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https://www.cinemablend.com/interviews/indiana-jones-and-the-dial-of-destinys-director-explains-the-complex-process-of-getting-john-williams-to-score-the-film

https://gizmodo.com/indiana-jones-5-chase-scene-dial-of-destiny-harrison-fo-1850311616 https://www.slashfilm.com/1251418/indiana-jones-dial-of-destiny-footage/

Hi everyone, first time poster here! I'm writing an academic paper on how Williams approaches scoring gender, and using KoCS as my main case study. Wondering what everyone's thoughts are on how it sits within the canon of the Indy scores? Personally, I enjoy Irina's theme but its presentation of her as some femme fatale style figure seems somewhat reductive(?). Especially when compared to Dr. Schneider in Crusade! The Crystal Skull motifs are very hypnotic, but don't compare to the Ark or Grail theme. The variations of the theme when linked to Mutt are interesting, it seems as if the music was trying to tee him up to take over from Ford. And the callbacks to Marion's theme and the father/son theme were welcome additions, I think JW stuck a nice balance between nostalgia and making something new. Any insights, or links to Williams talking about the score would be much appreciated!

Set photos of a train and costumes

If MM gets to produce remastered and expanded soundtrack albums of all Indy films, what would he have to improve on the earlier releases in order to end up with the definitive presentations?

I initially thought it was my complete disappointment with the film that impacted my appreciation of this score. I’d come back to the ost hoping to finally connect with it. It’s a friggin’ John Williams Indiana Jones score for crying out loud! But to me both the OST and the Recording Sessions lacked the terrific momentum that the other three releases had (99% the fault of the film I believe!) Half the ost release seemed to focus on skull theme. Which is a great theme. But I needed other material to balance it out. Imagine if the Raiders score was 45% the ark theme. Terrific theme. But it would lose its impact after a while. And the RS goes for long stretches before anything grabs my attention. But I really want to love this score. So here’s my ideal 79min album/ playlist I’ve created from editing tracks together from the recording sessions. Nevada, 1957 (“Elvis and the Prairie Dog”+”Nevada,1957+ “Irina Spalko”) Really needed this on the OST. Not a knock-out cue set by any means. But musically it brings us into the story and rolls out some of the new thematic material for this adventure The Warehouse and Indy’s Great Escape ( “Revisiting the Ark (Revised)”+”Gun Powder”+”Indy’s Great Escape”+”The Rocket Sled”+”Indy Versus the Russian”+”Prairie Dog and Nuclear Cloud “) Edited these as a giant 8 minute set piece. Another odd omission from the ost. Skipped on some of the start/stop bits (“unpacking” and “Indy Fights back) “Nuclear Cloud” makes for a great end cap on the piece. Rough Couple of Years (“Resignation”+”Remembering Henry Sr. & Leaving Campus”) Some of my favorite moments on the prior Jones scores were the moments before the call to adventure. “Fathers Study”or “Thought for Marion” etc. Nice little moments to breathe before the plot begins. The Legend of Akator (“Legend of Akator”+”Knife to a gunfight”) I like this as the first tease of the Skull theme. Similar to “Washington Men” in its story placement musically speaking. And a great build to the next set piece. Whirl through Academe (Same as OST) Fun Breezy Indy action ala “Basket Games” or the train parts of “Indys First Adventure” A Trip to Peru (Same as Recording Session) Off we go onto the main quest! Grave Robbers (“The Chauchilla Graveyard”+”Grave Robbers”-RS version) Love the fun spooky atmosphere of Chauchilla Graveyard before the frantic percussion kicks in. Call of the Crystal (Same as OST/RS) Should be the equivalent of “Map Room:Dawn” as we realize musically what powers our characters are meddling with. Hello Jonesy (“Russians Reappear 2”+”Hello Jonesy”) Nice little map moment as our hero’s are captured by the baddie. Ideograms (“Ideograms”+ “Sleeping River Map”) A little moment of sadness before this “forming a plan of escape” type music kicks in and builds Quick Step Into Quicksand (Same as OST/RS) Another fun “Basket Games” type cue. Works great in the scene. Marion’s Theme (From Spielberg/Williams Collaboration v3.) Nice new arrangement works terrifically here. To me as a listener, this creates a moment of reflection and brings in emotional stakes for Indy that were completely absent from the film itself) The Waterfall (Same as RS. ) While not Chronologically accurate, I like this as a kind of teaser/warm-up for the action that’s coming with “Jungle Chase” and “Ants!” For some reason placing it after those two it feels a bit redundant to me. Not sure why. The Jungle Chase (The Jungle Chase Begins +Irina’s Great Blade+Ugh Vines) What’s there to say? Cracking 10 minute action piece worthy of Dr Jones. Ants! (Same as OST&RS) Temple Ruins (Temple Ruins+Ugha Warriors) Nice reminder of the skull theme since we haven’t heard it for a while on this playlist. Followed by fun frantic jungle percussion. The City of Gold (Same as RS) Love the “War of the Worlds” quote and giant build in this one as our hero’s enter the final stage of their quest Spalko’s Gift and The Secret Revealed (Spalko’s Gift+The Secret Revealed) Fantastic eerie build to the culmination of the Crystal Skull theme as the villains meet their demise. The albums equivalent of “The Miracle of the Ark” The Departure (Same as OST/RS) The final moments of this cue *chefs kiss* Treasures of Knowledge and Finale ( Knowledge Was Their Treasure+ The Wedding+ Finale*) Sad the quote of Henry Sr theme never made it on the OST. Having it here is a nice bookended to the “resignation” track. And of course Williams leads us out with great suite of all the films prior themes. So I didn’t include any of the concert versions in this playlist except for the skull theme. Finally I edited in the original end of the Raiders March to replace the one where Williams weaves the Mutt Williams theme in and out. It’s clever. But if it ain’t broke, don’t fix it;) Sorry for the essay. I’m enjoying a lazy Saturday and a rediscovery of JWs (most likely) final Indy score.

