Nick Parker

and , at the same time.
 
 
  THE THING
Man, but this is fucking brilliant! It's always been my favourite Morricone, and it always will.

Maybe it's because he uses it as a resolution of the phrase? I actually really love how he uses the Cmaj7 there to finish the bridge, but then also to transition back to the A section that starts on a ... C chord. It's not something you hear too often,  using an extension of the tonic to lead into the tonic, but it works so well here.
 
As for hearing that...hmmm, I guess I could ask if you hear the difference of tension in it vs. the relative simplicity of the chord to follow in the A section. It also reminds me of how he ends a phrase of Flying from ET on a major 7 chord (I won't say which one). Maybe you could listen to that and see if you can hear the correlation? 

It's a Nazi dog whistle!

Maybe it's because he uses it as a resolution of the phrase? I actually really love how he uses the Cmaj7 there to finish the bridge, but then also to transition back to the A section that starts on a ... C chord. It's not something you hear too often,  using an extension of the tonic to lead into the tonic, but it works so well here.
 
As for hearing that...hmmm, I guess I could ask if you hear the difference of tension in it vs. the relative simplicity of the chord to follow in the A section. It also reminds me of how he ends a phrase of Flying from ET on a major 7 chord (I won't say which one). Maybe you could listen to that and see if you can hear the correlation? 

It would definitely line up with how he writes, especially for these big series like Indiana Jones and Star Wars.

Maybe it's because he uses it as a resolution of the phrase? I actually really love how he uses the Cmaj7 there to finish the bridge, but then also to transition back to the A section that starts on a ... C chord. It's not something you hear too often,  using an extension of the tonic to lead into the tonic, but it works so well here.
 
As for hearing that...hmmm, I guess I could ask if you hear the difference of tension in it vs. the relative simplicity of the chord to follow in the A section. It also reminds me of how he ends a phrase of Flying from ET on a major 7 chord (I won't say which one). Maybe you could listen to that and see if you can hear the correlation? 

If you want that old school Roddenberry vibe, let me say a "Hell", and a "no". 
 
Unless that preference wraps around to the point where you're distant enough from what Star Trek has been that you don't really care. Then again, even on its terms Picard isn't all that hot.

Same, although AI fits the bill very well, too. It's no accident or coincidence that he holds those as some of his favorite work.
 
 
 
 
Seeing your further comments, I think I'm understanding better and better what you mean, and I agree that Williams is a master of this. It's so intimate and private, and it feels like Williams was digging from a very deep lived experience to write these moments, for more or less mainstream entertainment no less. It's one of the major reasons why it's unfortunate that so many modern film composers look to past film scores for their major fuel, so to speak: amongst other things, they deny themselves their own innate humanity to draw from and truly create a lasting and powerful impact of their own.

Same, although AI fits the bill very well, too. It's no accident or coincidence that he holds those as some of his favorite work.
 
 
 
 
Seeing your further comments, I think I'm understanding better and better what you mean, and I agree that Williams is a master of this. It's so intimate and private, and it feels like Williams was digging from a very deep lived experience to write these moments, for more or less mainstream entertainment no less. It's one of the major reasons why it's unfortunate that so many modern film composers look to past film scores for their major fuel, so to speak: amongst other things, they deny themselves their own innate humanity to draw from and truly create a lasting and powerful impact of their own.

Same, although AI fits the bill very well, too. It's no accident or coincidence that he holds those as some of his favorite work.
 
 
 
 
Seeing your further comments, I think I'm understanding better and better what you mean, and I agree that Williams is a master of this. It's so intimate and private, and it feels like Williams was digging from a very deep lived experience to write these moments, for more or less mainstream entertainment no less. It's one of the major reasons why it's unfortunate that so many modern film composers look to past film scores for their major fuel, so to speak: amongst other things, they deny themselves their own innate humanity to draw from and truly create a lasting and powerful impact of their own.

Same, although AI fits the bill very well, too. It's no accident or coincidence that he holds those as some of his favorite work.
 
 
 
 
Seeing your further comments, I think I'm understanding better and better what you mean, and I agree that Williams is a master of this. It's so intimate and private, and it feels like Williams was digging from a very deep lived experience to write these moments, for more or less mainstream entertainment no less. It's one of the major reasons why it's unfortunate that so many modern film composers look to past film scores for their major fuel, so to speak: amongst other things, they deny themselves their own innate humanity to draw from and truly create a lasting and powerful impact of their own.

So like this?
 
 
 
 
Last Saber Duel is my favorite instance of it. I love it when Williams gets whimsical. 

So like this?
 
 
 
 
Last Saber Duel is my favorite instance of it. I love it when Williams gets whimsical. 

Nobody is saying John dislikes JJ, Rian, or the films, or that he was unhappy doing them. Clearly he enjoyed writing for Daisy and the opportunity to work with the orchestra, or he wouldn't have come back.
 
I was referring specifically to the treatment of his score in TROS. Early last month, @Fabulin translated an interview with ASM where she specifically mentioned John's reaction to the treatment of his score in TROS.
 
 
And I doubt it's a coincidence that John repeatedly mentioned TFA's lousy mixing when performing Scherzo for X-Wings. As others observed, JW's public persona is very professional and he has a subtle way of voicing displeasure (so we must read between the lines). He's also repeatedly mentioned how much JJ changes scenes. He did add the caveat in one interview that he doesn't mind doing rewrites (in the Tavis Smiley interview).
 
I never said he didn't enjoy working with Rian Johnson, actually the exact opposite (based on the score he delivered). I said that some would jump to that conclusion simply because we didn't hear as much from JW about his experience with RJ as we did with JJ. I agree with @Holko's theory that the production went so smoothly and unremarkably, there simply wasn't much to discuss afterwards (unlike the other 2 sequels).
 
 
I thought that featurette was lost! Brilliant find, thanks so much for re-posting. I only saw it once back in 2017 and forgot its content, so that's great to see some actual footage of JW working with Rian and describing his process.
 
So I believe that makes 3 scoring featurettes altogether for TLJ, two of which we have in high quality (plus the two videos RJ posted on his twitter page, on May 4th and the Main Title recording). Here's the other one, with plenty of footage of the two working together (even hugging! ):
 
 
 
Hah! I'd love to hear a supercut of how that anecdote evolved across 2016-2017, from his apprehension to scoring VIII with KK, to cutting off RJ mid-sentence to say yes.

The gap in time from this thread's start to now is almost as long as the gap between Last Crusade and Crystal Skull.

The gap in time from this thread's start to now is almost as long as the gap between Last Crusade and Crystal Skull.

You fell for it again, dude.

You fell for it again, dude.

You fell for it again, dude.

chen

"I liked the movie, sir, but did the helicopter have to come in when it did? Couldn't it have just waited a minute?"

I know whachu mean. I really admire this element of his more recent writing, especially when it comes to his drama scores, but there's something...off about his new Star Wars scores. There is some _great_ music in them, some truly wonderful stuff, but then there are stretches where it sounds a little more block-handed; the music is thick and stuffy, lots of suffocating, held out string chords, that sort of thing. It just doesn't have that present-minded richness I expect from him...every contemporary score I hear from him outside of Star Wars though has it, including BFG and The Post, so maybe it's just the recording or performance, I don't know.