Not Mr. Big

Will, take no notice of the patronising movie nerds you encounter online. 

Dedicate the film to her, but do not mess with the musical narrative.  The new themes deserve their full place in the end credits. 

That could just be the poor sound quality to be fair.  

This is a year old, but just came across it:
 
 
Apparently it was made with this site:
 
http://talkobamato.me/
 
Cool!
 
I just made my own! 
 
http://talkobamato.me/synth/output/ca3ef9ca843dee28bd8be9d58ab6bcd2/obama.mp4

That could just be the poor sound quality to be fair.  

That could just be the poor sound quality to be fair.  

It works better in the theme park ride where the tour boat accidentally enters a gigantic illogical building with a lift hill and waterfall where the predators have gotten loose, including the T-Rex inexplicably at the very top, which apparently goes wherever the hell it wants like in the movies.

Oh god no. Game of Thrones is one of the most monochromatic, murky pieces of garbage I've ever watched.

The Patriot > Independence Day + all of those other Emmerich scores

This.

John Williams is not seasonal for me.  I truly enjoy listening to his music any time of day, any time of year.  I don't really listen to the Home Alone scores outside of winter, though.
 
I don't think any composers are really seasonal for me, but some scores are.

This is pretty neat.
http://www.classicfm.com/discover-music/periods-genres/film-tv/harry-potter-fugue/

I sure hope not!  

I think the lack of more "textured" JW music like TLW and WOTW hurts the diversity of music in this release. My favourite track is Dry Your Tears, Afrika specifically because it's so unique in Williams' oeuvre (doubly so on this album).
 
I couldn't put my finger on exactly what was underwhelming but I think it's simply the inclusions. Everything is very optimistic and "safe." There's no representation of Williams being daring or dark or dissonant. Minority Report was a very dark score, but its only representation is the hopeful and melancholy New Beginning. Similar with Munich and Prayer for Peace (albeit a more aching piece than others).
 
Everything else is whimsical or hopeful. Nothing wrong with that, they've clearly built an album 'accessible' for the masses; it's just a very narrow selection of the diverse musical collaboration the pair have had over the last 2 decades (especially when Spielberg went through his 'dark' period after Schindler's List, which he seemed to abandon after Munich).
 
Omitting 3 of their darkest collaborations is no coincidence, but unfortunately the album is poorer for it.

The insert from the opening of the Harry Potter 3 end credits.

Don't fucking post anything with the word 'death' in the title on the Williams forum!

I sure hope not!  

I sure hope not!  

I sure hope not!  

The score is among my favourite 1990's Williams scores. It took a while for it to click with me but I consider it a very unique entry in his discography, a dark and gritty urban drama with the unusually grim side of Americana the composer has rarely had the opportunity to unleash. While the moody nature might turn people off as they consider it to be too much on the one note, I urge them to listen again as there is variety here from the driving Football Game to the haunting Saying the Rosary and wonderfully atmospheric dream-like Learning the Hard Way (Williams creating the sound of a past screetching subway train/the sheer shock and horror in this cue is amazing).
 
The solo parts for flute by Janet Ferguson and for horn by Williams soloist of choice James Thatcher are important part of the music as well, the former the depiction of fragile innoncence and lyricism and the latter the very voice in the wilderness, the sad lonely evocation of isolation, haunted past and solitude. I love the little woodwind sections in this score that Williams writes for e.g. bassoons and flutes and as I said before the dramatic arc is all the more potent when we get through all the darker grittier material to the Reunion and Finale where the redemption begins. A wonderful and an entirely different Williams score.

I understand your ideals bellamy, and would agree that our common love for Williams is what brought us together. Heck, I only stumbled onto this forum in search for news and updates about Tintin and War Horse. But I think our community has evolved beyond that.
 
I, personally, no longer come here to read about the latest SW updates or surprise projects Williams signs onto. Those are bonus delights for me. Rather, I come here to discuss my favourite scores, or my favourite Williams passages, get recommendations from fellow film score fans about works I've never heard before, learn new ways to look at old things and have some fun banter in silly threads while I'm at it. JWFan's function, at least in my eyes, has gone far beyond providing updates about the latest from Williams. It's more of a hub to share ideas, perspectives and learn from each other. I'm not talking about the Trump threads, but rather the ones that ask for more insightful analysis or communication of ideas in regards to all forms of music, film and art in general.
 
Yes, we are all tied together by our mutual love for Williams. But that's independent of the fact that he's still writing. I mean, when you think about it, many of the older posters here don't really discuss or even like Williams' latest efforts other than out of the sheer obligation and loyalty to him. And once he's passed, there's no need for that love to go anywhere. We all still discuss and talk about the likes of Horner and Goldsmith with great fondness here. It will be no different with Williams. Granted I'm sure things will be rather different for a while once the worst has happened, but I'm confident the forum will be back to its usual form afterward.

Catchy tune, this. 
 
 

Two you've definitely forgotten, Thor:
DOUBLE TROUBLE, and the Christmas song, in HP+TPS 
 

In 2005 I started hanging out on a Harry Potter forum with many active members from around the world and all sorts of off-topic discussion. Potter seemed like it was pretty tangential but that place whittled down pretty fast after the last book in 2007...by the last movie in 2011 I had moved over to a private forum with about 10 friends. It still exists, last post there was in November. I don't really visit there anymore but I do keep in touch with one person pretty regularly via text. She hasn't gotten around to Cursed Child or Fantastic Beasts by the way.
 
The reality is that we are all different people from different places at different stages of our lives, with not actually that many (any?) common interests between the entire lot of us except for an enormous amount of passion for this site's namesake. Even our interests in film music differ wildly aside from the old or dead guys. Some of us hardly even follow current film music at all aside from Williams and not all of us buy every LLL set or compilation that comes out.
 
The one thing that ties all of us together is the promise of new John Williams music. I think we are all much more willing to tolerate those who we have nothing else in common with -- even when those disagreements get aggressive -- because in the back of our minds we know that person is here for John Williams. That's what is sort of beautiful about it.
 
When there is no more new John Williams music, it'll be different. There's only so much we can really say all at once about his existing output. Even now we've run in circles repeating discussions. There are groups of people here who actually do have much in common with each other and have formed real lasting friendships and those will continue, but who's to say that it will remain on this board instead of a free private forum where they don't have to be anonymous? Would they always continue airing their opinions and grievances on a public forum under an avatar and screenname? I dunno. There might not be enough donations after awhile to keep this thing going, but maybe the site will take a new shape and flourish. That would be nice to see. Most of us will eventually splinter off, move on to other communities and interests.
 
Just how it goes...how many people did you keep in touch with after graduating school when there was suddenly no reason for you to go back and see those people in that building every day? But you still remember many of those people from your class. I think it's okay.