Vince

I think we can safely say that Voller's death was far better handled than Mac's fate in KOTC. I guess I know what they were going for but it just didn't work on any level.

I understand your disapointment with his death but I did really enjoy Voller's prolonged moment of realization. He got more time than any of the previous villains to understand the 'one stop shop' nature of the dial. Klaber reacting to his own incomprehension with violence was also pretty accurate for the kind of posturing manbaby he clearly was.

This is exactly how I feel about his work for the Sequel Trilogy and DoD but couldn't put to words. Thanks!

Right there with you! Luke's exile theme is my favourite element in the score to The Last Jedi and Archimedes' theme is quickly becoming a highlight for me. How dissapointing that so many 'regular' fans tend to dismiss Williams' later work. His current musical styles is far more understated than before but I think it has a lot more going on emotionally. But this is very hard to express to the layman who desires so-called memorable themes. (If Rey's theme isn't memorable, I don't know what is.)

Quite right, I remarked on this slower temp in an earlier post and after trying a few times it's growing on me. It's probably Williams' way to address Indy's advanced age but the first time I heard his approach it sounded off to me too.

I love how understated this theme is, especially considering the supposed ramifications Archimedes' mechanism has in the story. Voller's long-winded motif (the one that's similar to Boba Fett's motif from TESB) is also a highlight of the score for me. What strikes me is how melancholic this entry is. It does seem like the film's themes of aging and the passage of time really resonated with Williams. I'm really quite thankful that he chose to score this film after all.

I'd be surprised, to be honest. Not to say The Dial of Destiny doesn't deserve at least a nomination but I don't see the Academy going out of their way to select a fourth sequel in a long-running franchise that isn't Star Wars. Then again, Williams does have Disney's marketing team at his side, so I wouldn't rule it out completely.

I noticed that too. There were also some rumblings from The Intersection Scene in that portion of the film.

I'm quite fond of the score overall but is anyone else having trouble appreciating the slower version of the Raider's March that Williams employs in New York, 1969? I guess it was his way of acknowledging the character's advanced age but it doesn't quite work for me.

The music right before they enter the fissure sounded like it was tracked from KOTCS's The Spell of the Skull. It worked well up until the music cut out abruptly when the plane emerges on the other side. That was a tad jarring.

Over a decade ago I made some music videos of my favourite movies that I uploaded to YouTube. They are clearly amateurish but there's a couple I'm still secretly fond of. Here's a selection of the John Williams ones:

David Arnold's The Musketeer (2001). Haven't seen the film but I couldn't pass up on an adventure score by Arnold. It's main theme isn't as immediate as, say Stargate or Independence Day, but it does manage to inspire the same kind of rush with its action material.

Probably George Lucas and Steven Spielberg. I wasn't a musical kid at all (I still can't read notes or play an instrument), but I loved movies from an early age and the music of Jurassic Park and Star Wars made a huge impression on me.* I remember quite clearly that I was astonished that one could buy an album featuring the music from certain films when I saw an advert for the album of The Phantom Menace. When I discovered this I went out of my way to collect as many soundtracks as I could. *Jerry Goldsmith deserves a special mention here. His score to Gremlins was probably the first to make me aware of film music.

This is a hard choice. I probably listen to The Last Jedi the most, because it is such a propulsive score. It does rely a bit too heavily on the Force theme for my tastes but the stoic theme for Luke's exile has stolen my heart. However, both The Last Jedi and The Rise of Skywalker are built on the strong foundations of The Force Awakens. This score introduces such a strong collection of themes that I'd be remiss if I didn't acknowledge its importance. The Rise of Skywalker owes its flaws to the disjointed movie it accompanies but it does live up to the quality of what came before. All in all, my most listened to album must be The Last Jedi, however, I hold the entire musical sequel trilogy in high esteem.

Gave The Fabelmans a listen this morning and I'm quite taken with it. It's a touching blend of melancholy and warmth that does remind one of the joys and bitterness of childhood. I'm really anxious to hear how Williams' score and the classical pieces are applied within the film itself. Alas, many of us outside of the States have to wait another couple of months before the film reaches our shores but I'm sure this score will tide us over nicely.