mrbellamy

I suspect this may be a reference to Berlioz's Symphonie Fantastique. The fourth movement, 'March to the Scaffold', ends with a musically depicted execution by guillotine. Though it's not specified in the score, by tradition the drum roll is usually performed on a large field drum with the snares turned off. I think that's what JW is going for here.
 
See also Prisoner of Azkaban, where he calls instead for a "scaffold drum":
 

I think that this theme was first written for the trailer (#2?), and then he tried to find a place for it in the film (and inserted it into the concert suite). In fact, the same can be said about the waltz version of Hediwg's theme (or just separate motive): it also sounds in the trailer #1, however, it remained only at the end of the concert suite, and never appears in the film.
It also reminds me of the case with the Hook trailer: there were two themes presented, one of which is prominently used in the film (is it called a Neverland theme?), and the other sounds only 2-3 times (Pirates' theme?).

I think that's it, yeah.
 
It was always my favorite too, beautiful and as a kid I always thought kinda badass too. It really sells the drama of that Harry vs Draco confrontation and the victory as he descends to the crowd with the Remembrall.
 
I wonder if Williams composed it for that scene first and then saw fit to incorporate it into Hedwig's Theme later on, or if it was the reverse where he thought of it musically first in relation to Hedwig's Theme and then he found a place for it dramatically. Might be the former since I think his concert arrangements usually come later as he's naturally prioritizing the film work but those process questions are interesting. I wonder if he even remembers anymore.

I think that's it, yeah.
 
It was always my favorite too, beautiful and as a kid I always thought kinda badass too. It really sells the drama of that Harry vs Draco confrontation and the victory as he descends to the crowd with the Remembrall.
 
I wonder if Williams composed it for that scene first and then saw fit to incorporate it into Hedwig's Theme later on, or if it was the reverse where he thought of it musically first in relation to Hedwig's Theme and then he found a place for it dramatically. Might be the former since I think his concert arrangements usually come later as he's naturally prioritizing the film work but those process questions are interesting. I wonder if he even remembers anymore.

This is an interesting statement because a few dozen would seem like a small number but it is kind of a lot when it excludes John Williams entirely. 
 
I agree with croc that I always have trouble with the masterpiece thing because it feels like a very academic exercise. I also think that masterpieces can be flawed, which feels like it should be an oxymoron but I don't think anything is beyond intelligent criticism and it's usually when something seems to transcend its perceived weaknesses that it becomes an acknowledged masterpiece. I believe there is an element of consensus to the term at its most valuable. 
 
I think for myself, Azkaban and War Horse are the last two that really hit a special sweet spot where they just have an abundance of riches and the kind of variety, overt emotionality and lyricism, the way certain cues build drama, things I love to hear most in a John Williams score. 
 
However for some reason I have the sense that Memoirs of a Geisha and Star Wars: The Force Awakens are perhaps the most recent two that will overall be considered "essential" in his canon. I mean this just gets into a whole other area of film score vs OST vs C&C vs etc etc etc but the Suite From The Force Awakens in particular kind of feels to me like the most recent "piece" that strongly represents John Williams is a "master." I guess that's the argument I would go with.
 
There's a lot to pick apart in TFA, honestly, but the suite is just like a little jewel of its own that he carved out and presented, something I feel like I can admire and be like, hey, wow, a real master made that one. I've enjoyed what he's done since, just as a fan, but I suppose that suite is my current standard for his late mastery, if that makes sense. It's different than declaring something perfect or quintessential and rather just showing my highest respect to an example of someone's great craft and artistry, since I consider it self-evident that John Williams is a master pretty much throughout all his work, whether or not he's making masterpieces. 

This is an interesting statement because a few dozen would seem like a small number but it is kind of a lot when it excludes John Williams entirely. 
 
I agree with croc that I always have trouble with the masterpiece thing because it feels like a very academic exercise. I also think that masterpieces can be flawed, which feels like it should be an oxymoron but I don't think anything is beyond intelligent criticism and it's usually when something seems to transcend its perceived weaknesses that it becomes an acknowledged masterpiece. I believe there is an element of consensus to the term at its most valuable. 
 
I think for myself, Azkaban and War Horse are the last two that really hit a special sweet spot where they just have an abundance of riches and the kind of variety, overt emotionality and lyricism, the way certain cues build drama, things I love to hear most in a John Williams score. 
 
