_deleted_ 203 Posted May 4, 2019 Share Posted May 4, 2019 12 hours ago, Remco said: sounds like Williams writing for a videogame That game should be named Lawrence of Tatooine Maybe have Luke or Rey as unlockable characters, better feature the Alec Guiness character from Lawrence of Arabia as well. Galaxy Edge! Great music! The Illustrious Jerry and Remco 1 1 Link to comment Share on other sites More sharing options...
King Mark 3,631 Posted May 4, 2019 Share Posted May 4, 2019 I just noticed the bottle reveal music in the coke ad is not exactly the same as in the final release of the suite(at 0.22 exactly in the coke ad.) .My first disappointment because I loved that tiny variation _deleted_ and Will 1 1 Link to comment Share on other sites More sharing options...
Popular Post Dr. Know 326 Posted May 4, 2019 Popular Post Share Posted May 4, 2019 Ever the glass half empty... _deleted_, Will, 1977 and 1 other 4 Link to comment Share on other sites More sharing options...
Tom 4,658 Posted May 4, 2019 Share Posted May 4, 2019 1 hour ago, King Mark said: I just noticed the bottle reveal music in the coke ad is not exactly the same as in the final release of the suite(at 0.22 exactly in the coke ad.) .My first disappointment because I loved that tiny variation Yeah, I noticed that too. I doubt this is an alternative to the piece we have. Rather it is part of a piece played elsewhere. Hopefully, an album will be released down the road. Will 1 Link to comment Share on other sites More sharing options...
Nick Parker 3,040 Posted May 4, 2019 Share Posted May 4, 2019 2 hours ago, King Mark said: My first disappointment because I loved that tiny variation We love you, KM Dr. Know and _deleted_ 2 Link to comment Share on other sites More sharing options...
_deleted_ 203 Posted May 4, 2019 Share Posted May 4, 2019 31 minutes ago, Tom said: an album will be released down the road. better include a love theme for Han and Chewie! Movement II: Han and Chewbacca I mean, there isn't really a brotherly type of love theme in SW right? Link to comment Share on other sites More sharing options...
Nick Parker 3,040 Posted May 4, 2019 Share Posted May 4, 2019 Just now, A Ghost From Highwood said: better include a love theme for Han and Chewie! Movement II: Han and Chewbacca I mean, there isn't really a brotherly type of love theme in SW right? Why are you so against Han and Chewbacca being romantically involved? Williams on Solo and the Wookie: "Such a vast glossary of themes, and we've never had a polyamorous love theme." _deleted_ 1 Link to comment Share on other sites More sharing options...
toothless 963 Posted May 4, 2019 Share Posted May 4, 2019 This piece amazes me Disappointing parts (I had to try and find some ) : - The tempo is a tad too slow for my taste and could benefit some more energy such as some re recordings of Scherzo for x-wings. But I get why it is what it is - The Starwarsian bit at 2:56 feels a bit forced But let me explain why this piece amazed me in the first place. It sounds like we have a John Williams looking back at his entire career and summarizing it into one piece. The sound of it is "celebratory" and both "proud" and "nostalgic" if I may. It sums up a lot of feelings. The second thing is, I sware parts of this could be straight from other JW movies ! The part at 1:47 to 2:01 is pure Indiana Jones to me, I also have vibes of Flag Parade, The post, March of the resistance, E.T… Also, to me, the beginning fanfare is Star Wars grandeur meets Disney magic. Now I just hope we can have this sort of writing for TROS. Bayesian 1 Link to comment Share on other sites More sharing options...
The Illustrious Jerry 3,356 Posted May 4, 2019 Share Posted May 4, 2019 33 minutes ago, Nick Parker said: Why are you so against Han and Chewbacca being romantically involved? Williams on Solo and the Wookie: "Such a vast glossary of themes, and we've never had a polyamorous love theme." Cue the shower scene from Solo. Bespin 1 Link to comment Share on other sites More sharing options...
_deleted_ 203 Posted May 4, 2019 Share Posted May 4, 2019 33 minutes ago, toothless said: Starwarsian bit at 2:56 feels a bit forced I agree. Main Theme 1+2: I don't really like the main subject, but starting from 0:52, the piece gets better. Secondary Subject: Yeah, this one feels very Indiana Jones, maybe even Lawrence of Arabia. Opening Fanfare in b flat major: This is really cool. Indeed a period of civil war. Fugal moments: Love them! Seems like the fugue has returned! This is definitely the best theme park music I've heard. This new wave of JW music is exciting. For now, this new symphonic suite will get me through most of 2019. Bravo! SteveMc 1 Link to comment Share on other sites More sharing options...
