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  1. Might make my way up from Dublin to attend - what a great program!! Been to a few Williams concerts here (often advertised as a Williams vs. Zimmer night ), but they've never done Terminal, Ryan, Eastwick, Fiddler or Hook from my recollection- which is a real shame.
  2. Ah I've found that now. Excellent! Thank you so much!
  3. This is a super thread, finding it very helpful to see what Williams's has written on his own music. I've been digging into The Cowboys recently - has Williams written anything on it?
  4. Not a bad thing in my books! I only went on the Friday and Saturday - despite loving the entire experience, I was a bit disheartened not to here Leia's theme (a personal favourite)
  5. Thanks Maurizio and Tim for a really great interview! I loved Sarah saying "John's music would be nothing without the horn", it really is such a central element - or a literal hero - to so many of his scores. I hope there'll be more discussions with Sarah to come!
  6. Seeing JW live was such a surreal experience. The orchestra, the sound, the conducting, were all amazing. I welled up multiple times. Stayed until the end of the applause, and we could have gone on for a lot longer!
  7. Just seen that Paddy Maloney, founder of The Chieftans, has passed away. Williams’s inclusion of Far and Away in the programme will ring a little differently now. I do hope he’ll discuss his collaboration with Moloney a little, in tribute to the great musician who elevated a wonderful score.
  8. Such a wonderful conversation. I devoured Emilio’s newest edition. The Dracula chapter was stellar, hoping his analysis of The Fury isn’t too far off. 🤞🏼
  9. Have to begin with SW main theme surely? End with Raiders March, and an Imperial March encore would be nice. Apart from that: Adventure's on Earth, Jurassic Park, Window to the Past and Buckbeak's Flight (Azkaban has always been a favourite), Dartmoor/1912, The Cowboys (something pre Jaws would be cool!), Jaws suite, Images!! (saw the movie only recently, has he ever performed that live?) Princess Leia's theme, Marion's theme, and Rey's theme + Rise of Skywalker near the end. Don't have a stopwatch but that must be near enough 2 hours. It's going to be my first time seeing him in October, so he could literally do 4'33" by John Cage and leave, and I would be say its the greatest concert I've ever been to.
  10. Assuming that the Phoebe Waller-Bridge characters is a sidekick, I'd love some heroic theme for her. His music for Rey and Rose recently has stepped beyond the female "love theme" cliché. Also, something balletic and melodic à la "basket game" or "mine cart chase" for an action set piece!
  11. I've been enjoying listening to Lincoln recently, Wiilliams Americana scores are all really great. I'd love to get access to this interview to listen to JW discussing the score, but the link seems to be broken. I don't suppose anybody has saved it anywhere, or knows of another place I can access it?
  12. "The Arrival of Baby Harry" in Philosopher's Stone does so much to establish the tone of the opening with the chimes, celeste and brief iterations of the themes. And the way it swells up when the title cards is revealed always gave me goosebumps!
  13. @Falstaft I'm not familiar with Edgar's work actually - so thanks so much for the recommendation. I can't seem to access her dissertation here - but will try and contact her and see if she's willing to share. Looking at the concert performances is a great idea! Thank you so much @crumbs What a find!! Thank you so much - this will be a great help
  14. @WampaRat ooh you're right that's a great little moment! Agree with you 100%, if that's the route Spielberg wanted to go down we need to see some more mystery. The music just doesn't seem to fit with who she is otherwise. The brass iterations in The Jungle Chase are the best - but all too short.
  15. Thanks @GerateWohl must check out some of those religious themes from the 50s. I agree that Irina isn't a femme fatale but Williams definitely sought to score her like one. I've a quote: "Cate Blanchett as Irina Spalko she presented, to me, an opportunity to create a sexy film noir – if you like – theme to accompany a femme fatale from, maybe, the movies of the 1940s where you would here a slithering saxophone and certain harmonic progressions that would depict this dark side of sensuality and power and its uses and so on. She’s very sensual. She’s very powerful. And she’s depicted musically with this theme that is — if you like to say — an homage to the great film villainesses of the 1940s." (https://www.youtube.com/watch?v=6g3EgmxWzao) Her theme definitely fits this idea of a noir-style character, but I'm not sure if it acutely depicts Irina herself, who as you say "She is cool showing almost no emotion" . The theme, especially when it first appears is rather sensual and sly, but it does become more villainous during "The Jungle Chase" sequence. The way Williams talked about (to me) sounded like he wanted it to represent the power Irina could have over him.
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