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I'm guessing almost all of Spielberg's films have had their post based in L.A. In his shoes, I'd probably want the scores based there too! What could be better than jumping in the car from your home and driving to attend a Williams scoring session (and listening to all the recordings on the way home ).

I hadn't seen this before -- WOW! As if we needed any more evidence but... John Williams is a genius.

The Village

Spoiler text because it's not the TFA thread.

Yep, pretty much this. Although the first two statements involve both Finn and Poe, the final statement is clearly representative of Poe's successful destruction of Starkiller base, with that glorious celebratory rendition. I think the inclusion of the motif in the End Credits immediately after Rey and Kylo Ren's theme suites seals the deal for me about what it represents. Especially when Poe's Theme becomes intertwined with it and the Resistance March follows that. Boyega's third billed from the new cast, after Ridley & Driver and before Isaac, so the theme's placement makes sense in this regard. Might be mis-remembering but didn't an early interview with JJ specifically state the order of new themes in the End Credits suite, when he was gushing about the TFA score pre-release?

Let's all just be grateful we got both versions regardless.

That track does sound more like an alternate on the OST. Maybe they re-recorded in the late sessions?

How good is The Queen's Dream? I can't get over how good parts of that track are, especially when that gorgeous piano section comes in. Short but sweet, one of those great little Williams touches.

Any director can be tempted by franchise work if the money is right. Just look at Sam Mendes.

That is an awesome line-up. Fantastic they got Cameron involved; he's always a fascinating listen if you're interested in filmmaking. Doesn't just spout off the usual platitudes and says it how it is. Would be interested to hear more about his thoughts on Prometheus and what his vision for Alien 5 was (before Alien vs Predator happened ).

According this interview, Williams told JJ he would only score the film if he could stay in LA? http://projectorandorchestra.com/john-williams-on-the-force-awakens-and-the-legacy-of-star-wars/ Although it's entirely possible Williams only asked for this after JJ told him their post-production schedule would require sparodic scoring sessions between June and November.

Just a baseless hunch: they will end up with a nice, neat series run of 75 episodes. So 8 episodes next year, 7 episodes in the final season.

I don't want to think about it but I suppose a scenario could eventuate (maybe for Episode IX) where Williams is unable to conduct any music and, realising someone else will conduct, decides the score could just be recorded with the LSO in London (Hobbit 2 & 3 style). Even then, I think he'd rather relay instructions in person to a surrogate conductor (Bill Ross or Gustavo Dudamel) with an LA-based orchestra. Of course, if union rules allowed it, the LSO coming to LA would obviously be the best outcome for everyone -- well, except freelance musicians in LA.

That's a huge revelation to me. Presumably this was because attending the recording sessions of a John Williams Star Wars score was a non-negotiable to fanboy JJ, but he needed to remain in LA to complete post? Still, I'm not sure Williams prefers the LSO for these films quite enough to allow another conductor to do the scores on his behalf (even if he can relay notes from his LA studio via teleconference). Wouldn't Williams almost always prefer to conduct a "lesser" orchestra than allow another conductor perform his music with a "superior" orchestra? Out of interest, union rules prevent the LSO from flying to LA for a fortnight and recording the score there, presumably?

Didn't he specifically tell Kennedy he would only agree to score VII if he could record it in LA? I'm sure I read that in an interview. It did contradict the narrative about the prolonged post-production schedule necessitating an LA record, though it made for a convenient excuse. I highly doubt Williams will score a film outside the US again.

Terrible CGI, bring back George Lucas!

Michael Caine needs a new house in the Cayman Islands, baby!

It would have made a fun (albeit wildly out of place) denouement to the End Credits suite. A bit like his foreboding use of the Carnivore motif at the end of the Jurassic Park credits, after the delicate piano rendition of the main theme. I love when he turns the mood of a piece through orchestration like that; always makes a fun surprise for the listener. But this 'loneliness' theme feels almost criminally unexplored, considering how memorable it is.

I actually think my favourite theme in the whole score is the loneliness/unknown theme that first appears late in The Witching Hour. It says so much with so few notes, just incredible how Williams keeps finding new combinations that feel almost inevitable the first time you hear them. Whatever it represents, it paints such a creepy uneasiness without needing any visuals.

Yep, Kushner is a brilliant writer, fantastic to see the 'Berg working with him regularly now. Seems he's been working on the script for a while too, according to this article from early 2014: http://collider.com/steven-spielberg-kidnapping-of-edgardo-mortara-robopocalypse/ It even says Spielberg was committed to directing Kidnapping as far back as 2014, though he also had Robopocalypse and Steven Zaillian's Montezuma as his next 2 films. Instead we got Bridge of Spies, The BFG, Edgardo Montara and Indiana Jones V.

According to Variety, yes: http://variety.com/2016/film/news/steven-spielberg-kidnapping-of-edgardo-mortara-mark-rylance-1201750856/ He'll probably wrap RPO in November, get post-production underway (and hand off the rough cut to Williams), take a small break with his family over the festive season then head off to Europe and start shooting. I have no real idea of the film's scale but presumably this would be a fast shoot for Spielberg; two months, maybe? Wasn't Lincoln only about 50 days? Oops, forgot about that, and the short film for Kobe Bryant! There's a few things on his plate before November then, but hopefully none too taxing for him.

Yep. He recently mentioned he wants some time off in the immediate future, and I think the only thing on his schedule is Tanglewood next month. That gives him a nice break before RPO in November. A lot will depend on when Spielberg shoots Edgardo; I think the most likely situation is Williams will take a break after RPO is recorded, start writing VIII in March, then score Edgardo during a 2 month intermission around June, before returning to do pickups for VIII in October (similar to the intended TFA/BoS plan). Then, if RPO needs pickups, he can do that in January 2018.

I guess in his defence, the subject matter doesn't sound particularly inspired (unsurprising with Captain Bland at the helm).

Well, only 21 months until we know.

Williams is usually one of the best things about a Spielberg film. I'm really intrigued about how he approaches RPO; I don't think it'll be the score we're expecting.