Madmartigan JC

Also, and this may be a controversial opinion here, I'd say she's considerably hotter than JW.

Composers have been writing great pirate music for decades before Zimmer came along and started writing bad pirate music.

2nd video - Escape from the Karaboudjan a.k.a. the most gloriously scored punch in cinema history
 
 
This is another one of Williams' stand out action cues from the score. Themes presented are Tintin's heroic theme, Snowy's theme, Sakharine's theme and the Bagghar theme. This is one of the cues where Tintin's heroic theme really gets to shine as he basically becomes an action hero here throwing punches, shooting at bad guys and doing generally heroic things and Williams graces every one of those instances with a bold statement.
 
Other individual moments synced apart from the awesome punch are Tintin shooting at the boat harness, the flare, the ship destroying the boats, the bottles bobbing up and the airplane reveal among others. Williams is also very disciplined as you can see - when Tintin appears his theme appears, where there's a Snowy scene, there is his theme, when a cable to Bagghar is scene that location theme is heard and finally there is Sakharine's theme heard for his villainy.
 
And of course it is all very propulsive and exciting action music!

JW's score for The Adventures of Tintin is a stone cold masterpiece - an enormously propulsive work with over a dozen themes and motifs that power a very busy, nimble and complex score. I was disappointed to see the ambivalence people seem to have towards JW's Tintin score. That stops now. 
 
I think the score in the movie is well represented by still somewhat marred by sound effects.
 
Here is a score only version of a riotous sea battle that Haddock recounts.
 
 
Watch this to marvel at the intricacy of Williams' composition - individual punches, hits, sword moves, gunshots are synced to the music along with syncing to several cuts. Well, the syncing is done by me but to honor Williams' original intentions. I have taken the OST cue and and fit the picture to it. Only in two places did I microedit the music. Otherwise the music fits the scene remarkably well and you can see the enormous effort Williams has put into the cue for it to be still be entertaining while being so closely matched to the picture.
 
This also represents some of Williams best action music last decade. It is completely melodic and uses two primary themes - the Unicorn theme representing the ship and Red Rakham's Pirate theme (and no this is not the dueling theme from The Adventures Continues) receive several explosive enormous statements as the furious pirate battle unfolds over the high seas.
 
I am starting a thread here because I intend to create several videos for the numerous action scenes in the film, each intricately scored by Williams.

Haha. Quite. I like JW’s Han theme but Powell could quite well have written a great theme himself. As I’ve said before, Powell so effectively weaves it into his own style and material that if I didn’t know it was a JW theme I’d never have guessed (outside of the concert arrangement which has far more JW stylistic touches and orchestral thumbprints). Powell may not have quite the string of pubic consciousness themes but he’s a fine tunesmith in his own right. 

All this talk of Williams doing TV series themes, I felt we should showcase his best (in my opinion, and, well, in fact).  How a gorgeous little piece like this is a tiny footnote to Williams' career shows, yet again, his brilliance. 
 
 

Yes. And get rid of the visuals as well.
 
There’s something extremely sorrowful about those helmets sitting in the dark with random lights flashing over them. It lacks any human warmth and fails to ignite any kind of sympathetic - or even cohesive - feeling.
 
It might as well just be random letters of the alphabet flashing by.

Will this make Williams the only person involved with all three Star Wars trilogies, their spin-off movies and now the television shows?
Anthony Daniels would only need to appear in one of the Disney+ shows, I guess, but for now I think Williams is the one consistant part of making of this franchise - spanning 45 years. Simply unbelievable.
 
I love putting things in perspective like that.
I know this is basically only of personal interest, but my great-grandmother was born in 1912, 20 years before Williams. I often thought about that and talked to her about it.
 
She was 65 years old when she went to the cinema to see the the first Star Wars movie (in 1978) and the biggest take-away for her was the music. Years later I introduced her properly to John Williams and at the age of 107 she listened to The Rise of Skywalker with me by her side. Many of my memories with her are tied to John Williams - and the other way around.
This theme and the upcoming The Fabelmans will be the first scores written by Williams (for the screen) I won't be able to share with my great-grandma and that feels strange. But also reassuring. I hope Williams has at least as many healthy years ahead of him as my 20-years-older-great-grandmother had!
 
Anyway! Yay! New music by Williams! Always a great reason for celebration!

Joseph Shirley you can't be serious.

I would actually really love to hear what William Ross would do, speaking in John's style but bringing his own to it. 

Anne-Sophie Mutter:
 

I still can’t believe this. It’s beyond anything I could have ever dreamed of. John Williams conducting his music in the city where I’m born and where I live, in one of the temples of classical music. Utterly amazing.

