Will

Great post @Cerebral Cortex! Some of the embeds don't seem to be working, however, just so you know.
 
That is indeed a wonderful cue/scene. At the LTP concert I went to last summer it was a major chills-and-thrills moment. 
 
My favorite part might be the build up to the theme statement, actually. I love how the sailors are just looking over the water, and we hear the soft but driving optimistic force of the B theme, and then finally my very favorite bit of the cue -- the expectant bit of pure joy that we hear as the sailor points and says "There!" and we see Indy climbing on. It has such a wonderful seafaring, joyful sense to it, reminiscent of Jaws.
 
 

Whatever, I wasn't born yet. 
 
My point was simply that it seems the vast majority of people don't like the prequels.
 
By the way I do just want to reiterate that I'm not trolling. I've noticed that I'm starting to sound like a troll, but I promise you that is not my intent. I'm just trying to have an interesting discussion about the prequels. I want to examine others' point of view and I hope others do the same for mine, even if they don't agree with it.
 
I do not mean to say that anyone who doesn't like the prequels is stupid or has bad taste, and I apologize if that was ever implied. I understand that others have different tastes and different opinions for various legitimate reasons. My mission isn't really to convert prequel haters to prequel fans. It's more in the hope that others will understand why I think what I do, rather than being dismissive of this opinion, as at least a few have been. I certainly don't mean prequel haters are bad people; this is simply one ultimately minor opinion that I disagree with. It's nothing more than that. Many prequel haters are terrific people, and I don't want to put distance between myself and them. 

0:38 to 1:04 of Ride To The Nazi Hideout from Raiders of the Lost Ark.
 
This moment isn't terribly remarkable when listened to individually: it's just a great rendition of Indy's theme. However, when you listen to that part through the lens of the entire Raiders album, you appreciate this moment immensely more. 

One of Williams' many great talents is his ability to not only create great and memorable themes but to also very sparingly utilize them throughout the course of a film to maximize their effectiveness within the film and their service to the film's characters and story. The score to Raiders is a perfect example of that, specifically in the usage of Indy's theme. We are first introduced to Indy's theme at the start of the film when Jones is attempting to run away from a bunch of angry natives:
-------------
Flight From Peru

From 1:03 to 1:16 we get a little snippet of Indy's A-theme cut quickly off by whirling bout of strings, horns, and woodwinds before diving back into Indy's A-theme once more from 1:24 to 1:31 before devolving into another mass of clustered strings (with Indy's B-theme softly coming in on the horn at 1:40, followed by another brief spurt of Indy's A-theme at 1:56). Right from the very start, Williams is conditioning us with the expectation that throughout the film we will receive musically: 
A brief snippet of Indy's theme     ...before transitioning into...  Something else entirely                ...before (possibly) transitioning into...  Another brief snippet of Indy's theme Bottom Line: If we hear Indy's theme, it's only going to be for an instance before moving on to something else. This is the formula.
 
Such restraint with such an incredible is I think quite admirable. And, for most of the score, Williams stays true to that idea. As the film progresses, we only really hear Indy's theme in short bursts.
-------------
Washington Men / Indy's Home
Quiet and subdued rendition of Indy's A-theme starting at 0:38. 
-------------
A Thought For Marion / To Nepal
Brief and frantic snipped of Indy's A-theme from 0:53 to 0:58. 
-------------
The Fist Fight / The Flying Wing
Snippet of Indy's theme at 4:03 which stalls out at 4:12 before picking up again from 4:16 to 4:21. 
-------------
The Desert Chase
Played during the scene where Indy goes after the Nazis who are now in possession of the ark, Williams skillfully balances the score between tense action Nazi music and Indy's theme. Again, the point being that we still only really get to hear Indy's theme in these very segmented brief intervals.  Even though this is the most we've gotten of Indy's theme thus far, it still hasn't been a continuous playing of the theme, but rather the theme is broken up into little pieces. You get the idea.

