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THE POST - SCORE Thread


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So we're officially getting 2 Williams scores this year (and the Kobe short).  Awesome!

Just read this on the FSM board:     I always spring a smile when I read comments like these, mostly for two reasons:    1) When average critics/audience members uses words

29 minutes ago, artguy360 said:

So when is the OST being released? I want more JW music to pour over!

 

Friday digitally, Jan 12 physical disc.

 

 

On 11/17/2017 at 12:37 PM, Chewy said:

Release date set to January 12! And it's coming out on Sony :) 

 

https://www.amazon.com/dp/B077HP1DVD/

 

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Here's the OST Album times

 

01 The Papers (3:56)
02 The Presses Roll (5:00)
03 Nixon's Order (1:47)
04 The Oak Room, 1971 (1:46)
05 Setting the Type (2:34)
06 Mother and Daughter (3:23)
07 Scanning the Papers (2:22)
08 Two Martini Lunch (2:34)
09 Deciding to Publish (5:42)
10 The Court's Decision and End Credits (11:04)
 

TOTAL TIME - 40:08

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It's longer than the FYC.  The FYC doesn't include the two lounge source cues (The Oak Room and Two Martini Lunch), but features a cue (First Class Seat) that doesn't seem to be on the OST I don't think.

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Way ahead of you Bloodboal

 

https://docs.google.com/spreadsheets/d/e/2PACX-1vQLZ9GK1jqCkwB3L9jVxzvOnCistwVfbC_XDmn7I_qrqh8DEyZ3yYXNynFYD4UiY_zx-XMTlO6_t9iy/pubhtml

 

"Mother and Daughter" and "Setting the Type" notably feature much more music than their FYC counterparts, while "Deciding to Publish" is notably MUCH shorter than its FYC counterpart tracks.

 

 

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So here's a quick chronological order, should be accurate unless some tracks feature cues from two different parts of the movie (which could be the case with "Mother and Daughter" and "Setting The Type".

 

01 The Papers (3:56)
03 Nixon's Order (1:47)
07 Scanning the Papers (2:22)
09 Deciding to Publish (5:42)
06 Mother and Daughter (3:23)
05 Setting the Type (2:34)
02 The Presses Roll (5:00)
10 The Court's Decision and End Credits (11:04)

 

Source music:

04 The Oak Room, 1971 (1:46)
08 Two Martini Lunch (2:34)

 

I think the OST order is a better listening experience anyway, though.

 

 

Oh, and there doesn't seem to be any concert arrangements, unless "Setting The Type" is one.  The first minute seems the same as the FYC track by that name though.  Maybe the rest is an album-only extension?

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30 minutes ago, Thor said:

OK, had my first listen to this. I like it far better than THE LAST JEDI -- I'm even tempted to say it's my second favourite JW score after WAR HORSE since 2005!

 

I still haven't seen the movie, so I have no idea what scenes these tracks accompany.

 

"The Papers" -- shades of PRESUMED INNOCENT, MUNICH and NIXON (all as expected). A surprising presence of pulsating electronics (even more pronounced than the opening of MUNICH). I wonder how much input Williams had in this, or if it was all produced by someone else (Randy Kerber?)? Dark, undulating strings and solemn brass throughout.

 

"The Presses Roll" -- slightly lighter string ostinato, with brass as occasional punctuation marks. Sounds surprisingly "contemporary" (think Marianelli, Korzeniowski etc.). Gorgeous string harmonies towards the end. Nice track!

 

"Nixon's Order" -- basically VERY dark, slow string harmonies.

 

"The Oak Room, 1971" -- sounds like a 'loungey' jazz track with pronounced solo piano and a bass. A source cue, presumably? Very smooth. Could have been an outtake from SABRINA.

 

"Setting the Type" -- a steady rhythm builds gradually with exploratory string harmonies, almost setting into a STAR WARS-type march on several occasions, but it's always "cut off" before it gets going.

 

"Mother and Daughter" -- Lovely, melancholic piano. Very delicate with shades of Americana. Eventually strings join in. Beautiful! In the territory of STANLEY & IRIS, THE ACCIDENTAL TOURIST or STEPMOM, although perhaps without the strong melody.

 

"Scanning the Papers" -- more PRESUMED INNOCENT stylings. Cautious, with circular figures. Not very remarkable track.

 

"Two Martini Lunch" -- more loungey piano jazz. Another source cue, I presume. Same quality as "The Oak Room, 1971", although more 'improvisational'.

 

"Deciding to Publish" -- Clearly a pivotal moment in the film. Starts off cautious and suspenseful, slightly dissonant. Then at 1.44, a more steady string ostinato comes in -- still keeping it all eerie. At 2:19, the track grows more busy. The string ostinato picks up its pace. The trademark Williams brass counterpoints emerge, as does the electronic beat. It's not a particularly remarkable track (there is NO melody or theme), but I love the gradual build and "riffs".