The Illustrious Jerry 3,356 Posted May 4, 2019 Share Posted May 4, 2019 2 minutes ago, A Ghost From Highwood said: Fugal moments: Love them! Seems like the fugue has returned! Bespin once told me, and I'm paraphrasing, that John Williams always throws in a little fugue for us. I think the latest piece that had fugal qualities is the March of the Resistance. I remember them talking about that on the Art of the Score podcast (great episode BTW). Bespin 1 Link to comment Share on other sites More sharing options...
_deleted_ 203 Posted May 4, 2019 Share Posted May 4, 2019 7 minutes ago, The Illustrious Jerry said: Cue the shower scene from Solo. Galaxy's Edge Symphonic Suite: I. Star Wars: Galaxy's Edge II. Solo and Chewie III. The Kessel Run IV. The Shower Scene V. A Game of Sabacc VI. Romantic Flight 3 minutes ago, The Illustrious Jerry said: Bespin once told me, and I'm paraphrasing, that John Williams always throws in a little fugue for us. I think the latest piece that had fugal qualities is the March of the Resistance. I remember them talking about that on the Art of the Score podcast (great episode BTW). This Galaxy's Edge piece certainly sounds like a Star Wars fugue to me. Link to comment Share on other sites More sharing options...
Pieter Boelen 740 Posted May 4, 2019 Share Posted May 4, 2019 Anyone thinks this and/or AoH could be Williams doing what he originally wanted for the prequels and write a brand new Star Wars main theme? If so, which of these would function best over the opening crawl? Food for thought... Link to comment Share on other sites More sharing options...
Not Mr. Big 4,639 Posted May 4, 2019 Share Posted May 4, 2019 30 minutes ago, The Illustrious Jerry said: Cue the shower scene from Solo. _deleted_ 1 Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted May 4, 2019 Share Posted May 4, 2019 Apart from some flourishes in the orchestrations this doesn't particularly call up Star Wars in my mind. Its okay, i guess. Perhaps repeated listens will reveal more. Gruesome Son of a Bitch 1 Link to comment Share on other sites More sharing options...
Tom 4,658 Posted May 4, 2019 Share Posted May 4, 2019 19 minutes ago, Stefancos said: Apart from some flourishes in the orchestrations this doesn't particularly call up Star Wars in my mind. Its okay, i guess. Perhaps repeated listens will reveal more. I think it has a strong TPM Naboo and Coruscant-vibe, along with the Rebel-fanfare sort of thing. Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted May 4, 2019 Share Posted May 4, 2019 Yes, orchestral flourishes that give this a bit of a Star Wars flavour. Link to comment Share on other sites More sharing options...
Nick Parker 3,040 Posted May 4, 2019 Share Posted May 4, 2019 3:00ish to 3:30ish is so much fun. There are these faint woodwind trills through the Slave Children melody that give it this bubbling sound, and of course you got classic Star Wars brass resolution chords that remind me of the original end credits and the end of the Force Awakens credits (for anyone who wants to put the chords under their fingers, it's basically Bbaug, Bb, Gbmaj7 in trademark closed voicing a la Imperial Attack, Bb), with these string figures keeping up a certain dissonance and momentum. Whenever I hear Williams write stuff like that I always picture him looking at the natural world around him in wonder. Dr. Know and Falstaft 2 Link to comment Share on other sites More sharing options...
Dr. Know 326 Posted May 4, 2019 Share Posted May 4, 2019 In my playlist, I have this immediately followed by Rey's Theme, and the two work together very well. Link to comment Share on other sites More sharing options...
Remco 685 Posted May 4, 2019 Share Posted May 4, 2019 6 hours ago, King Mark said: I just noticed the bottle reveal music in the coke ad is not exactly the same as in the final release of the suite(at 0.22 exactly in the coke ad.) .My first disappointment because I loved that tiny variation I’m nearly sure that’s just a digital edit just to repeat these couple of notes... also the music after that is from 2:09 in ‘Main Title and Attack on Jakku Village’. Link to comment Share on other sites More sharing options...