Two of the maestros classic “trilogies” head to head. Created in practically the same decade (later sequels not included of course) Of each entry which do you/would you rather LISTEN to?

Do you think if Indy 4 had been more successful film (regardless of how much money it grossed) would its score be as highly regarded as The Force Awakens is today (in the soundtrack listening community). I suppose I’m injecting personal bias here. I find the two films/scores comparable as they were both long awaited sequels to popular franchises with sky-high expectations for both the films and scores. For my money Indy 4 is a fun score, but tainted by my disappointment in the film and nowhere as entertaining score-wise as the previous entries. But Force Awakens is a score I grow to love more and more with each listen. I guess it begs the question, are you able to listen and enjoy a score and completely divorce it from its film?

Hi to all JWFN members. It is great to see such dedication and knowledge to the man who has scored more than just the movies. On that note The History Press and I would like to share word of a new book published now in the UK and September 1st 2018 in the US. John Williams is the spine and soul of this book. Mark O’Connell didn’t want to be Luke Skywalker. He wanted to be one of the mop-haired kids on the Star Wars toy commercials. And he would have done it had his parents had better pine furniture and a condo in California. Star Wars, Jaws, Close Encounters of the Third Kind, E.T. The Extra Terrestrial, Raiders of the Lost Ark and Superman didn’t just change cinema – they made lasting highways into our childhoods, toy boxes and video stores like never before. In Watching Skies, O’Connell pilots a gilded X-Wing flight through that shared universe of bedroom remakes of Return of the Jedi, close encounters with Christopher Reeve, sticker album swaps, the trauma of losing an entire Star Wars figure collection and honeymooning on Amity Island. From the author of Catching Bullets – Memoirs of a Bond Fan, Watching Skies is a timely hologram from all our memory systems. It is about how George Lucas, Steven Spielberg, a shark, two motherships, some gremlins, ghostbusters and a man of steel jumped a whole generation to hyperspace*. *Action figures sold separately. From examining his contributions to these key films, the soundtracks to broken homes and the VHS revolution to seeing the musical DNA from JANE EYRE all the way through to ATTACK OF THE CLONES, WATCHING SKIES is as much about John Williams as it is Spielberg, Lucas and Donner. It is about how 'Leaving Home' was exactly the cue going through the author's life and mind when he did just that, how the 'Love Theme from Superman' had to be played at a Pinewood Studios wedding, how 'ET and Me' scored a divorce and how a honeymoon on Amity Island couldn't help but hear those JAWS 2 harps at every street corner and beach rock. Were it not for the work of Williams, this book and these movies would not exist with the same legacy they have today. WATCHING SKIES - STAR WARS, SPIELBERG AND US is available now. WATCHING SKIES on Facebook WATCHING SKIES on Twitter For more about WATCHING SKIES and author Mark O'Connell

