Bellosh

JOURNEY TO THE ISLAND. it's my favourite cue, from the score.

Same.  After Journey to the Island, if i'm not doing a full listen through, I will go straight to that track.  Easily my 2nd favorite JP cue out of both JW's scores.

Funny, I was also thinking about that too but I thought my rant was long enough already, ha! Sabrina has always been a favorite of mine but for years I NEVER heard it played. I think I may have heard it once as the violin version, but really only once if that. He would regularly play pieces from the Cinema Serenade album, usually Laura, but never Sabrina. The original version would rarely get played by Lockhart, or a couple times when the split the show. It was only recently in the last years it started to become a regular thing. In that vein too, I have never seen him conduct Jurassic Park. in the 25 years or whatever it is I've been going to see him do the Pops, he did it one time (when I wasn't there), and that was it. I believe the only other time it was broken out was for the ASM concert at Tanglewood in 2019, but David Newman conducted.

Now THAT was the greatest concert ever, sadly I doubt there is any hope that will get released.
 
I hate to say it's one of my favorites because the whole score is one great cue after the next, but i have listened to that track more than the others (not including Journey and finale). Since they did do the whole film live though, I am really curious how it was performed with all the electronics on the OST.

Dennis Steals The Embryo

You're gonna purchase an expansion?!? 

You're gonna purchase an expansion?!? 

God, why am I exposing myself to this crap? An endless string of two-note chords, as if it's a child plunking away at a piano, and then orchestrated with a million dollars. Or low-register rumbles that go nowhere fast. I won't be able to make it through one single listen, but I needed to know what it was about to have the references in order. As for the film, I skipped the press screening earlier this week (I'm all superheroed out), but might give it a go if it hits some streaming service at some point.

You're gonna purchase an expansion?!? 

You're gonna purchase an expansion?!? 

I had no problems with the prequels other than in execution… meaning that you have to let your mind fill in the blanks, adding more of “Anakin-kills-Sandpeople-children” type scenarios and make him more dependent of Natalie. Then it’s a super cool ‘fall from grace’ story.
 
“Peeping Obi-Wan“ however seem a little disconnected from both the PT and the OT, other than on just a superficial level. And we have no real need to know where the show takes us, or even figure out the motivation of the main character, because we already know thanks to the movies.
 
That doesn’t mean the show can’t be cool or even good, though. From a glance, it looks HQ all the way! Here’s to hoping!
 
Also, am I the only one who’s getting a “Coruscant TV-show-demo” feeling from the city scenes?

Lol yeah I don’t quite get this thread....aren’t like half of the threads on this subforum “John Williams in the news”?

I had originally meant to write this fairly long tirade in The Book of Boba Fett thread, but it also applies here, I think.
 
Stories and universes like Lord of the Rings and Dune, beyond their bare plot mechanics, take indeed their power and appeal from the details. The world building and its inner coherence are more important than the plot itself, and serve to inform and sustain the story in such an integral way, that the whole construct would collapse without that conceptual backbone. In many ways, the world-building IS the story, so there are no extraneous details that exist solely to fatten the universe without any real purpose beyond giving a simulacrum of complexity.
 
Now, I don't see Star Wars in the same light as those two universes. Star Wars was never about world-building. It was never about a fully fleshed out universe, coherent in its rules and concepts, without which the whole illusion would collapse. No, I've always seen Star Wars as a much more impressionistic creation. The background details don't really matter on their own. They only matter when matched with the main story to form a unified and inseparable illusion. A mythical, archetypical story, yes,  told many times before, but blended in with such a wide array of aesthetical influences to create a considerably original whole. 
 
Star Wars is much more about what is implied, but never stated, about the surrounding universe, than about outright explaining it and filling every possible narrative gap. The universe around Star Wars is the background for the main story, it gives it color and identity, but it never was the main story itself, it never was the crucial backbone for the narrative. That's one the reasons why JW's musical approach worked so well for those movies, it blended the story and the background, but never in a literal way, never in a constricting way, it never locked our imagination into a single option. By not being descriptive, by not being literal, the music made all those narrative gaps feel alive and fertile ground for our own imagination to do the bulk of the filling of the background details.
 
I don't want to see the interior of a Sarlaac. I don't want to know the inner workings of Tusken culture. I don't want to know how Stormtroopers train. I didn't even want to know how the Clone Wars actually happened. Those sort of lore-filling details are fine on the back of the packaging of an action figure, or in a trading card or even in a Video Game. Once you make them happen in live-action, it's like suddenly they actually become real and much harder to ignore. And they subsequently change the way one is able to experience those original films. It taints them. It constricts the imagination.
 