King Mark 3,631 Posted May 4, 2019 Share Posted May 4, 2019 yeah it could be 7 hours ago, toothless said: Disappointing parts (I had to try and find some ) : - The Starwarsian bit at 2:56 feels a bit forced love that! Link to comment Share on other sites More sharing options...
The Five Tones 302 Posted May 4, 2019 Share Posted May 4, 2019 9 hours ago, toothless said: The part at 1:47 to 2:01 is pure Indiana Jones to me Slave Children's Crusade? or just the general Middle East/Arabic/Orient harmonic suggestion in various parts of the films Link to comment Share on other sites More sharing options...
Popular Post BTR1701 59 Posted May 4, 2019 Popular Post Share Posted May 4, 2019 On 5/3/2019 at 1:46 PM, Remco said: JW’s style has changed, but please allow me to say that his writing really didn’t loose any complexity, color or any of that - the only reason his two recent SW scores might sound a little flat is because of the room they were recorded in (or is Shawn Murphy to blame?) If you pay attention to the musical content itself, I find it’s still as rich as ever. In fact, when I heard TFA’s concert suites live alongside the older ones, they were in fact the most colorful suites of all. @crumbs also repeatedly said how hearing TFA live was like a revelation. The fact that this piece sounds more ‘alive’ to you, being recorded in Abbey Road, says it all I think! I thought it was interesting that comments from the professionals who are involved in recording these cues are similar to the folks here with regard to the sound quality of Abbey vs Sony. https://www.finalemusic.com/blog/may-the-fourth-spotlight-on-joann-kane-music/ Can you say anything about the difference in working on Star Wars music with an American orchestra in a different studio? The LSO is a leading, well-established, top symphony orchestra. They play together all the time and they have a definite kind of overall sound and Abbey Road also has got its own unique sound. We’re working with a studio orchestra in L.A. which is a fine orchestra, at Sony, one of the L.A. scoring stages in Culver City. It’s a big room that can absorb a lot of sound. And so there’s a denser kind of feel to the sound the orchestra makes than at Abbey Road – it’s not quite as bright. It’s a slightly different experience. I also found it interesting that Williams apparently doesn't use an orchestrator anymore, instead sending his sketches directly to Joann Kane, which prepares the scores and parts from the sketches. Can you describe your workflow on these films? John Williams writes very detailed handwritten sketches. On the prequels, these sketches went to orchestrators. The orchestrators would write pencil scores and we would copy parts into Finale. But for the past six or seven years, John has just sent the sketches directly to us. We put them straight into Finale. I’ve kind of edited them, checked them out myself, and then we’ve used them at the stage for recording. _deleted_, Jediwashington, Bayesian and 1 other 4 Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted May 4, 2019 Share Posted May 4, 2019 2 minutes ago, BTR1701 said: also found it interesting that Williams apparently doesn't use an orchestrator anymore, instead sending his sketches directly to Joann Kane, which prepares the scores and parts directly from the sketches. This has been the case since at least Lincoln Will and _deleted_ 2 Link to comment Share on other sites More sharing options...
SteveMc 2,674 Posted May 4, 2019 Share Posted May 4, 2019 The best thing about piece is the Indiana Jones style material. Which, things as they are, makes one wistful. Will 1 Link to comment Share on other sites More sharing options...
toothless 963 Posted May 5, 2019 Share Posted May 5, 2019 14 hours ago, The Five Tones said: Slave Children's Crusade? or just the general Middle East/Arabic/Orient harmonic suggestion in various parts of the films The later _deleted_ and The Five Tones 2 Link to comment Share on other sites More sharing options...
