Matt S.

I'm a little late to this discussion, but I'm shocked to find out this episode was October 2010, meaning only a month or less since Saul left ABQ. (I've never listened to any of the Insider podcasts or reddit discussions; here is the only place I chat with anyone about it.) It always felt to me like the Omaha scenes took place much later, several months if not a year later, and he was entrenched in his life as Gene, settled into the daily routine of running the Cinnabon, etc. Such as the scene in the very first Gene flash-foward where he digs the shoebox out of his closet and watches his old Saul commercials, just felt to me like he was reliving ancient history, but despite the passage of time he just couldn't shake the paranoia that sooner or later somebody would find him (the way he would look twice at customers, or not want to set off the alarm in the trash room at the mall.) Maybe I just misread it, or maybe I felt that way because we're experiencing the show over the span of several years?

Yeah, it was just a thought. Besides which, using TLW's novel-style cover would probably never be approved by the studio since (at least as far as I remember) that image was never used for the film's marketing.

Given that this new release's artwork plays off the original novel's design, I wonder if they'll do the same if/when they reissue The Lost World, with the downward-facing T-Rex?

I agree, I believe it’s only a matter of time before The Lost World gets reissued. I also wouldn’t be a bit surprised to see it released as a 3-disc set with the original 1997 album included this time. But unlike Ian Malcolm, I’m not right all the time, so don’t take my word for it!

In my experience, there's no such thing as luck.

As I recall, “Hooray for Hollywood” is quoted in 1941’s The Battle for Hollywood. Also doesn’t he quote the “Spanish Ladies” tune that Quint sings in Jaws?

That reminds me of the Wexler-McGill logo from Better Call Saul!

Actually, I think it's the other way around... the version performed by the FSO and the Marine Band is the Signature Edition suite from Hal Leonard, while Keith Lockhart's version is a new arrangement, based largely on the OST's concert track, but with a new ending as you noted above. I know Williams conducted the Hal Leonard version back around the time the movie came out, and I'm certain I've seen a youtube video of a July 4th Hatch Shell concert that included it.

I loved how Mike whispered "Do it" when Nacho had the gun to Bolsa's head. You just know he wanted an excuse to unload and take out all the Salamancas at once, and hopefully save Nacho's life at the same time.

I’m assuming most, if not all, of the gold plated stuff in Saul’s house was fake, sort of like the styrofoam columns in his law office. As the cameras pull back, we see that despite the perceived opulence inside, he lives in a fairly regular-looking house. We know from the very beginning that his whole life is a con.

I watched it as it aired on AMC, and it was shown as a 2-plus hour movie, with no break or credits between episodes.

He conducted it as an encore in Berlin, so it is available on that release.

I figured it was an oversight or simple dramatic license. It does make some sense, to show the difference between there and the deserts of New Mexico.

Those dates don't make sense, though, since it's shown to be the dead of winter when Walt decides to leave New Hampshire. Even if he's in the extreme northern part of the state, it wouldn't be anywhere near that cold and snow-covered in late August/early September. (Unless of course it was an oversight on the part of the creators.) Same thing with Jesse in Alaska at the end of El Camino; he's near Haines, Alaska, which is on the panhandle part of the state; at the end of the summer, there would not be any snow anywhere in sight.

Yes, I know the original source for "Elegy," but I think the primary theme to Seven Years in Tibet is absolutely gorgeous and I'm just stunned that it seems to have become a forgotten work.

So by my count, this now makes SIX studio recordings Williams has personally conducted of Schindler’s List: OST - Itzhak Perlman, Boston Symphony Williams on Williams - Tamara Smirnova, Boston Pops Cinema Serenade - Itzhak Perlman, Pittsburg Symphony Treesong - Gil Shaham, Boston Symphony Across the Stars - Anne-Sophie Mutter, Recording Arts Orchestra of LA A Gathering of Friends - Yo-Yo Ma, NY Phil Has there been any other work he’s conducted as prolifically? (Not counting the various Star Wars OST main title crawls or the live recordings of concerts)

I would think the OST contracts had more to do with the film studios, who actually own the music, rather than Williams himself. But I could certainly be wrong about that.

Wouldn't this just be the same version from "Spielberg/Williams Vol. III?" Yes but that album only included the Theme, since they packed it so full. It will be nice to hear the rest of the suite! I would have loved it if they included the cello/orchestra arrangements from Angela's Ashes. Or even something from Seven Years in Tibet -- I wonder why JW has never gone back to that score? I've never heard of him ever playing it in concert either (there's nothing on the BSO archive about it).

Any duplicate selections were all recorded again when the Pops switched from Phillips to Sony.

I assume TreeSong was on DG because it’s primarily a Gil Shaham album. It was released during the Sony years; in fact there is a line in the booklet that states “John Williams appears courtesy of Sony Classical.”

The BPO Phillips recording happens to be my favorite rendition of "Flying."

Everything will be taken from live performances. Whether there will be applause, etc, is unknown. I imagine the applause will be edited out, but that's just my personal opinion. The CD will be from the Boston Symphony Hall concerts in October. The Blu-ray will be the Concerto and "Across the Stars," from Tanglewood, along with the three film themes recorded in Boston in October.

I'm sure you're right. Williams (probably) has the clout to get anything he wants. I just find it curious that as soon as he's done with Sony in 2017, he connected with Anne-Sophie on Markings and opened the floodgates, as it were (especially if we include the Dudamel album). However, without the ASM connection, who is a superstar in the classical world, I doubt this JW renaissance would be happening.

It's too bad he didn't get away from Sony Classical sooner... DG is spoiling us with all of these releases. There was a 15 year gap between American Journey and Spielberg/Williams III. Just think of what could've been done in those years. (cue a "I could've done more..." joke)

I wish he had recorded more contemporary film music. I would like to have heard his take on more Goldsmith & Horner, for example, than the few selections he did record. There are exceptions, but most of his concerts or recordings consist of Golden Age music, selections from musicals, or his own film music. The Hollywood Sound probably has the largest group of "recent" scores among its tracklist, but then that was recorded in London, not Boston. I also wish that The Star Wars Trilogy album was recorded in Boston rather than with a pickup orchestra.