TheUlyssesian

There was more than a healthy dose of Stephen King in there too
 
I've watched it like 3 times and I just always respond to the characters and the visual style.

I don't think so. I think this is a different  theme. Its not possible that the second phrase of a theme is associated only once in the entire score with the first phrase and that too literally in the concluding moments. Both Sophie's theme and this theme get play time separately away from each other and there are instances when Sophie's theme is repeated twice instead of playing this supposed second phrase.
 
I think this is a different theme.
 
I completely agree with this. It is either a theme for the BGF or the idea of his benevolence or the influence he has on Sophie or their friendship. Mind you when we define it like this, it need not only appear when BFG himself is on screen or is mentioned. It can also appear when Sophie is thinking about him or feeling his influence in her life.

I don't think so. I think this is a different  theme. Its not possible that the second phrase of a theme is associated only once in the entire score with the first phrase and that too literally in the concluding moments. Both Sophie's theme and this theme get play time separately away from each other and there are instances when Sophie's theme is repeated twice instead of playing this supposed second phrase.
 
I think this is a different theme.
 
I completely agree with this. It is either a theme for the BGF or the idea of his benevolence or the influence he has on Sophie or their friendship. Mind you when we define it like this, it need not only appear when BFG himself is on screen or is mentioned. It can also appear when Sophie is thinking about him or feeling his influence in her life.

Can you name a composer better suited to big movies if Williams is not up to scratch?
 
 

Going through it, first impressions that come to mind - this music is very sophisticated and refined - specially for a children's film - but even otherwise. I sometimes sense a tendency in late Williams - to gratify his own higher aspirations for his music - what he gets out of writing music - but also meld it to the format of mainstream Hollywood cinema. Sometimes the twain don't merge and instead diverge.
 
A lot of the main theme plays definitely like ballet or classical music.
 
I notice a lot touches of War Horse and Lincoln in some of the long-lined constructs and slowed tempi.
 
I guess when one aims higher, one loses simplicity. Williams lost his much earlier than people realize.
 
This would again be a typically excellent score, something that is quite literally sophisticated for films and maybe even beyond the comprehension of most modern composers.

Going through it, first impressions that come to mind - this music is very sophisticated and refined - specially for a children's film - but even otherwise. I sometimes sense a tendency in late Williams - to gratify his own higher aspirations for his music - what he gets out of writing music - but also meld it to the format of mainstream Hollywood cinema. Sometimes the twain don't merge and instead diverge.
 
A lot of the main theme plays definitely like ballet or classical music.
 
I notice a lot touches of War Horse and Lincoln in some of the long-lined constructs and slowed tempi.
 
I guess when one aims higher, one loses simplicity. Williams lost his much earlier than people realize.
 
This would again be a typically excellent score, something that is quite literally sophisticated for films and maybe even beyond the comprehension of most modern composers.

Going through it, first impressions that come to mind - this music is very sophisticated and refined - specially for a children's film - but even otherwise. I sometimes sense a tendency in late Williams - to gratify his own higher aspirations for his music - what he gets out of writing music - but also meld it to the format of mainstream Hollywood cinema. Sometimes the twain don't merge and instead diverge.
 
A lot of the main theme plays definitely like ballet or classical music.
 
I notice a lot touches of War Horse and Lincoln in some of the long-lined constructs and slowed tempi.
 
I guess when one aims higher, one loses simplicity. Williams lost his much earlier than people realize.
 
This would again be a typically excellent score, something that is quite literally sophisticated for films and maybe even beyond the comprehension of most modern composers.

Going through it, first impressions that come to mind - this music is very sophisticated and refined - specially for a children's film - but even otherwise. I sometimes sense a tendency in late Williams - to gratify his own higher aspirations for his music - what he gets out of writing music - but also meld it to the format of mainstream Hollywood cinema. Sometimes the twain don't merge and instead diverge.
 
A lot of the main theme plays definitely like ballet or classical music.
 
I notice a lot touches of War Horse and Lincoln in some of the long-lined constructs and slowed tempi.
 
I guess when one aims higher, one loses simplicity. Williams lost his much earlier than people realize.
 
This would again be a typically excellent score, something that is quite literally sophisticated for films and maybe even beyond the comprehension of most modern composers.

Going through it, first impressions that come to mind - this music is very sophisticated and refined - specially for a children's film - but even otherwise. I sometimes sense a tendency in late Williams - to gratify his own higher aspirations for his music - what he gets out of writing music - but also meld it to the format of mainstream Hollywood cinema. Sometimes the twain don't merge and instead diverge.
 
A lot of the main theme plays definitely like ballet or classical music.
 
I notice a lot touches of War Horse and Lincoln in some of the long-lined constructs and slowed tempi.
 
I guess when one aims higher, one loses simplicity. Williams lost his much earlier than people realize.
 
This would again be a typically excellent score, something that is quite literally sophisticated for films and maybe even beyond the comprehension of most modern composers.

Rey's Theme was played last night at the Closing Ceremony of the Cannes film festival for the Best Actress prize.
 
Hearing it out booming out in a cavernous auditorium confirmed it as one of those epic themes of yore which are routinely used in big ceremonies. Its absolutely as sweeping and staggering as you expect a large scale theme to be. And also quite lovely.
 
http://www.canalplus.fr/cinema/festival-de-cannes/pid6996-ceremonies-cannes-2016.html
 
You can catch the moment beginning from 48:55 into the video above.
 
PS: There's like a reaaaaaaally long ad before the video like 3-5 minutes but stick with it, you will like what you hear.
 