Popular Post Jediwashington 59 Posted May 5, 2019 Popular Post Share Posted May 5, 2019 On 5/3/2019 at 9:24 PM, Amer said: Wasn't this supposed to be recorded by Williams after the London concert? Williams falling ill and not doing the concert probably messed up the plans and allowed Ross to step in as the Conductor. That's probably the case. It's also probably why the ensemble isn't as clean as I expect from Williams. He's a notorious stickler about clean intonation and rhythms from the ensemble and I'm not hearing as much discipline from the orchestra as he would get from them - particularly on rhythm. On 5/3/2019 at 7:38 PM, crumbs said: I think TPM and ROTS sounded perfectly fine though. AOTC is very hissy but that might just be a mastering issue rather than a recording one. Point is, it's not like the sequels were his first rodeo in the series, but the change of recording studio would be a huge factor. I know people rave about how good Sony sounds but nothing captures that classic Star Wars sound like Abbey Road, to me. Just something about the reverb and warmth of the brass that seems lost in the sequels. And yeah, TFA absolutely sounds infinitely better live than on the soundtrack (or in the film, where it's practically inaudible). There is depth to the orchestration that just isn't on the soundtrack, it blew me away. All those missing Star Wars-ian jW touches are in that score, they're just completely drowned out by the obnoxiously mixed brass in Murphy's dry recording. Yeah, Sony is just too small of a room for Star Wars in my opinion. It's such a loud score, it needs room to breath and a longer reverb time give the brass/perc some room to bloom. They keep Sony live by not putting up all the section isolation that you'll see in a lot of Giacchino's sessions, but it's still not big enough for the percussion and brass. I would have rather they recorded TFA and TLJ in a hall, like some of the Spielberg albums and the BSO albums. While still not ideal, those had more of that character than Sony does. The Five Tones, _deleted_, Will and 2 others 5 Link to comment Share on other sites More sharing options...
Remco 685 Posted May 5, 2019 Share Posted May 5, 2019 I’m afraid recording in a concert hall would be difficult with regards to all of the secrecy surrounding these SW sessions, but yes I’d prefer that sound over Sony any day! Which other recent big orchestral scores were recorded there? I’m curious to hear a recording not made by Murphy. Will 1 Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted May 5, 2019 Share Posted May 5, 2019 What? Both TFA and TLJ sound stunning. Revenge Of The Sith sounds....off somehow Disco Stu 1 Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted May 5, 2019 Share Posted May 5, 2019 Sounds great on the remastered Disney OST. Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted May 5, 2019 Share Posted May 5, 2019 Ill never buy that Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted May 5, 2019 Share Posted May 5, 2019 It's free to stream. Link to comment Share on other sites More sharing options...
Popular Post Jay 37,364 Posted May 7, 2019 Popular Post Share Posted May 7, 2019 Quote Following the annual ‘Star Wars Day’, the franchise’s long awaited Galaxy’s Edge theme park opened within Disneyland. The theme park comes with new music created by longtime Star Wars composer John Williams. A portion of that score, ‘Star Wars: Galaxy’s Edge Symphonic Suite', has now been released. The soaring five minute piece, was recorded in Studio One with the London Symphony Orchestra. Take a listen: http://disneymusic.co/GalaxysEdge Conducted by William Ross, engineered by Abbey Road’s senior engineer Andrew Dudman with Senior Recordist Gordon Davidson and assistant engineer Stefano Civetta. https://www.facebook.com/abbeyroad/photos/a.408781739863/10156629959684864/ The Five Tones, The Illustrious Jerry, SteveMc and 5 others 8 Link to comment Share on other sites More sharing options...
mrbellamy 6,287 Posted May 7, 2019 Share Posted May 7, 2019 Wonder what the extent of that is. I guess it ups the odds that there’s at least one attraction that he actually scored. Link to comment Share on other sites More sharing options...
Jurassic Shark 12,076 Posted May 7, 2019 Share Posted May 7, 2019 Hope it's better than Botanicus! Link to comment Share on other sites More sharing options...
Fabulin 3,513 Posted May 7, 2019 Share Posted May 7, 2019 . Bayesian 1 Link to comment Share on other sites More sharing options...
Unlucky Bastard 7,782 Posted May 7, 2019 Share Posted May 7, 2019 Is that Bea Arthur in your avatar? Link to comment Share on other sites More sharing options...
Balahkay 627 Posted May 7, 2019 Share Posted May 7, 2019 It's nice to see that Williams interest in Star Wars doesn't seem to be waning. Even if IX is his last full Star Wars score, I can still see him writing a theme or two for future SW releases. Will 1 Link to comment Share on other sites More sharing options...
MikeH 768 Posted May 7, 2019 Share Posted May 7, 2019 1 hour ago, Jurassic Shark said: Hope it's better than Botanicus! Galacticus! Jurassic Shark 1 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,076 Posted May 7, 2019 Share Posted May 7, 2019 Binksius! Will 1 Link to comment Share on other sites More sharing options...
