mrbellamy

I think it's natural to be curious what made the difference. We might hear a little more about it when there's no longer as much reason to protect his privacy and I'm frankly not in any rush.

Funnily enough I learned it through the LOTR making-of docs:

He's not gonna be able to conduct anymore and he can't even stand for very long, so that is an obvious decline from two years ago. Other than that he seems to be all there and in good spirits and he clearly still enjoys composing enough to write a movie score, which I really had my doubts he would still wanna do at this point...not because of his abilities but it seems like it'd be too tedious or trivial if he was really doing poorly. So I'm happy for him and feel pretty lucky as a fan of his.

My main curiosity right now is the tone. I feel like this has been a very "gentle" era for John Williams and a lot of my favorite pieces and themes lately have been in that vein, but I don't really have big favorites that rank up with his scariest or most heart-pounding moments. I feel like 2005 is my last benchmark for that. There's some good stuff like "No Man's Land" from War Horse and the Disney/Lucasfilm scores have some things...Last Jedi, I guess is his darkest score since turning 80? Overall it's been a light touch so it'd be cool to get a heavier one.

Loved reading this post, totally undervalued and crucial part of his skill set.

https://www.etymonline.com/word/bassoon

Looks like in the history of the award, sometimes they award the artists and sometimes not. I'm not sure if there's any rhyme or reason for it. At first I thought maybe it was that the artist had to be alive because recently they haven't awarded Amy Winehouse, David Bowie, or bands with dead members like The Beatles and The Doors, whereas they have given it to Quincy Jones (in 2019) and Linda Ronstadt. But then they DIDN'T give it to Bob Dylan for No Direction Home, even though that's a similar contribution to Music by John Williams. So maybe they've just relaxed on that in the last 20 years. Or we'll find out later that Williams won't receive it after all. I never expect consistency from awards groups.

Spielberg made an acceptance speech for Fabelmans listing all the things he was worried people would say about it and it reads exactly like a JWFan thread

That'd be it, I assume

What if they say I'm no good, what if they say "Get outta here, kid, you got no future"?

These moments of tracked or unused music are probably the closest he's ever come to rejection

Well somebody working on the movie clearly made that argument

I love Hoopla, Libby, and Kanopy. Libraries are underutilized.

It really doesn't matter, I loved hearing it twice as a kid and it works. It's basically the exact same visual beat and kids like repetition. I never really gave much thought to the nuances of a clever end credits suite until I got older so at the time I just thought "Mischief Managed!" was like all the others. I still think "Window to the Past" into "Buckbeak's Flight" is a pretty cool edit, it's burned in my brain. But it's pretty much cooked by "Snowball Fight" and definitely by the time it hits another round of "Double Trouble," in retrospect I realize I would always abandon ship around there, without thinking about why very critically. I was satisfied. The thing that would have saved it is tagging on the Pettigrew motif at the very end like the film, a little reward if you make it all the way through.

Of course it's cut up but I never thought coherence was the problem with TFA, movie or score. I think Abrams basically figured that edit out and it still feels fundamentally like a John Williams score. The film breathes enough for the music to make its points, unlike Rise of Skywalker where he's fighting to get a word in.