Gurkensalat

Complaining about Williams composing Indiana Jones 5 before it even comes out has got to be the most bafflingly sour thing on this forum since the trumpet flub groundhog day.
 
I understand that this is a space for extreme outliers of all shapes and sizes, but why can't we just have nice things and wait for Williams to unfold whatever it is that he will actually do?

Popular opinion (I think): John Williams is the best choice for both films

That's a nice way to look at it. But don't forget that it's very much the other way around, i.e. a younger generation of filmmakers being involved in established franchises where JW is the de facto musical authority you cannot push away, as he's still very much eager to contribute.

I strongly disagree with this. Ford was the best thing about the last movie, by far. He convinced as an older yet still proportionately capable Indy. He simply deserved a better script and a better Steven Spielberg.

Unpopular opinion: I care more about a new Indy score more than another Spielberg drama score.

PRESS RELEASE - WALT DISNEY PICTURE COMPANY, DISNEY+™ AND LUCASFILM LTD.™ (SAN FRANCISCO, CALIFORNIA)
Walt Disney Pictures, Disney+™ and Lucasfilm Ltd.™ are excited to announce that visionary director JJ Abrams is returning to the galaxy far, far away. Abrams has been commissioned to remaster and reconstruct the original Star Wars™ trilogy (Star Wars™: Star Wars™, Star Wars™: The Empire Strikes Back™, Star Wars™: Return of the Jedi™) in brand-new editions exclusive to Disney+™, finally integrating the Original Trilogy™ with the beloved Star Wars™ Sequel Trilogy™.

Reuniting with screenwriter Chris Terrio (Zack Snyder's Justice League), the pair wrote new dialogue to bridge the old with the new. "I said to Chris, 'man, this trilogy does a terrible job establishing context for Rise of Skywalker,'" recalls Abrams. "No mention of Palpatine's children, no hints about grandchildren... so many missed opportunities. Why shouldn't Rey's Song appear when the Emperor confronts Luke? We need to fix this!"

Abrams credits inspiration for the project to veteran Star Wars composer John Williams. "I remember John saying to me, 'JJ Baby, after what you've put me through, I wouldn't be surprised if you asked me to write new music for Empire next.' That was the light-bulb moment."

The acclaimed sound team from The Rise of Skywalker™ also return to remaster the iconic soundtracks, assembling immersive new Dolby Atmos mixes. "It never made sense that all the musical themes didn't exist in all of the films," muses Abrams. "Finally we can fix those mistakes." Disney+ subscribers can also enjoy isolated scores, further highlighting Abrams' new vision. "This will introduce a whole new generation to John's music. I'm even talking with Disney Records about releasing the new isolated scores on CD. Everyone's excited!"

While Williams could not be contacted for comment, he would undoubtedly approve. Abrams shares Williams' theoretical excitement. "At last, fans will appreciate my vision for the Skywalker Saga."

EXCLUSIVE: First clip from Abrams' newly remastered edition of Star Wars™: Return of the Jedi™:
 

Aliens comes from UK and has reasonable shipping.
I didn't pay any customs either.

I was listening to Lost in Space and Time Tunnel recently and was surprised how much of the musical language of Star Wars, especially the first one, is already there. Much more than in the film scores of this time. 
 
Another key score for me is Tintin. It started the renaissance of Golden Era Williams sound in the 2010s.

Yes, you are right. The Cowboys probably are worth mentioning as well. But still I would say, that Star Wars was a landmark in terms of moving towards more symphonic scores.

I was listening to Lost in Space and Time Tunnel recently and was surprised how much of the musical language of Star Wars, especially the first one, is already there. Much more than in the film scores of this time. 
 
Another key score for me is Tintin. It started the renaissance of Golden Era Williams sound in the 2010s.

There's a truth to that. I believe it was Barenboim who announced, at the end of a concert, that he'd play a Wagner piece and that those who were inclined to find it objectionable can leave beforehand. Very few people were said to have left, and the piece recieved standing ovations.
 
But then, those people who did leave seem intent on interrupting the playing of the piece by booing from the outside, and Barenboim himself was declared persona non grata following this.
 
Whenever I have a conversation about it, it tends to go a bit like this:
 
"You like Wagner?!"
 
"Yeah. Don't you?"
 
"No, it seems wrong to listen to it."
 
"Oh yeah? What's that wedding tune..."
 
