Muad'Dib

https://www.nytimes.com/2022/02/08/arts/music/john-williams-hollywood-film.html
 
“I don’t particularly want to do films anymore,” Williams said. “Six months of life at my age is a long time.” In his next phase, he plans to focus more intensely on another passion: writing concert works, of which he has already produced several dozen. He has visions of another piece for a longtime collaborator, the cellist Yo-Yo Ma, and he is planning his first proper piano concerto.
 
This year, he will complete what he expects to be his final two films: “The Fabelmans,” loosely based on Spielberg’s childhood, and a fifth installment in the “Indiana Jones” series.
 
“The Fabelmans” has been particularly emotional, he said, given its importance to Spielberg. On a recent day, he recounted, the director wept as Williams played through several scenes on the piano.
 
Williams said that he expected “The Fabelmans” would be the pair’s final film collaboration, though he added that it was hard to say no to Spielberg, whom he considers a brother. (Spielberg, for his part, said that Williams had promised to continue scoring his films indefinitely. “I feel pretty secure,” he said.)
 

 
I also found this. Thomas Newman celebrates John Williams on his 90th birthday.
 
Can anyone post the whole program of Newman celebrating Williams? I can't access it:
 
 

My reaction 
 

My reaction 
 

There you go:
 
https://variety.com/2022/artisans/news/john-williams-turns-90-celebrating-1235172996/

Program

Well, it’s safe to say that this is the top contender for ‘Surprise of the Year’ so far…

It's official!!
 

I was watching this John Ford interview and his speech pattern and voice sound are really, really similar to Lynch's:
 
 

Ok now this movie got 10000% more interesting
 
https://variety.com/2022/film/news/david-lynch-the-fabelmans-steven-spielberg-1235172006/

Also Tony Kushner was on the WTF podcast and toward the end mentioned that he and Spielberg wrote it together over Zoom and that it was the fastest thing he'd personally ever written, and also had a funny anecdote about Seth Rogen. 
 
 

RICHARD ATTENBOROUGH
 
Mathieu Kassovitz as well
 
Also, the editor-in-chief at The Playlist claims:
 
 
Would make total sense and be awesome if Spielberg is recreating this hilarious story. I could instantly see Lynch in this scene the way Spielberg describes it. Imagine him delivering that final line.
 
 

Ok now this movie got 10000% more interesting
 
https://variety.com/2022/film/news/david-lynch-the-fabelmans-steven-spielberg-1235172006/

Ok now this movie got 10000% more interesting
 
https://variety.com/2022/film/news/david-lynch-the-fabelmans-steven-spielberg-1235172006/

Ok now this movie got 10000% more interesting
 
https://variety.com/2022/film/news/david-lynch-the-fabelmans-steven-spielberg-1235172006/

Ok now this movie got 10000% more interesting
 
https://variety.com/2022/film/news/david-lynch-the-fabelmans-steven-spielberg-1235172006/

Ug that was official? Looks fanmade. Maybe it was trailer#1
 
Or maybe just a rumour
Yep just a rumour. Debunked.bybdavis himself in this interview
 
https://www.soundtrack.net/content/article/?id=75
 
 
 

I recently listened to the 12 Cellos album "As Time Goes By" from 2004, and thought I'd draw attention to its 3 Williams tracks via a dedicated thread.
 
The first is "Family Portrait" from Harry Potter, which is a really great version! I like it more than the City of Prague version:
 
 
 
The second is Catch Me If You Can, which honestly sounds great in any re-recording I've ever heard and this is no exception
 
 
 
The third is "I Could Have Done More" from Schindler's List which is awesome, because most re-recordings from this score are always just the main theme and/or Remembrances, so it's great to actually get something different - and the performance is wonderful!
 
 
 
Who else has some thoughts on these pieces on this album?

Are you saying that it did not deliver?  

He takes risks in his concert works, which rarely get discussed in the mainstream eye.

Music editing isn’t just actual cutting the best takes for the final mix. The music editor - at least in the traditional sense - is the composer’s right-hand person from the get-go, sitting down with composer and director/producer during the spotting session, taking notes of the director’s requests, temp track suggestions and anything that might have an impact on the actual composing; then he takes all the precise timings for how and when music starts and ends, making sure that the music will match the editing; he is the liaison between the music team and the editorial team, as he has constant communication with the film’s editors, keeping the composer updated with all the editorial changes that the film might have during the composing phase (that is what is a nightmare in these days, as movies keep changing until the last minute) and get down the locked cut to the composer; then he oversees and prepares the sync track (streamers & punches and click track) for the score’s recording, making sure the sync is always correct. And he sits down in the booth, checking everything is going smoothly, so he has to know how to read music and speak in musical terms. After the recording is in the can, he sits down with the composer selecting the best takes and assemble the final version to be ready for the mix, where he is usually the composer’s spokesperson. He also has to conform the music edits to any changes the cut might have after the recording.
 
Back in the day, it was really a job involving a lot of tech work being done on analog machines like moviolas and the likes, preparing everything for the recording really manually. Today everything is digital and lots of preparation work is done on music softwares precisely built for this purpose.
 
It’s an absolutely crucial role in the overall process and it’s usually down to a very personal relationship with the composer, as Wannberg had with JW.

Every time I see Ken Wannberg's name, I remember this scene from the Revenge of the Sith behind-the-scenes footage of him arguing to make the music noticeable against Ben Burtt's "noisy" sound effects:
 
RIP

Music editing is a different role than mixing.  Sometimes it is the same person who does the mix and the edit, but in big budget films, you'll get specialists.  Basically, editing will take the best moments from different takes and make them sound great and seamless.  They will be "edited" together in to a cohesive whole.  The mixer will adjust the levels of all the various mics mix together to make the edit sound even better.  In professional editing software, you can edit all the mics without mixing them together.  This is different from mastering.  Mastering is making the mix work great in its final distributed form which can be headphones, high fidelity speakers, theaters, etc.  For instance, a great mix might sound great in a theater but not be that great on headphones.  The mastering will be more concerned with a general mix sounding great across various deviances.  So, making it more CD/iPhone friendly is a mastering job, not mixers.  A mixer will take 48 microphones to produce a greater final product, but it still needs mastering to work best on lo-fi headphones, car speakers, high-fidelity too.  These are three separate talents.  In high buget projects, you'll get experts in each of those.  In film production, think about film editor, color correction, and developer.  Very different roles.  The editor will slice the various scenes and cuts to make a smooth and cohesive experience (music editor).  The color corrector won't really have anything to do with the edit but will take the final edit and add a color that supports the story (the mixer).  The film developer will get the movie ready for distribution across various formats like theaters, tv, computers, iPhone (mastering).  Ideally, you have specialists in these roles but in lower budget projects, the composer might have to fill in these roles as best they can.

@JayGo in order:) 2,3, and 4
 
Start with the OSTs I’d say. Number 2 I think is Powell’s  strongest in the series. The finale starting with “The Boat and the Geysers” on to the end is terrific Powell scoring. Lots of that fun syncopated waltz-like rhythm. It’s been a while since I’ve listened to 3. I’d say it’s about the same level as two with a handful of fun new themes. The end credit suite was one i listened to frequently on that one. I think I’ve only listened to 4 twice. It’s a bit more frenetic. But still fun. 

Also, If you haven’t heard it, Mars Needs Moms is another great JP score that came after the first HTTYD. Maintains a great narrative and isn’t quite as “cartoony” sounding as some of his other animation scores if that appeals to you.
 
Powell just has a blast and is full of such joy in these scores.I’ve been listening to Horton Hears a Who the last couple days and I’m just blown away by the sheer inventiveness of that score.