0:00 - 0:30 Action music
0:31 - 0:45 Short fragmented rendition of Indy's A-Theme
0:46 - 0:54 Action music
0:55 - 1:04 Indy's A-Theme
1:05 - 1:17 Action music
1:18 - 1:26 Indy's A-Theme
1:27 - 1:29 Brief musical tangent
1:30 - 1:35 Indy's A-Theme
-------------
Ride To The Nazi Hideout
 
So when we finally get to the moment I started this post with, we have been conditioned throughout the entire score thus far to expect only a small playing of Indy's theme. Within the context of the film, we're at the film's ultimate low point. The Nazis have just taken the ark off of the ship Marion and Indy were sailing on, in addition to also taking Marion as well. Indy's location is unknown. So when we the viewer are shown that Indy, at this point the only thing lying between the Nazis and them using the ark for destruction, is in fact on the German sub in pursuit, we naturally get a playing of Indy's theme. It starts out at 0:42 with the most blaring and triumphant rendition we have heard thus far, and the expectation is securely in place almost subconsciously that the theme will fade out or transition into something else around 0:56 just as has been done throughout the entire picture. Instead, the theme's playing intensifies and instead continues to a triumphant conclusion. The result is, for me, one of the great mergings of picture to sound. Just as the sailors on board the ship are cheering for Indy to succeed, we too are rooting for the hero as well. Williams has waited out almost the entire film for a moment deserving of such a rousing rendition of the theme, and it's because he waited until this moment to fully unleash the theme that the scene plays as effectively as it does. It's one of those moments where Williams makes you want to just get up out of your chair and cheer for the good guys. And that's why it's one my favorite short Williams moments. Hopefully that made sense. Sorry for spewing.

I always loved those few seconds when the orca was seen leaving the dock through the jaws window.  Don't know why but as a young kid, that musical fragment really resonated with me and gave me goosebumps up until the 0:29 shanty theme.
 

That's a great one! 
 
Reminds me of this awesome moment from the same score (which I heard first):
 
 

Haha!  Guess I should've paid attention to the date at the top of the article!
 
Sorry about that.

@Disco Stu
 
 
Only a month and a half late. 

2:15 - end
 
 

I re-scored one of William's most famous Harry Potter moments with JNH from this score. And I think it works rather well.
 
https://drive.google.com/file/d/0B02JYRFL956dcHJZUHBoTXlxb1k/view?usp=sharing
 
What do you guys think? I think JNH can do also do spectacle when called for.
 
And more importantly, that his main theme can be as big a cultural milestone as Hedwig's theme.

I was talking about music related threads

I had a bitch of a time finding some film scores to play at my wedding because so many great themes actually had a air of melancholy to them

Yes! Not comparing the two, or even looking at either's larger body of work, I do want to agree that Williams always seems to be able to write passages that, indeed, display such an immense joy in life. 
 
Think the ending of "Dartmoor, 1912" (which I gushed over in another thread recently), the "rolling" section of "Dream Country," or the beginning and take off music from "Farewell and the Trip." 
 
 
Edited to display a possible interpretation of these words.

http://io9.gizmodo.com/the-director-of-star-wars-episode-viii-teases-lukes-pl-1790978464?utm_campaign=socialflow_gizmodo_twitter&utm_source=gizmodo_twitter&utm_medium=socialflow

From the Giacchino Variety interview posted in the score thread (http://variety.com/2017/film/spotlight/michael-giacchino-rogue-one-score-1201952495/):
 
 
Giacchino indeed struck a marvelous balance in that wonderful cue (I presume he's referring to "Your Father Would Be Proud"). It starts slow and very Giacchino-y, but beautiful of course - and I do like how the wavering strings from Leia's theme come in at one point! Then the lead up to the big, very Giacchino-y choral statement of Jyn's theme is the same as that heard at the end of "Confrontation on Eadu" after her father's death, making a connection between his death and hers. 
 
I love the bass pounding here as the screen fades over the shot of Jyn and Cassain hugging and waiting to die:
 
 
Then a moment of calm and reflection as the explosion spreads as Tarkin watches from space before Giacchino writes a crescendo and precedes to really go all out Williams-y. I love the end of this cue! (not that the other parts aren't good though) 
 
4:08 - Strained Jyn's theme variation with an absolutely kickass heroic conclusion, then afterward an almost "punching," vengeful quality; it's almost as if the music wants to explode with rage at something, anything, after the heroes' deaths.
 
4:28 - the string run is awesome! 
 
I didn't like this cue on first listen but I adore it now. Seeing the film helped. 
 
