Taikomochi

More time was spent typing the title than putting the set together.

The statement of Rose’s theme in The Fathiers more than justifies the existence of the theme. Absolutely incredible stuff. I just don’t think the theme has quite enough substance to be the MAIN theme of the score, unfortunately. I think that scrapped B theme would have helped.
 
Last Jedi is still an easy 5/5 score for me, though. Few Williams score are so imbued with that level of moodiness and desperation. I’d put it a step behind TFA, weaker thematic core but among the strongest narratives of any SW score.

The statement of Rose’s theme in The Fathiers more than justifies the existence of the theme. Absolutely incredible stuff. I just don’t think the theme has quite enough substance to be the MAIN theme of the score, unfortunately. I think that scrapped B theme would have helped.
 
Last Jedi is still an easy 5/5 score for me, though. Few Williams score are so imbued with that level of moodiness and desperation. I’d put it a step behind TFA, weaker thematic core but among the strongest narratives of any SW score.

More time was spent typing the title than putting the set together.

More time was spent typing the title than putting the set together.

Temp track confirmed!

In my top three there are definitely The Force Awakens and Dial of Destiny contained. But we can agree on War Horse.
But I find all scores of Williams from the past 20 years wonderful. Only exception: I am really struggling with The Rise of Skywalker. But I hope for a complete presentation hoping then I could appreciate it more.

I think The Post and The Fabelmans, are two of the weakest efforts in John Williams' overall output.
But that's just me.. 

I think this is the appropriate thread...
A mockup of a fragment of an early version of End Credits (1-27-17).
 
End Credits music in TLJ has a complex history of versions: at least three can be distinguished, the thematic structure of which you can see in the Lehman's Catalogue (page 87).  
 
The earliest version isn't "available" in its entirety: only the first part. In the sequel trilogy, JW always wrote End Credits in parts (in at least two). For example, it is known that in TFA he wrote one part first and handed it to JKMS with a note in the sketch "Ending to come".
 
As for this version, 9 days later (February 5) JW made small fixes regarding instrumentation. Perhaps at that time the 2nd part of End Credits was already finished, but we don't know about it.
 
Moreover, I only did a mockup of the first half of that part. The most intriguing thing here is Rose's alternate B-theme, which JW later abandoned. Also he tried to continue the 'Luke in Exile' theme (at 1:57). 
(The second "unmockuped" half is based on 1M6 We Can Do This, but contains original snippets as well. Alas, I'm not sure I'll take on this half...)
 

No, that would be the shootout scene from the original movie. Rescue of the Princess or Chasm Crossfire on the RCA SE.

Ah yes, the perfect sequel for the movie ending with the revelation that not only are we not alone in the universe but they're just like us, we play music together and make peace... is that they were evil all along? What?

Crimes of Grindelwald is a great score. I think I like a bit more the first one, but this one has some awesome highlights, and Wands Into the Earth is one of my favorite JNH cues! The vocal motif at the beginning, the way it builds until the trumpets enter, the choir joining and building towards that statement of the main theme of the franchise. Brilliant!
 
Too bad that apparently there won't be more of these, not because of the movies themselves, but because of Howard's music!

I think it's my favorite of the FB scores as well. So many wonderful cues and the album really has a nice listening experience (even though there's one or two movie cues that I'd like to hear).

I love this score!!
Probably my favorite of the 3 Fantastic Beasts scores.
 
Spread The Word onwards is some of the best fantasy writing Howard has ever done in my opinion

A lot of olden times members drifted away from the boards, so it seems unlikely given the decades we’ve been around.  Joey would be the first that I know of though.

This is very sweet. It's worth remembering that Williams is a great proponent of musicianship at all ages and levels of experience. I'm sure it pleases him to put out arrangements of his themes that can be performed by talented amateurs and not just the Annie-Sophie Mutters of the world. And while these sorts of pieces are typically handed off to others to arrange, the work is not at all "beneath" him. It's clear that some thought went into this arrangement, simple as it is. At the end of the day, there are Star Wars fans out there, many of them young (and some who might not have tuned in without the hook of Williams' involvement), who will see this video and it will inspire them to pick up a violin and form a deeper connection with this music. And that's entirely to the good.

Could we make a tribute to the late JoeinAr by assembling the results for this long-standing poll? Don't look at me, I sadly don't have the time, but perhaps some industrious soul on here?

Yes I was thinking I could do it if nobody objects

Now that I've seen the video, it's clear he wrote her multiple arrangements, and this video only shows her playing one of them. Another one is shown on screen briefly ("Star Wars Main Title for Solo Violin")

At least Finn and Poe have well-drawn, self-contained story arcs in TLJ. People can disagree on the direction Rian chose, but there's a very clear progression from where both characters begin in Act I and where they end up.
 
It's TROS that throws all that in the bin and starts from scratch, before losing all interest in both characters somewhere during Act II.
 
But not before making it excruciatingly clear both characters have a severe case of the "not gays."

OK, so this quote isn't by a composer and it was made 25 years ago, but I didn't want to start a new thread or hunt for a better one. Alan Parker, the now-deceased director of Angela's Ashes, had the following lovely things to say about working with JW:
 
During the editing process I usually experiment with a “tool kit” of music.  On this film it was a particular pleasure as John Williams had agreed to do the finished score.  I consequently laid up a miscellany of John’s music, culled from his previous scores, to help me judge the ebb and flow of scenes but principally to aid the “spotting” of just where we were going to need music.  I showed John an early cut of the film in June and, after finishing his latest Star Wars opus, he began work on our score.  In Los Angeles, the music was recorded at Sony in Los Angeles —the famous old MGM music scoring stage where the musicians forbid cleaning the dust from the old studio walls and rafters lest it spoil the unique sound of the room. (It’s either a wonderful superstition or a great way to keep the maintenance bills down.)  I try not to fill these production notes with meaningless hyperbole, but I have to say that working with maestro Williams was a privilege.  However aware one is of his colossal talent, it’s still an extraordinary experience to watch him work.  His sensitivity, wisdom, graciousness and total, effortless control of the task of scoring for film is awe-inspiring.
 
His full discussion on the making of the film, which contains this quote, is available here.

Funny that you say the feedback is good, because I've seen very mixed things.
Some love and some absolutely hate it.
 
It's very intruiging