I equate Star Wars almost to a Bizantine or Roman mosaic. When seen as a whole, it looks marvelous:
 

 
But if I isolate and zoom in on some of its tiles, the effect is totally lost
 

 
Like I said, Star Wars always felt much more impressionist to me. The details don't matter. The overall effect is paramount. Focusing on the details is actually detrimental to the whole experience and effect.
 
These TV shows are giving us tiles, not mosaics
 

Sorry, that was a little late, but I could not resist.

How about the casting of Joel Edgerton as Owen in the Prequels when he was relatively unknown and now he's a terrific actor with lots of good movies and roles under his belt. 
 
Excited to see him back as Owen in this!
 
They lucked out with that original casting!

How about the casting of Joel Edgerton as Owen in the Prequels when he was relatively unknown and now he's a terrific actor with lots of good movies and roles under his belt. 
 
Excited to see him back as Owen in this!
 
They lucked out with that original casting!

I doubt younger members will fully appreciate my rather wistful point, but Star Wars originally held an almost supernaturally mystical status when it was part of the past classics pantheon of western cinema, an untouched one-off of a legendary trilogy, eminently looked back on as being the predominant science fiction phenomenon of the Reagan era. There were no sequels and none were ever really expected; and the fans, casuals and die-hards alike, were actually fine with that - it allowed the Luke Skywalker saga to "bed-in" and become entrenched as a major nostalgic mainstay of popular culture at the time and for almost fifteen years after: it was always just Star Wars, Empire Strikes Back and Return of the Jedi, and people would rewatch them over and over like Bond movies, like Bridge Over the River Kwai and The Great Escape. That's why they became endlessly quotable and constantly referenced everywhere. The Star Wars trilogy was a sacrosanct icon of American cinema, locked in time. 
 
Nowadays it's treated like the latest Assassin's Creed instalment, watered down to the point where the extraordinary "magic" has all but evaporated and been replaced with curdled cow's milk, to be forcibly twisted from the teat on demand, ready for the next "audience engagement". 
 
Disclosure: I really liked The Mandalorian overall, but that doesn't mean I don't also lament the changing and diminishing of Star Wars as a part of the untouched lexicon of exceptional cultural highlights. 
 
I sound like a jaded old superfan here, but the irony of my remarks is that I didn't even bother to watch it (the trilogy) till my late teens (the 90s), and whilst I enjoyed a short fad of personal fandom, I was never that into it after. Yet I had always appreciated its status and its impact. It makes me feel a little sad to see it's ongoing basardisation now, and this latest spin off may as well have been produced by Ubisoft. 
 
But I'm sure it'll be "fine". Though something else, something of abstract significance, shall nevertheless be lost. I guess time moves on. 

I groaned negatively for DotF

eh

I was wondering: Haven't you guys had enough of Star Wars?
I don't know, I'm content with just the original trilogy. Just like Thor is content with ost presentations.

coming back to your post with the green text of doom like:
 

coming back to your post with the green text of doom like:
 

I liked Jurassic World better than Home Alone 2.

I had a short but intensive James Newton Howard phase. I adored his M. Night Shyamalan scores The Sixth Sense, Unbreakable, Signs, The Village, Lady in the Water, The Happening. And King Kong is brillant. And I really liked what I heard during Disney's Dinosaurs movie.
But after some time I began to struggle with his tendency for these looping in my mind not very interesting short motives, the increasingly synthetic sound and more and more spheric sound carpets. Maybe something happend during his collaboration with Hans Zimmer on The Dark Knight, that inspired him to go that route. And maybe his academy award for Michael Clayton. Or maybe just I changed when I discovered my passion for classic golden age scores. Or I heard too many scores of James Newton Howard that didn't give me anything. But I am not really looking forward to any of his new scores. I still like his old albums. If there ever would be a remastered expanded version of Unbreakable I would surely go for it. But apart from that I am not that much interested. But you have to focus somewhere.
 
 
 

King Kong and Signs are favorites of mine from him. I've admittedly not listened to most of his scores though.
 
His score for Lady in the Water is remarkable as well.  I've never seen such a shit movie with such an amazing score before.  It's off the charts.

King Kong and Signs are favorites of mine from him. I've admittedly not listened to most of his scores though.
 
His score for Lady in the Water is remarkable as well.  I've never seen such a shit movie with such an amazing score before.  It's off the charts.