I was fully expecting him to do nothing but write and record Indiana Jones 5 in between Carnegie Hall (April 21) and that film's opening (July 29). A trip to Italy in June is shocking to me! I wonder if the main score will be done recording before he leaves, and then maybe a final pickup day will happen after the concert? 
 
Or if an announcement that IJ5 is being delayed is forthcoming?

https://www.filarmonica.it/eventi/concerti-straordinari-concerto-per-milano-19-giugno-2022-ore-20-00
 
Google Translate of the above text:
 
SEASON 2022
EXTRAORDINARY CONCERTS
John Williams
DIRECTOR
19.6.22
hours: 8:00 pm
MILAN - LA SCALA THEATER
 
The Concert for Milan finally returns to its usual appointment in June after being moved to September in 2020 and 2021 due to the health emergency. The great concert under the stars for the city of Milan and for Italy has never stopped and in 2022 it returns with a legendary interpreter. As one of the best known composers in US history it is not difficult to remember John Williams like John Philip Sousa, Aaron Copland or Leonard Bernstein. The career of success and recognition includes a conspicuous list of awards including five Academy Awards, numerous gold and platinum records. With two Emmy wins, three Golden Globe wins, twenty-five Grammys, Williams is arguably one of the most respected film composers, author of iconic scores that have become famous thanks to titles such as Star Wars, Harry Potter, Indiana Jones, Jurassic Park and many more.

How about the Ludlow Motif?
 
 

Because you asked for it.
 
 
Karol

They should never be limited. If you are a new John Williams fan you should have the right to have the complete score of your favorite scores in a legal way. 
I never hade the opportunity to buy the Jurassic Park Collection so I had to downloade it illegaly instead. If it was unlimited I would be happy to buy it because I would own the set legaly and I would support La La Land Records. 

In other words, "am I a selfish asshole" vs. "do I want art to be presented properly and accessibly". LLL should get on the digital train after Varese and Intrada, and convince JW too, including the booklets digitally too, THEN limited physical releases would be acceptable. I was insanely lucky to find this site just when all I wanted (or was about to find out I wanted) was about to come out or still available.

- It isn't complete.  There is music you can hear in the film that isn't on it, as well as unused music that turned up in leaks that isn't on it...and even music on the original OST release that isn't on it!
- It isn't chronological.  This is subjective of course, and many may like the programming choices just fine, but many find it odd that some cues only appear as bonus tracks, or that album tracks that combined cues from two different parts of the movie were retained in the main program
- The sound quality isn't consistent.  The release fluctuates between 3 different sources: 2011 transfers of some sort of unearthed tapes, the album master, and the final film's music stem.  That source sounds noticeably worse than the other two, even to people who don't normally notice these types of things, and contains volume fluctuations and edited passages as needed for the film itself
- They didn't recreate the intended performance edits out of what they pulled from the 2011 transfers.  So if JW recorded a cue 5 times and his approved version used in the film used 40 seconds of take 5, 10 seconds from take 3, 20 seconds from take 2, and then the rest from take 5, the same cue on the LLL set might just be take 5 throughout.
 
That's a rough outline of it that hopefully gets the point across about why so many people desire a new edition done over from scratch by Mike.

Dammit! Well, that’s disappointing. Really disappointing. 

I openly admit I’m grasping at straws here, but note that (ever the tight-lipped diplomat), he doesn’t say he hasn’t been working on one, just that one is unlikely to be released this year.
 
I know how desperate this makes me sound, but I’m among my people here, right? You feel me.
 
[mopes quietly in dark room]
 
Mark

When Dan Wallin recorded The Last Crusade, he put walls up (acoustic separators) between instrument sections.  So even though the orchestra was the same size as Temple of Doom's (and many of the players were the same), the resulting recording sounds smaller because of this recording technique he chose to use.
 
On top of this recording technique, it seems that even if nice proper analog tape was running to capture every take of every cue (let's hope this is true!), he edited the score digitally, meaning 1989-era digital technology lost a lot of the clarity those theoretical analog tapes would have held.  Since the OST album and Concord expansion were both assembled from these 1989 digital mixes, we are hoping that analog tape will be uncovered and freshly transferred and a new Crusade album could be rebuilt from scratch from that.
 
But even if that happens, it's unclear just how much of an impact Wallin's recording technique would have no matter what original source material is used.

They probably leaked that 30 CD Star Wars boxset as well and none of us noticed! 

First few posts of a new release: omg now the listening experience lasts six hours and you can hear coughing, FINALLY 
 
Later: There two milliseconds where they accidentally spliced in the sound of tasmanian devil screeching, intrada is so dumb and lazy I want new disc and I want it now anyway when are they going to expand this other score