On the 1980s and 1990s, John Williams followed one beloved adventure score (Raiders of the Lost Ark and Jurassic Park) with a sequel that is darker, more aggressive and has more action than its predecessors. So, what score do you personally prefer: the exotic adventure of Indiana Jones and the Temple of Doom? Or the wild jungle rhytms of The Lost World? Vote now!

Is there any posibillity of that happening soon?

A hint of something from Doug Adams on Twitter...

Since the full Harry Potter 1-3 soundtracks are getting released soon, I was wondering what you guys are thinking when the IJ full soundtracks are gonna get announced? I believe it's gonna happen sometime in late January 2019.

I couldn't find any reference to this in the forums, so here goes: if you listen to podcasts, you've got to check out the Underscore Podcast (www.underscorepodcast.com). I discovered it when its hosts did a guest spot on Christopher Coleman's also-excellent Soundcast podcast (which I discovered via @Erik Woods's spectacular and long-running Cinematic Sound Radio Show, but I digress). The show is hosted by two composer/musician brothers, Marty and Will Brueggeman, and apparently it just began this year. Their format is really unique: they spend a month of weekly podcasts discussing one film (so far, Raiders and Vertigo). They do an introductory show, then an exploration of the major themes, then a "spotting session" that analyzes the soundtrack cue by cue, culminating in a feature-length commentary track that talks you through the score in context. Between films, they cleanse the palate with a "Reel Change," a one-off discussion of a topic in film music (so far, the ostinato and the Lydian mode). They've also conducted episode-length interviews with composers Joe Kraemer and John Lunn. The brothers are musically erudite, versed in film scores and classical music and able to spout the snobbiest musical terminology while remaining utterly down-to-earth. They provide truly insightful analysis. They illustrate their points liberally with samples and repeatedly demonstrate an encyclopedic knowledge and abiding love for the medium, as well as what is obviously hours of preparation for each episode. This podcast is absolutely not to be missed. I can't wait to see what movie they spotlight next. P.S. I swear no money changed hands to elicit this review, even if it sounds like it did. The gushing is warranted!

Hi, I've just joined the forum as I discovered a hidden musical quote in the theme to Indiana Jones and was interested to find out who else is aware of it. It is very blatant and from a famous song, but for the last 30 years it has continuously gone right over my head. A couple of google searches suggest that no one else on Earth has found it, or at least not considered it worthy of writing about it online... I even found a dissertation on the use of Leitmotif and themes in the Indiana Jones theme music and even that didn't mention it! So.... anyone else know what it is?

I found some of the clean originals on YouTube (like the club fight score from TOD), but i could not find the original "Short Round Helps" and "Water!" scores. (They just sound better imo.) So can someone here maybe teach me how to clean rip the originals like people did back in the day? Or if someone has the original "short round helps" ect., could you please maybe send me a copy of them? (Doesn't matter the quality.) I just really need them in my life! They sound so good!!

The Duel of the MacGuffins, or Williams scoring the god of the Old vs. the New Testament. (don't know how prone we are to religious flamewars, so I'll just stick to this) The Ark theme is very enjoyable with many great renditions. I consider it the villain theme of Raiders. To me, it communicates "You're meddling in things you should not be meddling in. If you so much as blink wrongly I will smash you like an ant." Uncovering the Ark is not a triumphant moment, it is quite dark and foreboding, like Indy and Sallah just released an ancient evil. The only semi-nice version is the finale of Miracle of the Ark, when the nazis are dead, and Indy and Marion finally submit to the rules, so the Ark benignly does not strike them down. The Holy Grail is the penultimate goal of any adventurer, the perfect career peak for Henry Jones and Jr., and I think Williams communicates this perfectly. The theme is very reverent and distant at first, not even played too many times, but becomes triumphant, warm and embracing once Indy makes the wise choice, then heals his father, and the final, full rendition as they leave the temple is a combination of these two. I personally prefer it over the Ark. Any other thoughts?

