Fabulin

I've been conditioned to hear a piano note and a huge BRAAAM over such dialogue.

Could it be a financial / prestige incentive for Julliard to work on the publishing of his bequeathed scores?

Why not deposit the data in a more durable library, https://www.wikipedia.org/ ?

Wouldn't it be lovely to have a curated album of some Chopin, piano arrangements of old songs, and Williams tracks designed to fit with them? Especially if they are a bit like the finale of Lincoln:

Those Huppertz scores had not been re-recorded yet at the time Elfman was working on Batman.

Williams often seems to express in music some idea he has of the characters more than the essence of what they necessarily do in the plot. The opening is a bit like the opening of themes for Anakin and Rey, which to me suggests, at least initially, a younger character that is supposed to encourage fatherly feelings. Then comes the "femme fatale" element, but it is not in your face, it's certainly not a pure or even predominantly "love interest theme" like those for Marion or Leia. The progression in the concert piece sure has grown on me. It could well be a main title for a generations / family drama type of film or series, an adaptation of some old British or Russian novel. It's something I can imagine hearing over the opening credits with various charactes shown moving on screen with their respective actors' names presented. The interesting thing about this theme to me is that while at many points it sounds more like an authentic 1940s theme than it does like Williams, it also reminds me strongly of the music of the 1960s till early 1970s as well, of Williams's pre-1975 career. This escapist film in a "historical setting" is taking place in an era when he was already working. The DeRosa legato was a part of that era as well. It's as if it was bridging the Golden and the Silver ages. Hmm, it does sound like Sabrina. Let's hope it reflects a good chemistry between the two leads. Edit: Oh god. The OTHER Sabrina.

The year is always that of the public release. I should indeed correct it for Fabelmans. Thanks. I will also add a suite from Indy 5, since Helena's theme will likely be a part of such a package.

Hmm, strange. I didn't have those in my Williams spreadsheet https://docs.google.com/spreadsheets/d/1t3wT8eQumVviGLYHhZPXsMASnh5_COfWEICbbw4hS3I/edit#gid=865673007 I know it still likely isn't complete, but their addition makes Star Wars Williams's round 50th film score and 100th composition!

Imagine a James Mangold - John Powell collaboration, where both would tweet things. A better world

Those crickets have been there since the end of KOTCS

No, I hear a glaring flub at 1:23

The Golden Age Hollywood is his own childhood, after all

Yes! The friendship theme immediately sprang to mind after I heard Helena's. It gives the score a sense of progression from TROS. I've really liked the style of TROS so here's hope more similarities are underway

This is rare not just for Williams but for any composer. A piece from a film score premiered live in a large concert way before the film's premiere? This just does not happen! Note: There was also the Kenobi piece performed at the Star Wars celebration.

hopefully Fabelmans and Indy reduce the distance to 5

To be fair, ClassicFM is just about the only website other than JWFan that routinely has Williams among history's greatest composers. It's an easy target, but I dunno... am I the only one here who can't be bothered to see them as the blasphemous antichrist? Btw. Williams seemed very alert and witty in his answers, which bides well for the Indy score.

70% of a wall-to-wall score would be what, 80 minutes? Assuming he might have to be ready by mid-September, and considering Williams's recent composition speeds, the interview must have been recorded at least a few weeks ago. #SpecializedNerdCommando

@Ludwig@Ludwig

Please do not play the SW theme outside of John Williams's house. Thank you

And that 0:45 ritardando into the 0:54 horns...

I can relate to this. There is this rare, very specific feeling that whoever is on the other side pulling the rope must be a strong one. I once visited a small film theatre to watch an old black-and-white film and was positively blasted by the music; I waited till the end credit to see the name, and there it was... Shostakovich. Another time, I watched The Raging Bull and thought that there was no way anyone alive at the time of the film's creation wrote the music featured: indeed, it was by Mascagni.

I hope we will all be here 10 years from now, listening to JW's anecdotes about Hedwig, the wonderful pet owl of Indiana Jones's — or how Han & the Princess was supposed to be a love theme, but they turned out to be siblings!