, J, L or M in the stalls and because the rows of seats are steeply raked your view will not be blocked by the people in the row in front of you.  I prefer the rows towards the back of the stalls rather than the front, as the further back you are the higher up you are and therefore will see more of the orchestra.
 
The parts of the hall directly opposite the stage (so at 6 o'clock if the stage is at 12 o'clock) can be good for live in concert screenings, but the sound of some sections of the orchestra can be completely lost (e.g. the violins).
 
If you can, I would definitely try to avoid the sections of the circle nearer the stage (blocks P and Y), as many of the seats have a restricted view in that you can only see half the orchestra.
 
Some people like the seats in the arena (especially the front few rows to be up close and personal with the conductor), but because the rows are all on the same level you cannot see some of the players towards the back of the orchestra and can have your view blocked by the person in front of you as the seats are not staggered.
 
I also like the second tier boxes as there are only five seats in each and you get a great view of everything from most of them (except from the 'fifth' seat at the back, which is sometimes sold as restricted view).  The pictures below show the view from the back of the circle (1), from one of second tier boxes (2) and from the stalls (3). 
 
 

🤭
 
@Mari Are you an angel?
 
John Williams last appeared at the Royal Albert Hall in November 1985.  This is just epic news!

@Omen II, thank you for this excellent intro!

Are you sure you are not mistaken with the date, Richard?  I helped the Royal Albert Hall archivist with some information about John Williams's appearances there a few weeks ago and she checked the original programmes from their archives, confirming that John Williams conducted the LSO with John Scott at Filmharmonic on 16th November 1985.  If there was a later Royal Albert Hall appearance in 1986, it is not information they have on their performance database and they would probably be pleased to hear from you.
 
On a related note, here is an interesting read about the Filmharmonic concerts:
 
http://www.robertfarnonsociety.org.uk/index.php/jim/the-special-articles/271-filmharmonic-the-final-years-1978-1985

The best seats for sound are generally considered to be in the stalls and the grand tier boxes.  I would recommend blocks H, J, L or M in the stalls and because the rows of seats are steeply raked your view will not be blocked by the people in the row in front of you.  I prefer the rows towards the back of the stalls rather than the front, as the further back you are the higher up you are and therefore will see more of the orchestra.
 
The parts of the hall directly opposite the stage (so at 6 o'clock if the stage is at 12 o'clock) can be good for live in concert screenings, but the sound of some sections of the orchestra can be completely lost (e.g. the violins).
 
If you can, I would definitely try to avoid the sections of the circle nearer the stage (blocks P and Y), as many of the seats have a restricted view in that you can only see half the orchestra.
 
Some people like the seats in the arena (especially the front few rows to be up close and personal with the conductor), but because the rows are all on the same level you cannot see some of the players towards the back of the orchestra and can have your view blocked by the person in front of you as the seats are not staggered.
 
I also like the second tier boxes as there are only five seats in each and you get a great view of everything from most of them (except from the 'fifth' seat at the back, which is sometimes sold as restricted view).  The pictures below show the view from the back of the circle (1), from one of second tier boxes (2) and from the stalls (3). 
 
 

The best seats for sound are generally considered to be in the stalls and the grand tier boxes.  I would recommend blocks H, J, L or M in the stalls and because the rows of seats are steeply raked your view will not be blocked by the people in the row in front of you.  I prefer the rows towards the back of the stalls rather than the front, as the further back you are the higher up you are and therefore will see more of the orchestra.
 
The parts of the hall directly opposite the stage (so at 6 o'clock if the stage is at 12 o'clock) can be good for live in concert screenings, but the sound of some sections of the orchestra can be completely lost (e.g. the violins).
 
If you can, I would definitely try to avoid the sections of the circle nearer the stage (blocks P and Y), as many of the seats have a restricted view in that you can only see half the orchestra.
 
Some people like the seats in the arena (especially the front few rows to be up close and personal with the conductor), but because the rows are all on the same level you cannot see some of the players towards the back of the orchestra and can have your view blocked by the person in front of you as the seats are not staggered.
 
I also like the second tier boxes as there are only five seats in each and you get a great view of everything from most of them (except from the 'fifth' seat at the back, which is sometimes sold as restricted view).  The pictures below show the view from the back of the circle (1), from one of second tier boxes (2) and from the stalls (3). 
 
 

The best seats for sound are generally considered to be in the stalls and the grand tier boxes.  I would recommend blocks H, J, L or M in the stalls and because the rows of seats are steeply raked your view will not be blocked by the people in the row in front of you.  I prefer the rows towards the back of the stalls rather than the front, as the further back you are the higher up you are and therefore will see more of the orchestra.
 
The parts of the hall directly opposite the stage (so at 6 o'clock if the stage is at 12 o'clock) can be good for live in concert screenings, but the sound of some sections of the orchestra can be completely lost (e.g. the violins).
 
If you can, I would definitely try to avoid the sections of the circle nearer the stage (blocks P and Y), as many of the seats have a restricted view in that you can only see half the orchestra.
 
Some people like the seats in the arena (especially the front few rows to be up close and personal with the conductor), but because the rows are all on the same level you cannot see some of the players towards the back of the orchestra and can have your view blocked by the person in front of you as the seats are not staggered.
 
I also like the second tier boxes as there are only five seats in each and you get a great view of everything from most of them (except from the 'fifth' seat at the back, which is sometimes sold as restricted view).  The pictures below show the view from the back of the circle (1), from one of second tier boxes (2) and from the stalls (3). 
 