Also anybody wants to speculate which cut they used. I think its the one from the End Credits.

Movie is now out on VOD and Blu-ray.
 
Will soon be available on Netflix and stuff.
 
I hope people will watch the movie, its quite entertaining and enjoyable and enjoy the superb score in context.

Rey's Theme was played last night at the Closing Ceremony of the Cannes film festival for the Best Actress prize.
 
Hearing it out booming out in a cavernous auditorium confirmed it as one of those epic themes of yore which are routinely used in big ceremonies. Its absolutely as sweeping and staggering as you expect a large scale theme to be. And also quite lovely.
 
http://www.canalplus.fr/cinema/festival-de-cannes/pid6996-ceremonies-cannes-2016.html
 
You can catch the moment beginning from 48:55 into the video above.
 
PS: There's like a reaaaaaaally long ad before the video like 3-5 minutes but stick with it, you will like what you hear.
 
Also anybody wants to speculate which cut they used. I think its the one from the End Credits.

A true test of the score is of course how it plays in the film and KOTCS score plays like gangbusters in the film. Like the Jungle Chase, the scene comes alive due to the dueling statements of all the themes. Irina's theme does a lot to enhance her personality and menace in the film.

Some more reviews that i found
 
Within 10 minutes he has plucked precocious bespectacled child, Sophie (Ruby Barnhill) from her orphanage and is leaping over oceans, mountains and through clouds to a soaring John Williams score.
http://lwlies.com/festivals/the-bfg-first-look-review/
 
Inexplicably, even soundtrack legend John Williams falters here - the score is really very bland. 
http://film.thedigitalfix.com/content/id/79090/the-bfg-cannes-film-festival-2016.html
 
The occasionally pretty images captured by DOP Janusz Kaminski and omnipresent orchestral work of John Williams keep demanding that we feel for Sophie and her gargantuan friend, but Spielberg’s erratic tonality, overly-familiar technique and heavy-handed graphics renders what should have been a soaring adaptation of Dahl just plain dull.
http://screen-space.squarespace.com/reviews/2016/5/15/the-bfg.html
 
Spielberg’s film begins inauspiciously. Huge dollops of CGI, not to mention John Williams’s heavy-handed music, obscure the charms of Dahl’s simple story. 
http://www.thedailybeast.com/articles/2016/05/14/steven-spielberg-s-otherworldly-the-bfg-the-legend-returns-to-cannes-to-take-on-roald-dahl.html
 
 
 
 
 
I seems modern film reviewers are incapable of appreciating or understanding symphonic orchestral film scoring. 

Some more reviews that i found
 
Within 10 minutes he has plucked precocious bespectacled child, Sophie (Ruby Barnhill) from her orphanage and is leaping over oceans, mountains and through clouds to a soaring John Williams score.
http://lwlies.com/festivals/the-bfg-first-look-review/
 
Inexplicably, even soundtrack legend John Williams falters here - the score is really very bland. 
http://film.thedigitalfix.com/content/id/79090/the-bfg-cannes-film-festival-2016.html
 
The occasionally pretty images captured by DOP Janusz Kaminski and omnipresent orchestral work of John Williams keep demanding that we feel for Sophie and her gargantuan friend, but Spielberg’s erratic tonality, overly-familiar technique and heavy-handed graphics renders what should have been a soaring adaptation of Dahl just plain dull.
http://screen-space.squarespace.com/reviews/2016/5/15/the-bfg.html
 
Spielberg’s film begins inauspiciously. Huge dollops of CGI, not to mention John Williams’s heavy-handed music, obscure the charms of Dahl’s simple story. 
http://www.thedailybeast.com/articles/2016/05/14/steven-spielberg-s-otherworldly-the-bfg-the-legend-returns-to-cannes-to-take-on-roald-dahl.html
 
 
 
 
 
I seems modern film reviewers are incapable of appreciating or understanding symphonic orchestral film scoring. 

I saw War Horse in the theatres again even after I had seen a screener online before. Just to listen to the score.
 
Spielberg is one of the old masters. Even the most minor Eastwood film has a level of craftsmanship which is pleasurable if you have interest in film-making. So I can always watch a Spielberg film, it is atleast always "well made".
 
 

I have listened to the complete recording sessions and you realize that the soundtrack album is not even remotely representative of the score.
 
Like one of the highlights for me is when the kids enter the Great Hall for the first time. Williams introduces a great new theme for that which is absent on the OST.

The director ideally has control over every single aspect of the film. You can't be serious stating that Yates has nothing to do with the look of his own film. THAT is absurd. Of course he has control. A film looks how the director wants. The DP realizes the vision that the director has.
 
 

The director ideally has control over every single aspect of the film. You can't be serious stating that Yates has nothing to do with the look of his own film. THAT is absurd. Of course he has control. A film looks how the director wants. The DP realizes the vision that the director has.
 
 

 

Comparing scale and depth of the writing, the other nominees are a joke compared to TFA, like not even worth discussing in the same breath. But alas Williams will not win.
 
 

Comparing scale and depth of the writing, the other nominees are a joke compared to TFA, like not even worth discussing in the same breath. But alas Williams will not win.
 
 

Comparing scale and depth of the writing, the other nominees are a joke compared to TFA, like not even worth discussing in the same breath. But alas Williams will not win.
 
 

Comparing scale and depth of the writing, the other nominees are a joke compared to TFA, like not even worth discussing in the same breath. But alas Williams will not win.
 
 

Most of his Disney's noms were as producer, not director. As head of the studio, he basically just put his name as producer on everything Disney made and thus got a lot of nominations.