MikeH

At least they have teeth

I would actually argue that John Williams is the best thing to ever happen to us JW fans. 

What about the free screensavers?

It comfortably sits with Jaws: The Revenge as my favourite of the JW sequel scores. My only real caveat (along with the lack of electronics) is the recording, which sounds horribly metallic to my ears... Anyone else get that, or have I developed Williams-induced-tinnitus?

For me it's one of the more frustrating pieces, as it sounds like he thought of writing a fugato-like piece, or at least something contrapuntally interesting... and instead he dropped the ball off almost immediately.

I did?
 

Only one to my knowledge, The Cellar Song

Still nuts to think that we waited 10 years (8 of which we didn't even know we were waiting) for a new Star Wars score by John Williams, now it's been barely a year since we had TFA and he's already composing another one. By April he'll have apparently recorded most of it and before we know it we'll have the CD in our grubby mitts...
 

Found this interesting minor tidbit from a USA Today writer's twitter.  
 
 
 

And that's a big ass - we're talking 20, 30,000 tons.

Possible because there isnt actually anything wrong most of the time with reusing something you did previously. 

Don't think it ever bothered me, and it hasn't started.

OMG HARRPY POTTER AND TEH PREQUELS! 100% CONFIRMED!

I've heard it and honestly, you're not missing anything.  The Insert improves the cue in every way.  And I don't just mean "It makes more sense to use the Imperial March there"... the problem isn't that he used a non-leitmotific fanfare.  The original version just lacks oomph and power, its really just kind of lackluster.  The Insert is bold and powerful, and luckily seemlessly integrated into the cue.

Star Wars: All in Good Time, My Friend
 
Great title!

I'd like this question to be calmly, earnestly discussed.  I am not just trying to rouse rabble.  It is a legitimate point, I believe.  We can take it to another thread if need be - don't want to pollute karelm's topic.
 
Is Williams really as diverse as some other film composers are?  Really?

This is pretty hilarious:
 
 
If I hadn't known it was coming I probably would have thought the theater system had malfunctioned and skipped ahead. 

For a score written in four weeks, that's an awful lot of thematic straw-clutching.

A coworker just rushed in excited to show me this
 

 
I hadn't seen it before so I looked it up and it's actually real. 
 

"But I don't want Sugarland released, I've made myself clear on that." 
 

 

Williams confuses 3PO with R2? More proof he's never actually seen any of these films!

I heard he only writes the first violin part himself and gives that to Pope and Karam these days. Right, @Prerecorded Briefing?
 
I actually have the sketch score for 'The Falcon'. It's one page full of 1 staff systems with a couple of musical indications here and there as well as some written markings (e.g. "Rebel fanfare here Eddie baby" and "maybe some of your ol' ticky ticky xylo, pno & ww here, Conrad"). End of the page says "Fine laus deo hope that JJ ass likes the rewrite".

Interesting. So basically, Williams is writing piano music and then someone else is expanding it for the full orchestral setting?