#SnowyVernalSpringsEternal 10,265 Posted May 7, 2019 Share Posted May 7, 2019 1 hour ago, Balahkay said: Even if IX is his last full Star Wars score, I can still see him writing a theme or two for future SW releases. Again MM has stated that the news that Ep 9 would be JW's final Star Wars score isnt true. Link to comment Share on other sites More sharing options...
Balahkay 627 Posted May 7, 2019 Share Posted May 7, 2019 I'm confused... is Williams planning on scoring another SW film? The next one isn't until 2022. I understand he doesn't plan to retire after IX but I didn't know he planned to score another SW film. Link to comment Share on other sites More sharing options...
Jay 37,364 Posted May 7, 2019 Share Posted May 7, 2019 Planning? I'm sure he has no specific plans, as nothing will need his services any time soon. He simply meant that JW never stated anywhere that Ep 9 was planned to be his final SW score. The news misconstrued his words. Will 1 Link to comment Share on other sites More sharing options...
Datameister 2,043 Posted May 8, 2019 Share Posted May 8, 2019 8 hours ago, mrbellamy said: Wonder what the extent of that is. I guess it ups the odds that there’s at least one attraction that he actually scored. They've officially said as much - he wrote music for the attractions specifically. As for the no-more-Star-Wars-after-TROS thing, I guess I missed the thing with MM. I had thought the quotes about him being done after IX were pretty clear, but I'm delighted if this isn't the case! Link to comment Share on other sites More sharing options...
Jay 37,364 Posted May 8, 2019 Share Posted May 8, 2019 11 hours ago, Datameister said: They've officially said as much - he wrote music for the attractions specifically. As for the no-more-Star-Wars-after-TROS thing, I guess I missed the thing with MM. I had thought the quotes about him being done after IX were pretty clear, but I'm delighted if this isn't the case! You can hear Mike talk about it here: http://www.jwfan.com/forums/index.php?/topic/29259-new-mike-matessino-audio-interview-by-maurizio-caschetto-update-part-2-now-available/ Datameister 1 Link to comment Share on other sites More sharing options...
Datameister 2,043 Posted May 16, 2019 Share Posted May 16, 2019 So you can hear some of the land's exterior background music through the construction walls now. I stuck around for perhaps 2 or 3 minutes. Seemed to be slow variations on the different melodies heard in the suite. General tone of wonderment. Sounded like it was probably not a Williams arrangement, though, and I'm not sure if there were any acoustic instruments; it was muffled by the wall. Will and Jay 2 Link to comment Share on other sites More sharing options...
King Mark 3,631 Posted May 16, 2019 Share Posted May 16, 2019 yeah some of it might have been re-arranged by other composers .It'll be hard to know what are the true Williams bits unless we have somekind of cue list of what was recorded Will 1 Link to comment Share on other sites More sharing options...
Datameister 2,043 Posted May 16, 2019 Share Posted May 16, 2019 True, although I felt pretty confident that it was not a Williams arrangement. Link to comment Share on other sites More sharing options...