 

"The Court's Decision & End Credits" -- the 'tour-de-force' track. Americana is back, with both brass and strings harmonizing in typical Williams fashion. The rhytmical patterns appear regularly -- Williams' new love of clusters and motifs -- but the vast-leaped Americana melodies are never far away. Some lovely woodwinds here too (oh, how I've missed them!). At about 5 minutes, the faux-march appears for a few moments -- reminiscent of the opening track of NIXON. Superb track!

 

Nice, but how the heck did you get access today? It's not supposed to be released before on Friday!

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2 hours ago, Jurassic Shark said:

I see I have to revive my review site. :)

 

You could always start writing for us at Celluloid Tunes. I'm doing a massive relaunch next year -- new design, new logo music, a messageboard, a dedicated review section (both in Norwegian and English) and more. Need more Norwegian reviewers.

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4 hours ago, Jay said:

"Mother and Daughter" and "Setting the Type" notably feature much more music than their FYC counterparts,

 

 

Could each one of them combine 2 cues together? eg. an original + alternate version (like in Always soundtrack), or 2 unrelated cues?

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3 minutes ago, mrbellamy said:

Not seeing a player...

 

Works fine for me, there's a play button next to each track. 

 

I don't know if anyone else feels this way, but with The Force Awakens and The Last Jedi, sometimes the harmonies sound a little simpler than what I'm used to from John Williams...I don't know why, they just don't feel as present. But in the samples here, I get smacked in the face with the harmonic goods I want to hear. 

 

Speaking of which, I get some 70's vibes from some of the harmonies in the samples! (the way he uses the suspended chords).Not quite David Shire, though.

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6 minutes ago, filmmusic said:

Ok, I don't know about this film but generally source music can serve as dramatic material too. eg. The Man who Knew too much

or eg. establish time, place etc.

 

True...who knows if Canto Bight would count or not on the Last Jedi FYC, for example. But listening to the samples, I'm definitely getting the vibe that these are more "piano guy 30 feet away from the main focus of the characters in a restaurant" type tracks.

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36 minutes ago, filmmusic said:

Could each one of them combine 2 cues together? eg. an original + alternate version (like in Always soundtrack), or 2 unrelated cues?

 

5 hours ago, Jay said:

unless some tracks feature cues from two different parts of the movie (which could be the case with "Mother and Daughter" and "Setting The Type".)

 

 

 

 

 

 

 

 

 

24 minutes ago, filmmusic said:

I was wondering this also:

If those 2 "source" cues are in the film and composed by Williams, why they weren't in the promo?

 

Probably because the FYC album is to promote the original score, saying it deserves to be nominated because it provides something important to the world of film music this year.  Those two cues are just standard lounge music.

 

 

 

 

 

 

13 minutes ago, Nick Parker said:

True...who knows if Canto Bight would count or not on the Last Jedi FYC, for example. But listening to the samples, I'm definitely getting the vibe that these are more "piano guy 30 feet away from the main focus of the characters in a restaurant" type tracks.

 

I doubt it will be on the FYC, especially because of the Brazil quote.

 

 

 

 

7 minutes ago, Will said:

"The Presses Roll" ... :rock2:


I'd say it sounds better than anything in TLJ (and that's high praise!)

 

Wow!  I mean its good, certainly, but TLJ has some amazing highlights!

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On 12/18/2017 at 11:32 PM, crumbs said:

I'm over The Last Jedi. Next!

 

I'm over The Post score. Next Williams' score is The Kidnapping of Edgardo Mortara...I hope! I want to hear Williams' music in historical epic. Something like Ben-Hur and Gladiator...All the music would be sound like Flag Parade from SW:TPM. :o

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I have the hunch that the decision to include those 2 source cues in the ost, maybe shows that even Williams doesn't think that the score alone could work in album.

What John Williams ost (not expansion) included source cues written by him (besides Star Wars)?

 

I believe indeed it's one of his weakest scores.

I can't find something weaker from 1970 and on. I would say it's in the same league as Munich, but that has those 2 extraordinary themes that elevate it!

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4 minutes ago, filmmusic said:

What John Williams ost (not expansion) included source cues written by him (besides Star Wars)?

 

Indiana Jones and the Kingdom of the Crystal Skull

 

A.I. Artificial Intelligence (though later we learned it was written by his son, and whether or not its truly "source" is questionable too I suppose.)

 

The Adventures of Tintin: The Secret of the Unicorn (though I suppose he only arranged it, not wrote it)

 

The Carousel music from The Fury and 1941?

 

And some 60s comedy scores?

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