DolceMecha

Nice interpretation! Another JW moment like this that comes to mind is from Last Crusade after Donovan drinks from the wrong cup. That chord from 01:01 to 01:10 is like that nerve-jangly feeling of an adrenaline rush in the aftermath of a nasty fright. Listening to Philosopher's Stone with new ears, it struck me just how varied the many performances of Hedwig's Theme are throughout the film. There are very few, if any, statements that sound identical, the arrangements do something new with the theme each time. The same goes for the rest of the thematic material, to be fair, but it's especially commendable considering how prevalent Hedwig's Theme is. Also, quick question about the end of the track 'Hedwig's Theme' - did the OST version augment the very final hit with some artificial reverb? It sounds slightly different on the LLL version.

I really hope the film doesn't end with yet another Force Theme quote. By far one of my biggest disappointments with TLJ.

It's the name of the renaissance-era wind instrument that plays the cue. Edit: Beaten to it!

Oh, interesting! I've only seen the film once so I couldn't remember what exactly was on screen at that point. I'll have to look out for that next time!

It may not be as tight as Raiders, or as fun as Temple, or as emotionally satisfying as Crusade, but I get such a kick out of individual parts of Crystal Skull. The appearance of the flying saucer in The Departure is probably one of my favourite Williams moments. Those bells! But more on topic: can't remember if this has been pointed out yet, but is that a little snippet of 'Luke & Leia' in between the two phrases of the Force theme in Peace and Purpose?

If anyone's interested, I edited the Japanese album cover so it fit better into a square. I love this version of the poster with Rey front and centre.

I was thinking about the famous "I'm flying" scene from Titanic and, in particular, the precise moment where the music reaches its emotional climax. On paper, you might expect the score to swell at the moment Jack and Rose kiss, but it actually reaches its emotional peak a few seconds later when Rose reaches up her hand to hold Jack's head closer. The moment becomes a lot more sensual and somehow more romantic as a result. I realise this is just intelligent, intuitive film scoring, but the timing of these things always fascinates me. (2:09) Another example off the top of my head is the final scene in Home Alone when Kevin and Old Man Marley share their moment through the window. One could score it so the music swells when Marley raises his hand in greeting, but Williams holds it for that little moment longer until Kevin returns the gesture, when both characters have completed their arcs with regards to each other. This video below actually has the alternate “O Holy Night” version of the cue too, and you can see the emotional journey is exactly the same in both pieces of music. (00:47) I’m curious to know if you can think of any other examples like this. Moments where the music could reach an emotional peak at one moment, but actually climaxes at another for a stronger emotional impact.

That certainly seems most likely. Still, it's frustrating to consider that we haven't had a Star Wars film finish with anything other than the Force theme since 2002. Even Rogue One did it!

100% agreed! It was such a disappointing way to round off the film. Felt almost parodic by that point, the number of times the Force theme had been wheeled out. A stirring, optimistic rendering of something like the Resistance march would have been a much more satisfying way to close the story.

It's been a while since I've seen the film, but I'm pretty sure the pipes that come in as Rose jumps off the lifeboat are a totally different performance (possibly even a different instrument) in the film and on the album.

I'm curious to know whether the track 'Unable To Stay, Unwilling To Leave' will feature the film or the album performance? Doesn't look like there's an alternate of any kind on disc 3, so it's surely one or the other?

No love for Visitor In San Diego? Those final two minutes are incredible.

Haha thank you! I hope so too.

Hello everyone, nice to meet you all! I've followed this site and forum for a while now, so signing up here has been a long time coming. This place has been a great resource for keeping up to date with all things Williams and film music, so I thought it was about time I contributed in whatever small way I can. Plus, what better time to join in the pre-TLJ and Post anticipation? I've been an admirer of film music from an early age and that pretty much started with John Williams. In that respect, you could say The Phantom Menace was my Star Wars I find a particular kind of comfort and solace in his musical voice - it's reassuring to me, even in his darkest scores. I used to be more musically inclined, singing in choirs and playing the piano and violin - all things that I'd love to return to some day soon. In the meantime, I'd love to join in the discussions here, and hopefully expand my musical horizons with you fine people!

NAME: Alex LOCATION: Scotland, UK AGE: 24 SEX: Male PROFESSION/EDUCATION: Film school graduate, somewhat strained aspirations to become an editor FAVORITE JOHN WILLIAMS SCORE(S): AI, Far and Away, Temple Of Doom, Hook, Phantom Menace FAVORITE NON-JOHN WILLIAMS SCORE(S): Lord of the Rings, The Omen, Alien, Edward Scissorhands, Cinderella to name a few FAVORITE FILM(S): AI, Alien, Carol, Lord of the Rings, Silence of the Lambs, Under The Skin, again, to name a few FAVORITE DIRECTOR(S): Spielberg & David Lynch especially SPECIAL INTEREST(S): Illustration, reading, dreams, folklore, music VISITING THIS BOARD SINCE: 2011