*Hums the Bridal Chorus*
 
"Well, that's Wagner. Still feels wrong?"
 
 
I haven't researched this subject with any thoroughnes, but you seem to be correct. For one thing, music in Death Camps was usually played by a small, inmate chamber orchestra; which wouldn't have been able to play a Wagner piece.
 
But I don't see the point, either. Say they'd have played a lot of Beethoven - would we now have to shun Bethooven's music in Israel? Seems nonsensical to me.

His music doesn’t get played, but you can’t really ignore the man who wrote the Bridal Chorus from Lohengrin or the Ride of the Valkyries from Die Walkure.
 
Its sad, really. Because of how history classes in Israeli high-schools go, Wagner only ever gets mentioned in giving context to antisemitism in 19th Century Europe, so one could get a sense that he was just a minor composer with a mouth bigger than his music. That could not be further from the truth.

Inception is fine, but How To Train Your Dragon is just better

It's not just badly translated, I'm also pretty sure that it's half-fabricated from snippets of an interview session with JW that play out very differently in the actual interview. I'm partly amused/partly dismayed by how many people here try to find interesting titbits in the subtext, when I'm convinced that the subtext is 99% misrepresentation by the author.
 
 
"Schtumperschreck"

As far as we know titles his cues himself

Spielberg is still involved, right? So I would hope that he would prevent that.
 
That would be the absolute dream! Still hoping.

Just found this looking for mentions of Schwarzer in this forum. I discovered Europa-Park a few years ago and have now also collected some of the music composed for the park by Hendrik Schwarzer, a young German composer from the Black Forest, obviously a big John Williams fan as one can hear in his music. I bought this album (https://shop.europapark.de/en/Europa-Park+Classic+2016+-+Download.htm) and like the music quite a bit since it reminds me of a lot of JW from Star Wars til Jurassic Park. Here is a nice suite somebody put together out of bits and pieces from this album, also showing off the fantastic theme park it was written for, as a short introduction to Hendrik Schwarzer (he also composed 2 short musicals for the park and soundtracks for animated movies the park produced): 
 
 

So, luckily next year we'll have not one, but TWO new Williams scores. Indy 5 in July and Little Spielberg by the end of the year (to improve its Oscar chances). 

Those are the same three I'd pick as the albums he put together that are the least representative of what the entire score actually has to offer: Phantom Menace, A.I. Artificial Intelligence, and Crystal Skull.
 
The man assembled over 100 albums of his film scores over his career, I can't expect him to get it right every time
 
Can't wait for Crystal Skull and Phantom Menace to join AI in legal expansion land

I think the Tintin comparisons are warranted. Particularly his use of the saxaphone(?- not sure) in some of his cues/action material in Indy 4. Almost like Williams was toying with a new action adventure sound rather than the more brassy fanfare-ic feel of the prior three films. The action scoring is much more playful and light in Crystal Skull than I think people were expecting for an Indiana Jones adventure. Like every scene was temp with “Basket games” or “Indys First Adventure”  While there were some playful moments in the prior scores, the action felt more dire/urgent/brassier for lack of better descriptors. Not sure if that’s due to their context in the films. 
 
So Tintin I think is a better development of the lighter/jazzier action sound that Williams was toying with in Indy 4. Like the perfect mesh of Catch Me If You Can and Raiders. 

I would got, but the best of both worlds would be WITH film but WITHOUT audio (maybe subtitles instead). Kind of silent movie experience. I can dream...
 
 

Tintin for me. Crystal Skull is very good, but Tintin is brillant 

Great interview! But of course when it comes to minute details, caution is advised in taking everything verbatim... like him calling Wagner "God the Father", which crumbs has translated from the article's "Gottvater", which itself seems to be a mistranslation on the journalist's part of "Godfather", which means something slightly different

It looks like part of the interview got cropped off underneath the photo. I could only find this low res version via their online portal:

Some interesting tidbits: 
- The new violin concerto is finished and lies with Mutter with whom he is now discussing small changes
- he does not have the time to "tell a story through music" with his scores; he composes very close to the pictures and cuts. 
- if he had stayed in classical composing, he would have developed further in the direction of Edgar Varese, more percussive. Now he describes himself as "more polystylistic" with his concert compositions
- he does not tell, for which movie he would have liked to compose the music; nor does he tell his opinion about modern film scoring :-)