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Rey returned to Tatooine at the end of Rise of Skywalker, too.
 
Please! Not!

Get ready for two or three Binary Sunsets each episode.

Well, I wouldn't put it past them to withhold something. But it would be nice if that's not the case. At any rate, it's good to get some more details about this release, I'm excited to hear it! And it was nice of Mutter to wear a DG-colored yellow dress. Coincidence??

Yep! 
 

 
Not too shabby, for a theme that Williams "can't for the life of me remember" where it came from.

The article was excellent, but the photo sleuthing has been sublime.

I wish Johnny the best on his concert music, and of course he's earned the right a thousand times over to follow his muse wherever she leads him, but I hope he'll keep splitting the difference between films and concert pieces as he has been with pieces like the Mutter film arrangements, the Galaxy's Edge music, and the Overture to the Oscars (and, hopefully, the Vienna processional).  His genius and his legacy lie in accessible, tonal orchestral music.  I can't see anyone arguing against that.  (Let's be honest: whatever its merits, they won't be playing "Markings" at his funeral.) 
 
I would love to see him tackle some more classically programmatic music like a Shakespeare overture—or maybe something along the lines of Patrick Doyle's Impressions of America album.  Imagine his Harry Potter Children's Suite if the film rights had never been sold.
 
Hey for that matter, how about a tone poem based on The Catcher in the Rye?  It's not a straight-up adaptation; the Salinger heirs might go for it!  And if he's back in a Fifties mood, we might get some jazz out of him!

The article was excellent, but the photo sleuthing has been sublime.

The article was excellent, but the photo sleuthing has been sublime.

The article was excellent, but the photo sleuthing has been sublime.

The article was excellent, but the photo sleuthing has been sublime.

The article was excellent, but the photo sleuthing has been sublime.

The article was excellent, but the photo sleuthing has been sublime.

I wish Johnny the best on his concert music, and of course he's earned the right a thousand times over to follow his muse wherever she leads him, but I hope he'll keep splitting the difference between films and concert pieces as he has been with pieces like the Mutter film arrangements, the Galaxy's Edge music, and the Overture to the Oscars (and, hopefully, the Vienna processional).  His genius and his legacy lie in accessible, tonal orchestral music.  I can't see anyone arguing against that.  (Let's be honest: whatever its merits, they won't be playing "Markings" at his funeral.) 
 
I would love to see him tackle some more classically programmatic music like a Shakespeare overture—or maybe something along the lines of Patrick Doyle's Impressions of America album.  Imagine his Harry Potter Children's Suite if the film rights had never been sold.
 
Hey for that matter, how about a tone poem based on The Catcher in the Rye?  It's not a straight-up adaptation; the Salinger heirs might go for it!  And if he's back in a Fifties mood, we might get some jazz out of him!

Throwing opinions about how much this film or that project are beyond or worth of his time and talent is a useless exercise. At this point in his life, the man is doing whatever he wants and likes to do. He lived a greatly privileged life, working with incredible people and on projects that will last beyond all of our lifetimes. He sounds also very serene about approaching the end of his journey on Earth, so he values time greatly and, as he says, six months now is an extremely long period for him. He knows better than any other how to manage time as it's part of his DNA as a composer. We as fans might approve or not if he's using this time for doing another franchise score or a personal concert piece, but it's not our call. Let's just be grateful he's spending his last years among us writing new music and doing concerts all around the world.

Seeing this picture above brought a huge smile on my face for obvious reasons:
 

This sentence made me swell up a bit; I imagined it set to the tones of "The Reunion" from A.I.
 
Great piece from the New York Times.

I think it is way, way, way too convenient to make JJ Abrams the scapegoat. I mean for crying out loud.
 
There are Williams quotes going back decades joking about not being able to hear music against sound effects. Obviously it's gotten worse along with all the music editing but I think this has always been a nagging frustration with him like any film composer and in retrospect I wouldn't be surprised if it was part of why he slowed down after 2005 as well, along with the reasons cited about deadlines and the time-consuming nature of the work. I imagine 2002 and 2005 also had their role in slowly killing his interest in the film industry, even though they were legendary years for us.
 
If anything, it seems to me his recent Star Wars experience was a pleasant one. He seemed to appreciate having the longer timeline with breaks. It reminds me of some of the quotes from Richard Linklater about Boyhood and that he wished he could make all his movies like that, because he found it a gift to be able to shoot for a week, edit, go do something else, come back with fresh eyes etc. From what I can tell JW loves the Abrams boy, even though I could allow speculation he found his methods and results exhausting.
 
It also makes me wonder if him not doing Ready Player One, for example, might have had more behind it than just not enough time. I think he at least might have been relieved to have a good excuse to say no to it.
 
And I also just think so much of this is him approaching and turning 90. New decades tend to shed light on certain things. It also seems that through the pandemic, he found he just didn't really miss film scoring too much.
 
 
I never get this mentality from fellow JWFans. I know you're as big of one as anybody. I can't take it seriously that you wish you weren't getting a John Williams score in 2023.

I know Williams only does Speilberg/Star Wars/Indy these days in his semi-retirement.
 
I am wondering if he might like the Solo model in the future perhaps? So he is asked to contribute 2-3 themes and 1-2 suites. And that's it. And then another composer runs with them and does the overall score. 
 
I think he might find it attractive. It is no different than writing for concert hall since he would in fact be writing JUST the concert suite.
 
We know most modern composers can't write good themes for shit (even the big name ones) and Williams can do so in his sleep. So this might be a great arrangement. 
 
I am sure this can work almost as an apprenticeship for young upcoming composers who would give their left kidney for a job like this - taking Williams themes and crafting a full score around them. 

What an absolutely fantastic piece. So refreshingly candid and honest compared to the usual puff stuff.
 
This is also the first time I've seen him so explicitly and brazenly express his fatigue with film, which is completely understandable. In fact, I wish The Fablemans was his last film outing. Don't care too much for the Indiana Jones flick.
 
I look forward to hearing more of his concert output, where clearly most of his joy lies in these days.
 
What a class act and gentleman.

A hardworking carpenter who loves nature, is kind to everyone, performs miracles, and has something of a cult around him.
 
Fellow disciples, Williams is officially a musical Jesus.
 

.

May God continue to bless Maestro John Williams and bless us with this unprecedented gift that is the Maestro.

Spielberg showing up to JW’s house in 2026 with a rough cut of Indy 6

I have a few extraneous organs I'd trade for a day's access to his office.

And underneath, two copies of the Gabrieli Brass's recording that includes "Music for Brass."
 
And, best of all, this sandcrawler?