Popular Post The Psycho Pianist 216 Posted May 20, 2019 Popular Post Share Posted May 20, 2019 A new and revealing Jon Burlingame article on the music. An hour of material! Quote For only the second time in more than four decades of “Star Wars” music, legendary composer John Williams has written a new theme for a “Star Wars” project that is distinct from his film scores for those galaxies far, far away. Star Wars: Galaxy’s Edge, the much-anticipated attraction that will open at Disneyland on May 31, inspired the five-time Oscar winner to pen a five-minute “symphonic suite” that musically encapsulates the remote outpost on planet Batuu along with the various outlaws and rebels that parkgoers will encounter there. Interviews with those closely associated with the project say that Williams’ participation was a long time in the planning stages. Matt Walker, executive in charge of music for Walt Disney Imagineering, tells Variety that since the outpost didn’t exist in the films, it would need “its own score, one that belonged to it, but of course lived within the universe of John’s writings for the films.” Like many previous Williams compositions for the series, it suggests heroism, danger, excitement — everything Galaxy’s Edge visitors would hope for. But unlike all previous “Star Wars” themes, there are no images or characters specifically associated with it, so its true inspiration is shrouded in mystery. Williams has only once before written a signature tune unrelated to one of his own movie scores: a theme for the young Han Solo in last year’s “Solo: A Star Wars Story.” The composer, now in the midst of writing the music for “Star Wars: The Rise of Skywalker,” episode IX of the 42-year franchise (due in December), was unavailable to comment for this story. Composer-arranger William Ross has been adapting Williams’ music from the “Star Wars” films for Disneyland’s Star Tours for the past decade and was enlisted for Galaxy’s Edge. “This was a new world, with its own identity away from the movies,” says Ross, and it was clear that finding the right theme — despite the ability to draw on Williams’ 16 hours of music from the previous eight “Star Wars” films — might not be easy. So Williams was invited to Disney Imagineering in Glendale for “an in-depth series of meetings,” Walker says. The composer was shown elaborate models, given detailed descriptions, saw artists’ drawings, watched an animatic and generally introduced to the Black Spire Outpost and the two planned rides, Smugglers Run and Rise of the Resistance. “We wanted to enhance the immersive-theater quality of the land with a new composition, and that seemed to intrigue him,” says Walker. “He signed on for it, a year ago, and it’s been a fantastic adventure.” In July 2018, Williams delivered “this five-minute symphonic suite with multiple themes, development of those themes, counter-melodies, even a fugal moment,” Walker says. No one at Disney or Lucasfilm had even heard a basic piano demo at that point; Williams, working solely from the art he’d seen and the descriptions he’d been given, musically imagined this exotic new land. Ross, the frequent Williams collaborator who conducted parts of “The Force Awakens” and “The Last Jedi,” flew to London to conduct the London Symphony Orchestra in August. It was that orchestra that became a household name by performing the first six “Star Wars” scores from 1977 to 2005. Williams, who was in Tanglewood, Mass., at the time of the recording, was linked to Abbey Road, enabling him to hear the sessions and offer specific notes about the performance. Ross recorded the five-minute suite, a two-minute reduction of the main theme, and various shorter pieces based on Williams’ original composition, all totaling about an hour of music. “One of the things we’re trying to inspire in our guests is this sense of awe and wonder,” says Walker, who was present at the London sessions. “There’s an optimism, a sense of adventure; you go on a journey in this five-minute piece.” Yet visitors to Galaxy’s Edge will never actually hear the LSO version of Williams’ full suite. Disney released a two-minute teaser video showing Ross conducting at Abbey Road on Nov. 17, and a digital download of the full version on May 2. The original symphonic piece serves as the musical foundation for Galaxy’s Edge and will be heard occasionally in various contexts throughout the outpost. “We never wanted this to sound like background music,” Walker said. “We’ve done deconstructed versions, so you’re not suddenly saying, ‘Wow, there’s the 90-piece LSO playing this incredible piece of symphonic music.’ We tease you, and begin to set up his thematic material and weave that in as you enter. Then where you are in the land, and what needs to happen, begins to take over.” The idea, Walker explains, is to create an authentic-sounding exotic locale, “weaving in musical textures, being careful not to overuse John’s thematic material. It’s a very textural approach to the source music.” Adds Ross: “It’s going to be more like the small group of musicians you might hear in some exotic and faraway village marketplace. But John’s theme informs the entire Galaxy’s Edge musical experience.” Both Smugglers Run, set aboard the Millennium Falcon; and Rise of the Resistance, the still-in-progress second ride to open in the fall, will draw extensively on the vast catalog of previous Williams “Star Wars” themes, Disney execs said. Ross made several trips to London to record newly arranged and adapted material for various corners of the 14-acre land. Surprisingly, this is not the first original music Williams has written for a theme-park attraction. When he adapted his Oscar-winning “E.T., the Extra-Terrestrial” score for a Universal Studios ride in 1990, he wrote a new theme for Botanicus, an elder of E.T.’s species who appears during the adventure. That garnered little attention, however, by comparison with Galaxy’s Edge. After its California bow at Disneyland this month, the attraction will open Aug. 29 at Florida’s Walt Disney World. Chen G., MikeH, Will and 7 others 7 3 Link to comment Share on other sites More sharing options...
mrbellamy 6,287 Posted May 20, 2019 Share Posted May 20, 2019 That's not an hour of Williams, though, right? Will 1 Link to comment Share on other sites More sharing options...
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