 

The best seats for sound are generally considered to be in the stalls and the grand tier boxes.  I would recommend blocks H, J, L or M in the stalls and because the rows of seats are steeply raked your view will not be blocked by the people in the row in front of you.  I prefer the rows towards the back of the stalls rather than the front, as the further back you are the higher up you are and therefore will see more of the orchestra.
 
The parts of the hall directly opposite the stage (so at 6 o'clock if the stage is at 12 o'clock) can be good for live in concert screenings, but the sound of some sections of the orchestra can be completely lost (e.g. the violins).
 
If you can, I would definitely try to avoid the sections of the circle nearer the stage (blocks P and Y), as many of the seats have a restricted view in that you can only see half the orchestra.
 
Some people like the seats in the arena (especially the front few rows to be up close and personal with the conductor), but because the rows are all on the same level you cannot see some of the players towards the back of the orchestra and can have your view blocked by the person in front of you as the seats are not staggered.
 
I also like the second tier boxes as there are only five seats in each and you get a great view of everything from most of them (except from the 'fifth' seat at the back, which is sometimes sold as restricted view).  The pictures below show the view from the back of the circle (1), from one of second tier boxes (2) and from the stalls (3). 
 
 

The best seats for sound are generally considered to be in the stalls and the grand tier boxes.  I would recommend blocks H, J, L or M in the stalls and because the rows of seats are steeply raked your view will not be blocked by the people in the row in front of you.  I prefer the rows towards the back of the stalls rather than the front, as the further back you are the higher up you are and therefore will see more of the orchestra.
 
The parts of the hall directly opposite the stage (so at 6 o'clock if the stage is at 12 o'clock) can be good for live in concert screenings, but the sound of some sections of the orchestra can be completely lost (e.g. the violins).
 
If you can, I would definitely try to avoid the sections of the circle nearer the stage (blocks P and Y), as many of the seats have a restricted view in that you can only see half the orchestra.
 
Some people like the seats in the arena (especially the front few rows to be up close and personal with the conductor), but because the rows are all on the same level you cannot see some of the players towards the back of the orchestra and can have your view blocked by the person in front of you as the seats are not staggered.
 
I also like the second tier boxes as there are only five seats in each and you get a great view of everything from most of them (except from the 'fifth' seat at the back, which is sometimes sold as restricted view).  The pictures below show the view from the back of the circle (1), from one of second tier boxes (2) and from the stalls (3). 
 
 

An Evening with John Williams in Concert
London Symphony Orchestra
Conductor: John Williams
Friday 26 October, Auditorium
7:30pm
£21-£90
 
Source

Your content count is exactly 1941 like the movie. Don't reply otherwise you spoil it.

A diplodocudrama, surely?
 
🤪

A diplodocudrama, surely?
 
🤪

You may remember this legendary thread from back in the day.
 
Well imagine my pleasant surprise to open the free Metro newspaper on the train to work this morning and read this from the 60 Seconds interview with DJ Edith Bowman on page 14:
 
 
I cannot find a link so have typed it out verbatim.  Good lass!
 

You may remember this legendary thread from back in the day.
 
Well imagine my pleasant surprise to open the free Metro newspaper on the train to work this morning and read this from the 60 Seconds interview with DJ Edith Bowman on page 14:
 
 
I cannot find a link so have typed it out verbatim.  Good lass!
 

ha!

You may remember this legendary thread from back in the day.
 
Well imagine my pleasant surprise to open the free Metro newspaper on the train to work this morning and read this from the 60 Seconds interview with DJ Edith Bowman on page 14:
 
 
I cannot find a link so have typed it out verbatim.  Good lass!
 

You may remember this legendary thread from back in the day.
 
Well imagine my pleasant surprise to open the free Metro newspaper on the train to work this morning and read this from the 60 Seconds interview with DJ Edith Bowman on page 14:
 
 
I cannot find a link so have typed it out verbatim.  Good lass!
 

You may remember this legendary thread from back in the day.
 
Well imagine my pleasant surprise to open the free Metro newspaper on the train to work this morning and read this from the 60 Seconds interview with DJ Edith Bowman on page 14:
 
 
I cannot find a link so have typed it out verbatim.  Good lass!
 

You may remember this legendary thread from back in the day.
 
Well imagine my pleasant surprise to open the free Metro newspaper on the train to work this morning and read this from the 60 Seconds interview with DJ Edith Bowman on page 14:
 
 
I cannot find a link so have typed it out verbatim.  Good lass!
 

You may remember this legendary thread from back in the day.
 
Well imagine my pleasant surprise to open the free Metro newspaper on the train to work this morning and read this from the 60 Seconds interview with DJ Edith Bowman on page 14:
 
 
I cannot find a link so have typed it out verbatim.  Good lass!
 

Like this one, perhaps?
 

 
 
John Williams also programmed music from Jaws 2 when he conducted the National Philharmonic Orchestra at Filmharmonic '80.  The concert was on 18th October 1980 at the Royal Albert Hall in London, but I don't know what cue or cues the selection included.

Like this one, perhaps?
 

 
 
John Williams also programmed music from Jaws 2 when he conducted the National Philharmonic Orchestra at Filmharmonic '80.  The concert was on 18th October 1980 at the Royal Albert Hall in London, but I don't know what cue or cues the selection included.

Like this one, perhaps?
 

 
 
John Williams also programmed music from Jaws 2 when he conducted the National Philharmonic Orchestra at Filmharmonic '80.  The concert was on 18th October 1980 at the Royal Albert Hall in London, but I don't know what cue or cues the selection included.