This cue is so close in feel to how Williams scored Han's death in TFA. It starts restrained during the lead up, gets a little more emotional over time, then there's a brief moment of reflection after it happens, and then everything absolutely lets loose throughout most of the rest of the cue:
 
 
 I've always thought of that music as exemplifying Chewy's rage and shock, which mirrors the audience's, as well as of course the gravity of what we've just seen, as he shoots wildly at Kylo. 
 
At 3:14 in Torn Apart, we get possibly the most kickass Force theme statement ever - just as Giacchino does the same for Jyn's theme in his cue!

Wow! I hadn't realized that ... but here it is:
 
 
So I guess they really do care about these releases. Cool! Bodes well for the future! When you have Kathleen Kennedy and Steven Spielberg on your side, there is not much in the film business that can stop you, I'd think. 

Well, he did do this poster (http://www.theverge.com/2015/8/15/9160071/star-wars-force-awakens-movie-poster):
 
 

Pablo Hidalgo has poured cold water on the 4K remaster of Star Wars being the unaltered original cut. It's yet another George Lucas revision.
 
ubi
 
Got to wonder what the politics are on this. Did George retain final cut of the existing films when he sold Lucasfilm? Why did the 4K remaster take 5 years to be completed if Lucas supervised the scan in 2012? If nothing else, they must have done every 1997 visual effects shot from scratch (the low-resolution would be glaringly obvious against freshly scanned 4K non-effects shots), plus they must have re-scanned and re-composited all the original optical effects shots again, to remove the matte lines.
 
If nothing else, it will still be a huge improvement over the awful 1080p 2004 restorations that Lowry did. Excessive noise reduction, over sharpened, static grain artifacts, ghost motion artifacts and an amateurish colour grade slapped on top.

This is pretty hilarious:
 
 
If I hadn't known it was coming I probably would have thought the theater system had malfunctioned and skipped ahead. 

"Abandoned and Pursued"....that should be my tagline here on JWFAN.

Already did, as  alternative to Landing at Lightspeed.

Hey!  Here's an article that explains that these two shots were never in any cut of the movie:
 
 
 

 

 
http://io9.gizmodo.com/why-the-rogue-one-trailers-most-iconic-shot-never-appea-1790910745

From the Giacchino Variety interview posted in the score thread (http://variety.com/2017/film/spotlight/michael-giacchino-rogue-one-score-1201952495/):
 
 
Giacchino indeed struck a marvelous balance in that wonderful cue (I presume he's referring to "Your Father Would Be Proud"). It starts slow and very Giacchino-y, but beautiful of course - and I do like how the wavering strings from Leia's theme come in at one point! Then the lead up to the big, very Giacchino-y choral statement of Jyn's theme is the same as that heard at the end of "Confrontation on Eadu" after her father's death, making a connection between his death and hers. 
 
I love the bass pounding here as the screen fades over the shot of Jyn and Cassain hugging and waiting to die:
 
 
Then a moment of calm and reflection as the explosion spreads as Tarkin watches from space before Giacchino writes a crescendo and precedes to really go all out Williams-y. I love the end of this cue! (not that the other parts aren't good though) 
 
4:08 - Strained Jyn's theme variation with an absolutely kickass heroic conclusion, then afterward an almost "punching," vengeful quality; it's almost as if the music wants to explode with rage at something, anything, after the heroes' deaths.
 
4:28 - the string run is awesome! 
 
I didn't like this cue on first listen but I adore it now. Seeing the film helped. 
 
This cue is so close in feel to how Williams scored Han's death in TFA. It starts restrained during the lead up, gets a little more emotional over time, then there's a brief moment of reflection after it happens, and then everything absolutely lets loose throughout most of the rest of the cue:
 
 
 I've always thought of that music as exemplifying Chewy's rage and shock, which mirrors the audience's, as well as of course the gravity of what we've just seen, as he shoots wildly at Kylo. 
 
At 3:14 in Torn Apart, we get possibly the most kickass Force theme statement ever - just as Giacchino does the same for Jyn's theme in his cue!

Well, that's Mark Hamill's web series....behind the scenes reel/tour would be cool, maybe he did something while they were filming.
 
Could be another prank, though.
 
 
 
 
ETA: Somebody pointed out that Pop Culture Quest is at 7 episodes right now, making their next Episode 8. And there's technically no mention of Star Wars in the tweet besides the logo that just says "VIII" lol. It's definitely gotta be a joke. 

What's wrong with it?

I think I'm gonna hurl.