However for some reason I have the sense that Memoirs of a Geisha and Star Wars: The Force Awakens are perhaps the most recent two that will overall be considered "essential" in his canon. I mean this just gets into a whole other area of film score vs OST vs C&C vs etc etc etc but the Suite From The Force Awakens in particular kind of feels to me like the most recent "piece" that strongly represents John Williams is a "master." I guess that's the argument I would go with.
 
There's a lot to pick apart in TFA, honestly, but the suite is just like a little jewel of its own that he carved out and presented, something I feel like I can admire and be like, hey, wow, a real master made that one. I've enjoyed what he's done since, just as a fan, but I suppose that suite is my current standard for his late mastery, if that makes sense. It's different than declaring something perfect or quintessential and rather just showing my highest respect to an example of someone's great craft and artistry, since I consider it self-evident that John Williams is a master pretty much throughout all his work, whether or not he's making masterpieces. 

His son

"James Newton Howard, the man, the myth, the absolute legend"
 
Lars Ulrich knows what's up
 
Reminds me when Slash was on the WTF podcast and mentioned that he'd just gone to see Williams at the Hollywood Bowl

Reminds me of something I heard a comedian say once: for everything on the planet, there's someone who hates that. What the Internet has done is to say "Meet these people! Step right up! You ever wonder who could be mad at a baby eating applesauce?! This fucking guy!" 

Reminds me of something I heard a comedian say once: for everything on the planet, there's someone who hates that. What the Internet has done is to say "Meet these people! Step right up! You ever wonder who could be mad at a baby eating applesauce?! This fucking guy!" 

Reminds me of something I heard a comedian say once: for everything on the planet, there's someone who hates that. What the Internet has done is to say "Meet these people! Step right up! You ever wonder who could be mad at a baby eating applesauce?! This fucking guy!" 

Amazing as always, thank you so much. How great to have it confirmed that Williams himself actually played the Rey’s theme quote at the TROS climax. 

Filming has begun!
 
Here's 75 photos from some beach shooting in Malibu
 
https://www.justjared.com/2021/07/23/steven-spielberg-films-a-beach-scene-for-the-fabelmans-with-newcomer-sam-rechner/
 
and they'll be filming in Moorpark in August
 
https://www.mpacorn.com/articles/spielberg-film-slated-to-be-shot-on-high-street/

From Doug Adams's Twitter 

 
 
 

Five movements, tonal ending, evidence here of John's recent structural focus in his concert works.
I can't wait for Saturday!

Hateful Eight.
 
It was a special limited run, a bit longer, and projected from 70mm.

This theme (in particular with the rendtion at the end) moves me to tears every time and I think it might be Powell's best theme of all time. That string writing is absolutely delicious.
 
In case the video doesn't show, it's 11:47 till the end of "Madrid Finale" from Ferdinand.

However he approaches it, I am guessing that we will all prefer the Austrian way.  

Location in Glasgow is being dressed to look like 1969 America upon Apollo 11's return to Earth

Location in Glasgow is being dressed to look like 1969 America upon Apollo 11's return to Earth

So in a terrible corporate conference in my company today (zoom only), I nearly spit out my coffee when one of the pieces of music used between sessions was this - 
 
 
They played a middle portion for about a minute and I was like holy shit that's random.
 
So I had to listen to the full cue again and it is of course absolutely glorious.
 
Gotta track down the intern that put it on. They sure have great taste.

Mine was that I would think "Haaar-ry Pot-terrr AND theee Sorcererrr's Stooone" at the end of the movie
 
We had a thread awhile back where everybody was making up parody lyrics to the Schindler's List theme for some reason and I was remembering mine this morning:
 
Steven Spielberg called me up
He said "I've made a film"
In the dark I sat there, crying 
Watching all those people dying
At the end I turned to him and said
"Steve...
Someone better needs to score instead"
And...
Steven said "I know but they're all dead"

Mine was that I would think "Haaar-ry Pot-terrr AND theee Sorcererrr's Stooone" at the end of the movie
 
We had a thread awhile back where everybody was making up parody lyrics to the Schindler's List theme for some reason and I was remembering mine this morning:
 
Steven Spielberg called me up
He said "I've made a film"
In the dark I sat there, crying 
Watching all those people dying
At the end I turned to him and said
"Steve...
Someone better needs to score instead"
And...
Steven said "I know but they're all dead"

My favorite one in Last Jedi