Nick Parker

John Williams worse than COVID confirmed.

It was so badass in theaters! Honestly one of the few moments where the score really got to have an impact on my viewing. Not that high of a bar to clear, but it just occurred to me after you mention it that it's been so, so long since we've gotten the Imperial March in a majestic setting. I love all of the tortured and brooding statements we get in Revenge of the Sith, but the last time we got a regal Imperial March was in the Attack of the Clones finale as you mention it, and and the last time before that...Return of the Jedi? The statement we have here reminds me most closely of the one on Aboard the Executor, which too has a rising internal figure. In the words of Martha Stewart..."it's a good thing."

Something like that, yeah. "Let me Google that for you", that kind of thing. Thank you for your clarification, I'm glad I asked.

Yeah, to clarify, I used cute earlier to mean I surprisingly wasn't annoyed by it, I was actually smiling at the goofiness of it.

This past week or so I feel like you've posted more of these "check it out for yourself" videos than normal. I don't want to misinterpret the tone of them, though. Yeah, normally I'm put off by these big spectacle shows, but that Cantina Band just feels cute to me.

I did, Jay, and I wanted confirmation or clarification from someone who might know more than I. You seem to have been pretty prolific this past week for posts like this, any particular reason why?

Is this the same one Williams played in 2014 then buried? Such a beautiful piece and the perfect distillation of the score.

Schindler's List?

I'm no forum search wizard, but what if we looked up the phrase "only for you"? I can see people quoting that in reaction to the video.

We might need to ask Rian to reupload it! I remember it being a phone recording.

I think it being posted here is how I saw it.

The clip was posted after the movie, I'm pretty sure.

My thoughts when Williams turns around and introduces himself: "Howdy, stranger. This is John Williams. If things have gone wrong, then I'm talking to myself, and you've got a mask around your face. See, there's enough shit in here to fuck JJ Baby good, but if you're listening to this then unfortunately, he has got to me first. I--" "Uhhhhhh, and for that we are so, so thankful. On the behalf of the Boston Pops, John Williams and I would like to dedicate this special performance..." No, Johnson posted a little clip!

I'm trying to find the video but I'm not savvy with social media.

I think Rian Johnson posted it on his social media. It's not very long, but you have to assume he recorded the whole thing!

Yes! It's such a genuine, heartfelt film, with an impressive blend of earnest pathos and silly antics...same goes for the sequel, with Elfman knocking it out of the park twice. Back when a director could make a film of theirs featuring a superhero, instead of a director making a Superhero Film.

Chen, 2020 has been a year of continual upsets and surprises, if it also reveals that you have a sense of humor I don't know what I'll do with myself.

What makes Jaws scary for you?

I will always associate her with this badass cover. But wait! Forget all this crap about Phillips Ass or Glass or whatever his name is! What about Freddie Mercury!? Queen hates John Williams!!!

*reads this thread*

The phrase actually refers to the throttle lever of a plane being pushed to its max, "the wall", so the only crudeness you have to worry about is the potential fuel used for the plane. Yep!

The Hyperspace nods, both strings and brass, definitely stood out to me when I first listened to the track. An awesome callback without going full nostalgia repeat! As has been remarked before, Williams' Benjamin Button has been remarkable to hear over the course of this trilogy, each score's action music getting increasingly more vibrant and badass. The moment that always catches me is the breakdown at 1:40...not only does it bring to mind past moments from cues such as On the Conveyor Belt, Parade of the Slave Children, etc., but it also brings to mind something Williams has talked about again and again in his career: (4:18-4:38) You can talk about Williams' orchestrations, themes, all the other stuff, but one of his greatest strengths truly is rhythm--it's his first consideration when spotting a film, and it shows. Even with the mix being almost inaudible at many points, the moment that 1:40 of Falcon Flight played in the scene during theaters, I immediately tensed up and leaned forward in my seat. It was during this that I caught myself and realized that Williams was right: as moviegoers, we have been robbed of something so many times. Frankly, I don't give a damn about all the arguments out there about orchestra vs. electronics or bold melodies vs. nonthematic, or whatever else out there...it's all vibrations to me. But that push and pull that Williams is able to create so powerfully, that rhythmic momentum that he can manipulate what seems so effortlessly, the fluidity, all of it...that for me is the mark of a true composer, and something that I feel has been sorely missing from many film scores of recent times. I feel so fortunate that we were blessed with a master's contributions to a modern blockbuster series, regardless of their quality, as a beacon and reminder of what powerful film music can do to enhance a film. And I forgot to mention, I had a big grin on my face the whole time, too.