Fabulin

Can't wait for the Jurassic Shark vs Jurassic Shark Flub-Fu showdown

Camille Saint-Saens immediately understood name of the game in the nascent medium, the mixture of onscreen mickeymousing that went beyond the operatic standards, and knowing when to allow oneself to write music that played "over" the picture. All who don't know the guy should look him up. Born 1835, died 1921, one of the greater child prodigies (he could play all Beethoven's sonatas from memory at the age of 10 as a party trick, and was one of Europe's best sight-readers, rivalling Liszt). He used to be quite modern (but not the most avant-garde) by the standards of the 1860s and 1870s, had an excellent sense of rhythm and a grasp of classical forms, and was certainly capable of adjusting to later trends, even somewhat anticipating them. In the last years of his life he was the doyen of French composers, respected even by those who decried his conservatism. Just like JW, a nature enthusiast and a very intelligent man. Among other things, he wrote some very neat dramatic and orientalist music, great music for harp, and excellent (and justly popular) miniature works, such as Danse Macabre and the Carnival of the Animals. It's a shame that Williams never wrote for videogames. It would be a bit like Saint-Saens writing for film.

Star Wars I-IX Star Trek: The Motion Picture

The Rise of Skywalker Indiana Jones 5

When people ask Google about the greatest composers (in general), what they really find overlaps 1:1 with "greatest classical composers". You will not find a mention of Williams, Goldsmith, Morricone, or Herrmann there. This reinforces the views that the four aforementioned, not to mention anyone else in the history of film, just do not cut it compared to the concert composers of their time. Example effect: a young director of the Phoenix Symphony programmed a healthy dose of the music of Waxman, Herrmann, and Korngold, and while the public enjoyed it, the board members and major sponsors didn't. The director was replaced with one more hostile towards film scores. Had the individuals involved been taught by their music teachers and their music critics to respect the masters, the way they respect Shostakovich or Messiaen or Messenet or Albioni, there would be no such problems.

We?

It's great. The Force itself, AKA John Williams, intervenes.

You are young, @jojoju2000. Wait a generation and there will be few born before Jaws and Star Wars left to rally against the good stuff.

a new garage band?

1999-2009 Giacchino 2010+ Powell

His voice sounded rejuvenated too.

Across the Stars followed by Rounds & Dactyls can form an elegant tri-movement concerto of their own. Especially fortunate to have them recorded on the same occasion.

Williams would make a great JWFan poster.

"We are going to play Across the Stars; a theme from one of the Star Wars films, and I have not a vaguest memory which one it was from".

The second movement is a love at first sound It's basically what I am looking for in contemporary classical.

So it's like Jaws but without a shark?

Remember the doubts whether Williams would make a good writer about his craft? Throooough the window!

I've done a bit of digging... and think that the film is going to have really cool aesthetics: The "Wolfenstein" opener: Wolfenstein Pt. 2 Cool locations: Fancy old-fashioned interiors: Old-fashioned New York, with an All-American parade: Actors looking really good, wearing suits or uniforms in many scenes, which reminds me of that polished feel of Tom Cruise and Henry Cavill's M:I: Fallout More vehicle / action eye-candy Other things: Mangold is doing a good job, he is an energetic director like Spielberg when the latter was young. He is certainly not a couch-sitting grandpa Lucas, and after Logan's handling of de-aging and CGI and the overall competence of Ford vs. Ferrari, I have full confidence that this film is guaranteed to be enjoyable, whether it ultimately rises to the level of the original trilogy or not (I have recently rewatched The Temple of Doom and I have to say that the bar is not always that high). After TROS (how technically impressive that score was despite the mess and nonsense of a film it accompanied), and with Williams's recent ambitious plans (Vienna, Berlin, Boston, New York, Violin Concerto No. 2...), I think maestro is going to really make an effort to close another series of scores with one better than KOTCS. The only missing factor influencing the potential for a soaring scoring is the for now unknown editing style of the film. P.S. A final thought, on Indiana Jones being old: in East-Asian cultures it is completely normal to have stories of 80-year old monks, warlords or martial arts masters kicking ass. People enjoy them for their symbolic value, even if a literal reading seems hard to believe. I think a ca. 70-years-old Indy, helped by guns, wits, and younger allies, is not going to look ridiculous if the fight scene choreography is done with a brain.

Well, now we know. Boyd Holbrook, looking acceptable as Mutt +10 years. And here: Mutt's stunt double on a motorcycle. Therefore, Mutt confirmed recast with Boyd Holbrook. The Adventures of Mutt can now be expected to return in some form Also, since Indy is on horseback, the chances for at least one statement of the Raiders March during the parade are rising.

It probably won't be that way, but I would be more than okay with a ticker tape parade set to the ol' Raiders March, with an old Indy tired but smiling, having had secretely saved the day. Like the TOD end scene.

There will be at least one glorious scene for Williams to score:

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This is no country for normal men