eitam

That's a complex question. In terms of spending money to hear John Williams music, I would posit you do not have a problem, and given the situation and common courtesy, your actions are entirely consistent with the members of this message board. (So, you have a problem, but we all have the same problem and that's ok.)
 
But we can question a few things you may want to work into your travel planning. 1. Always expect to need to hear John Williams music. Pack at least 3 pairs of earphones in case the first 2 break. Keep a set of 3 in all your bags. Cannot have enough redundancy. 2. If you did not buy the most expensive headphones (not just overpriced) at the shop, are you really showing enough care for the Maestro's music? 3. How could you even plan to travel when a soundtrack is imminently going to release. I mean they gave us 2 weeks notice, and you didn't change your trip?
 
And finally - why did you need headphones. Shouldn't you be playing your phone on super loud so everyone on the plane and in the airport can be uplifted with their dose of John Williams?
 

 
Have a safe trip and enjoy the music!

Just saw the film. Wonderful score. If this was Johnny's last one, thank you for all the music Sir. Love you. 

Where´s the spreadsheet score breakdown, JWFAN?! The soundtrack has already been out for 6 hours!

He's leaving to start a site called hzfan.com

I relistened to TRoS the other day and it doesn't do anything for me.
Not one bit of it excites me.
Except the action version of the Emperor's Theme from the FYC and the Rey Training cue.
But on the whole it's just laaame.
I am so scared Indy 5 will follow suit.
KotCS wasn't too great either; not even in its complete form.
 
Come on!
Indy deserves better!

How the 20 minute tour-de-force opening sequence will probably be represented on the OST:
Prologue - 3:37

If I remember correctly, the music in the last scene was light as a feather and quite touching at the same time
 
It's hard for me to point out individual highlights, because there's a lot going on here. Besides, when watching the film, I didn't always focus enough on the music, because I was following the plot. For example, speaking about the scene with music similar to Spyders or Minority Report, I didn't remember it musically at all! 
 
Certainly, the greatest highlight are the adventure variations on Helena's Theme, the music accompanying fights and chases, two travel map pieces. The entire 20-minute opening sequence from 1944 is a glorious Williams' tour de force, with few very thrilling and exciting entrances of The Raider's March.
 
There is also a lot much more subtle fragments, full of arrangement flavors. Discovering it both in the film at the next screening (I have to wait for the premiere like everyone else) and on the CD will surely be fascinating!

A large amount of people who blame Kathleen Kennedy for ruining Star Wars and/or Indiana Jones are misogynists, probably mostly ones who do not even realize that they are.

The very end of this interview (12:06) is really nice. I never really see Ford get emotional much in interviews, so to see him struggling to find the words after he's being thanked for bringing this character to life is really sweet.
 
 

It's that time again, maybe for the last time, when only a select few people have seen JW's latest movie and can offer frustratingly vague and arbitrary comments on the score. 
It's part of the process of jwfan. 

It's that time again, maybe for the last time, when only a select few people have seen JW's latest movie and can offer frustratingly vague and arbitrary comments on the score. 
It's part of the process of jwfan. 

It's that time again, maybe for the last time, when only a select few people have seen JW's latest movie and can offer frustratingly vague and arbitrary comments on the score. 
It's part of the process of jwfan. 

It's that time again, maybe for the last time, when only a select few people have seen JW's latest movie and can offer frustratingly vague and arbitrary comments on the score. 
It's part of the process of jwfan. 

No it's Indiana Jones and the Sorcerer's Stone

I thought I’d share some thoughts on this score.
 
I originally listened to the title track ‘The Fabelmans’ a couple of times before seeing the film. I adore this piece. It’s one of those Williams tunes that you feel like you’ve known for many years despite haven’t just listened to it for the first time. It is very gentle but hints towards a deeper sadness.
 
I have to say I was most disappointed when seeing the film and hearing it only appear once in the score to the film (aside from the end credits). And when it plays it is mostly hidden under dialogue. I knew the film would be sparse on score, but I thought this melody would be the main theme of the film and would reprise at several key moments throughout. It captures the essence of Sammy’s story so beautifully.
 
What I was able to enjoy in the film was the second theme heard in ‘Mitzi’s Dance’. It’s not as hummable as the first one, but when I heard it in the dance scene I was mesmerised. As John William’s describes it, it is music to put you in a trance like state.
 
Despite my disappointment with the use of the title theme in the film, I was thrilled with the OST album. It is short but well balanced between the two main themes, with the classical pieces interspersed. It makes for a terrific listening experience. I must say, every time I listen to it I get quite emotional, with the music speaking to the emotion of a broken family and a potential farewell to the Spielberg/Williams collaboration. It feels like a goodbye in musical form.
 
And then I remember how lucky we are to be getting an entirely new Indiana Jones score soon. I feel like I’m in John Williams heaven right now! And to think we may also be getting a whole new Williams-Mutter collaboration album. I can’t wait to see which tracks have been picked for the next one. The previous album was such a terrific way for Williams to revisit works from across his career, and we got some stunning new arrangements. And we’ve been so well treated these past years with the three Star Wars sequel scores, thinking those could be his final blockbuster scores. Then when that door was seemingly closed, we were surprised with his brilliant new Obi Wan theme. I’m amazed by how he’s still able to produce such wonderful themes to add to his already plentiful musical legacy.

Well, the French love diesel automobiles & Jerry Lewis, so...

Picture taken by a friend, but from Crystal Skull.  

Weird, but rather this than a straight lift from Adventures of Mutt... 
 
 
YES ! 