Concord Records are issuing RAIDERS as a 2LP set on 26th May. I suppose the remaining scores will be issued as well. Raiders Of The Lost Ark [2 LP] Track Listings A1. In The Jungle A2. The Idol Temple A3. Escape From The Temple A4. Flight From Peru A5. Washington Men / Indy's Home A6. A Thought For Marion / To Nepal A7. The Medallion A8. Flight To Cairo B1. The Basket Game B2. Bad Dates B3. The Map Room: Dawn B4. Reunion In The Tent / Searching For The Well B5. The Well Of The Souls C1. Indy Rides The Statue C2. The Fist Fight / The Flying Wing C3. Desert Chase C4. Marion's Theme / The Crate D1. The German Sub D2. Ride To The Nazi Hideout D3. Indy Follows The Ark D4. The Miracle Of The Ark D5. Washington Ending / Raiders March https://www.amazon.com/dp/B06XWK387N/ref=cm_sw_r_cp_apa_9PXbzbS3M1VGW

On March 15, 2016, Walt Disney Studios announced that the fifth film will be released on July 19, 2019, with Ford reprising his role, Spielberg directing, Koepp writing and Kennedy and Marshall acting as producers. George Lucas was initially not going to be involved with the film. However, during a press event for Disney's The BFG, Spielberg confirmed that Lucas will be returning as executive producer, stating "I would never make an Indiana Jones film without George Lucas. That'd be insane." Marshall has stated that the film would be a continuation of the events following Kingdom of the Crystal Skull. On June 9, 2016, Spielberg confirmed that John Williams will be returning to compose the score.

http://www.etonline.com/movies/190737_steven_spielberg_confirms_that_john_williams_will_return_to_score_the_fifth_indiana_jones_film/

Hello there!´:´) I decided to learn sculpting with clay material and create my second work at all John Towner Williams composer. you can see at : http://www.humanart.cz/nahled.php?id=74582&bgcolor=black I study music compositing and John Williams was the man, who inspired me to study music. I study at Prague conservatory. Thanks for everything John! We love your music! Also my compositions you can listen at www.petrmachane.com Thanks!

Not exactly a newbie, but the last time I was on here was around 2006 and that account is long, long gone. I've seen a few interviews with JW regarding the Indiana Jones scores, and not surprisingly he says the Nazi themes throw back to adventure movie scores of the 1940s, and refers to the "seventh degree of the scale on the bottom." Here's an example: He makes the reference around 3;33. Anyone have an idea what he means by this? The closest I can come up with is this: the cue we hear right after that statement is Toht's entrance into Marion's pub, where the low brass plays a G, played by an arpeggiated diminished seventh chord (Ab-B-D-F), which would want to resolve to A, so there's a chord constructed on the seventh degree of A Major. But somehow this just doesn't strike me as what he means. I know there's sensitivity here to getting into theoretical analysis of JW scores, but I'm at somewhat of a loss, so would be great to get someone else's perspective to what he means.

http://www.comingsoon.net/news/movienews.php?id=87591

Vote away! For the record, I like ROTLA or TOD the most (depends on which day you ask me), like KOCS the least (its horrifically terrible), and will be buying the box set happily. As far as scores go, depending on which day you ask me I can like any of the original 3 the most! But honestly its been TOD I've listened to the most in the past 4 years, so I'll vote for that one.

A couple of weeks ago, a special screening of Raiders of the Lost Ark was held in Los Angeles to celebrate the film's 30th Anniversary. Steven Spielberg and Harrison Ford attended the event and held a special post-screening Q&A, as it was reported on several threads here. The LA Times has now published the entire Q&A video. Check it out, it's worth: http://herocomplex.latimes.com/2011/09/21/indiana-jones-steven-spielberg-harrison-ford-video-george-lucas-star-wars-raiders-lost-ark/