Okay quick thoughts since I know you guys are waiting
 
End credits order is Indy fanfare for the main credits (that appear one at a time) Maybe 2-2.5 mins Helena's theme begins when the scrolling portion starts. Full suite played. Following that - seemed to be like another suite, going through as many as 4-5 themes. Most of these are sinisite / villain or macguffin themes. I think there are 2-3 villain themes and 2-3 macguffin themes. This is where the credits end, the Indy fanfare is not reprised after the villain suite. (This could be a film cue too). Some other thoughts 
 
Honest to god, score is mixed well. None of should be able to complain. I could hear it throughout, but was I paying attention to it all the time? That's a different question. Guys, I am at Cannes and let me tell you this is a very tough place to watch movies. You are always exhausted and can't always focus.  Helena's theme in the score proper is frankly okay. It kinda even sounds different than the suite. There are several villainous themes as I noted above, they are good. I couldn't detect a direct Dial theme - it has some motifs for sure but I dunno if I might call it a direct theme. But then again, my mind is half shot at this point. I think there are some straight lifts from Tintin. I think the Tintin End Credits piece is ripped off for one of the set pieces. Almost note for note. B part of Indy's theme is also used.  
If you have any questions, I can try to answer. But I'm in screenings all day long and don't really have much of a chance to check my phone.
 
Edit: orchestration and conducting is credited to Williams and Ross.

I rewatched Hidden Fortress not a couple of days ago, and its really not that close to Star Wars beyond C3PO and R2D2 being the two bickering peasants from that film. There was an early draft - the story treatment - of Star Wars that really was a remake of Hidden Fortress (well, sorta. strictly speaking, it was adapted from a written summary, not from the film itself) but through the different drafts, it changed enormously.
 
There are still some similarities: many of the people of Tatooine are dressed in a Japanese flair (later retconned as Jedi robes) and so is Darth Vader's helmet. But in terms of plot? Its really mostly in the guise of the Droids. The Star Wars film most indebted to Hidden Fortress is actually The Phantom Menace, which Lucas based on one of his early drafts, and even that film owes more to Flash Gordon, Galactic Patrol and John Carter than it does Kurosawa. Heck, Lucas doesn't even like Hidden Fortress all that much! If you ask him, he'll tell you the movie is more influenced by Seven Samurai (its not).
 
Meanwhile, the influence of John Carter (probably via a comic-strip adaptation that was rereleased in 1970) is enormous. George Lucas used to talk about it a lot in the 1970s: one of his synopsis actually says "in the tradition of Alex Raymond's Flash Gordon and Edgar Rice Burroughs John Carter." It features a desert planet with two suns (strictly speaking, two moons), a princess that must be rescued (she was often depicted by Frank Frazetta, a favourite of Lucas', as scantly-clad, a dead ringer for slave Leia), sun ships (Jabba's sail barge), a green-alien sidekick (Han Solo in early drafts, later Jar-Jar), a wooly companion (Chewbacca), a conflict between "Green martians" and "Red martians" (The Gungans and the Naboo). The names Jedi (Jed), Sith, Padawaan ("Padwar") and Bantha (Banth) all come from  here, too. Heck, Lucas' first attempt at a space-opera was effectivelly an adaptation of Burroughs' A Fighting Man of Mars.
 
EE Smith's influence is even greater. Lucas has a 1970s paperback reissue of that book in his private library. For one thing, the Jedi of the later entries are pretty much a straight port of his Lensmen: they're a super-police that use Lenses (Kaiber Crystals) to harnass the powers of the Cosmic All (The Force, which in the shooting script was still often called "The Cosmic Force") and the "Force of life" to fight the Boskone pirates (the Sith were said in early drafts to use "The Bogan"). Within the covers of the book, EE Smith is also given as the author of "Skylark of Space", which I'll place a stiff bet is the origin of the name "Skywalker", and the eighth chapter of his book is "The Quarry Strikes Back."
 
And then we have the plot: there's a ship called the Britannia that's faster than any other ship and that the hero uses to blast into the fourth dimension to evade his pursuers. When they finally do catch him in a tractor beam, he passes the ship for scrap. Early on, he steals data spools about the enemy's deadly space station "The Grand Base", escapes the premises in a space lifeboat, and spends his free time sensing a remote while his blast shield is down. Finally, he flies low in a one man fighter over "The Grand Base" and blows it up with a well-placed shot.
 
Here's the thing: ever since 1980, George Lucas is embarrassed to say his sources are Flash Gordon, John Carter and Galactic Patrol. But Kurosawa? That's very cineaste-y! So he talks about Kurosawa. That's not to say Kurosawa is not a major influence on Star Wars: it is! But its one far, far smaller than these pulp sources. Then there's all the Joseph Campbell nonesense, but lets not get into that.

Sabrina being an allegory for Star Wars was planned from the beginning: "Sabrina" is actually an anagram for "Lightsaber". You just have to duplicate and flip the r, extend the n, rotate the b, duplicate and cross the i, duplicate the s, and flip one a. These changed letters of course spell "brains", a reference to the immense intelligence you need to discover the truth

I am most looking forward to the Cuban salsa source cue in the middle.

What

The exact phrasing by Lucasfilm in 2021 was "John Williams will return to score the film."
 
So in any case I'm glad that's all we had to go on and it turned out the way that it seemed from the beginning. Saved us a lot of anxiety as opposed to something like "John Williams will be involved with" or "John Williams will contribute new themes" 
 
Then again it might have been extra exciting if we started picking up clues that he was doing the whole thing. But we also would have had a lot of gloomy "Guys he's probably not" mentality. Ignorance was bliss in this case.
 
For all we know Mangold was misinformed or JW was just being his usual "Oh no, I'm much too stuffed, I couldn't possibly, oh well maybe just one more" self lately. "Jim Mangold is many things."

Marian's law of Zimmer analogies: As a film music discussion grows longer, the probability of a comparison involving Remote Control Productions or Zimmer approaches one.