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Williams debuts "Helena's Theme" from Indiana Jones 5 at the Hollywood Bowl


Jay
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18 hours ago, Gibster said:

he posted this a while back, he seems to appreciate JW a-lot but we’ll really find out when the film comes out

 

You see that, haters? Mangold said Williams never wrote a score that isn't memorable - and that includes Stepmom, Sleepers, The River, SpaceCamp, The Patriot, Presumed Innocent, The Accidental Turist, The Terminal, etc. All of those are memorable scores!

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Just now, Edmilson said:

 

You see that, haters? Mangold said Williams never wrote a score that isn't memorable - and that includes Stepmom, Sleepers, The River, SpaceCamp, The Patriot, Presumed Innocent, The Accidental Turist, The Terminal, etc. All of those are memorable scores!

Stepmom rules!

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You're thinking of The Reivers

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I'm surprised that The Sugarland Express has no release.

 

There's the main title (3:44) on that Czech "40 Years of Film Music" box and the first Spielberg Boston Pops anthology has it.

 

Is that it?

 

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My prefered version is the one conducted by Erich Kunzel on the Cincinnati Pops recording which is the reading of the films 'Main Title' on the compilation album: Salute To The Great Movie Scores Of Steven Spielberg 

 

9 minutes ago, BB-8 said:

I'm surprised that The Sugarland Express has no release.

 

There's the main title (3:44) on that Czech "40 Years of Film Music" box and the first Spielberg Boston Pops anthology has it.

 

Is that it?

 

 

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5 minutes ago, King Mark said:

Well it's cool Mangold appears to be a "Williams fan". I hope he can at least push for a digital deluxe version alongside Williams usual crappy 75 minute OST

Digital!? We want physical deluxe editions in all kind of collectable formats with many, many bonus tracks.

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Well I mean it would be better than waiting 25 years for a label expansion.

 

Almost every score released nowadays gets a deluxe version right off the bat...except Williams

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11 hours ago, Jay said:

 

Time from OST album to first expansion for Williams scores

 

46 years

  • The Eiger Sanction, 1975 -> 2021

45 years

  • Earthquake, 1974 -> 2019

...

That is really a great overview. But even though there were scores, that had to wait longer for expansions in case of E.T. I found this especially painful. Scores that for example were initially already published as double album like Superman or Star Wars did not miss so much essential music, I would say. And there were scores that didn't have such a thematic range, were the OST pretty much covered all the essentials. Not the case for E.T. in my view.

But of course, this is a matter of personal oppinion and taste.

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30 minutes ago, Bespin said:

Another argument for the release of the whole score at once.

If you put it like that, they could just publish an isolated score track on the bluray. No need for a CD album at all.

 

But I want my album. :music:

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An isolated score, personally, I don't really understand the use of that. It's just a very lazy way to release a score (Rian Johnson did that, remember his name)... and it's not even the "complete" score, it's the view of the score according to the last vision of the director, an often butchered and looped version to fit the last edit of the movie.

 

Of all the way a score can be released, that's the worst option of them all.

 

An album is mastered to offer a better listening experience and the composer can add Concert Suites to it.

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23 minutes ago, Bespin said:

and it's not even the "complete" score, it's the view of the score according to the last vision of the director, an often butchered and looped version to fit the last edit of the movie.

OSTs can be edited and looped too...

 

At least the isolated score presents more total music

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It's actually one piece of the process I've never been super clear on how involved Williams is personally, the post-recording music editing for when the picture edit inevitably changes.  I assume Ramiro Belgardt is the main person deciding how those edits happen, and then he runs them by JW?

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I think JW pay someone to do this job now, of supervising the latest music edits in a movie.

 

Loops and edits are funny, but someone has to supervise that at least a 4/4 time cue stays 4/4 all the way! More than this, a piece of music has a structure, the number of bars are often determined in advance by the theme itself, you can't deconstruct the structure of a musical work.

 

And that's why BAAAAMS and WOUSHHHH are easier to edit... Big structured music in modern movies, especially in action scenes, are tending to disapear.

 

Who can still write a fugue for an action scene in a movie except John Williams?

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5 minutes ago, Tom said:

The thing that excites me the most about Indy V is that Williams is scoring a nearly finished movie.  This might be the case with The Fabelmans too.  Imagine that, two films with scores as Williams intend them.  

 

When Spielberg is the director or the producer, that's a thing we can count on: the respect of JW's music.

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17 hours ago, Fabulin said:

 

You've got "2023" as the year of composition for both Fabelmans and Indy 5, when we know both are written this year

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1 hour ago, Bespin said:

An isolated score, personally, I don't really understand the use of that. It's just a very lazy way to release a score (Rian Johnson did that, remember his name)... and it's not even the "complete" score, it's the view of the score according to the last vision of the director, an often butchered and looped version to fit the last edit of the movie.

 

Of all the way a score can be released, that's the worst option of them all.

 

An album is mastered to offer a better listening experience and the composer can add Concert Suites to it.

What’s with Rian Johnson? He intended us to see the movie with music only, for which I’m quite thankful. The isolated score was never released, only pirated.

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22 minutes ago, Jay said:

You've got "2023" as the year of composition for both Fabelmans and Indy 5, when we know both are written this year

The year is always that of the public release. I should indeed correct it for Fabelmans. Thanks.

 

I will also add a suite from Indy 5, since Helena's theme will likely be a part of such a package.

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Oh, then the column should say "year of release", or just "year", not "year of composition" then.

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I'm starting to make more sense of the theme and it keeps popping into my head now.  While it sounds rather golden age as a concert version (one of the rare pieces I might not immediately identify as Williams if played without knowing) , I'm curious about all the variations that will be in the rest of the score.

 

And I'm sure I'll be able to appreciate it 10X better once it's released in studio quality sound

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22 minutes ago, King Mark said:

I'm starting to make more sense of the theme and it keeps popping into my head now.  While it sounds rather golden age as a concert version (one of the rare pieces I might not immediately identify as Williams if played without knowing) , I'm curious about all the variations that will be in the rest of the score.

 

And I'm sure I'll be able to appreciate it 10X better once it's released in studio quality sound

Based on Williams's comments, I think it is going to get a workout as an action/adventure theme.  If so, I think it is going to sound really, really good. 

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Williams often seems to express in music some idea he has of the characters more than the essence of what they necessarily do in the plot. The opening is a bit like the opening of themes for Anakin and Rey, which to me suggests, at least initially, a younger character that is supposed to encourage fatherly feelings. Then comes the "femme fatale" element, but it is not in your face, it's certainly not a pure or even predominantly "love interest theme" like those for Marion or Leia.

 

The progression in the concert piece sure has grown on me. It could well be a main title for a generations / family drama type of film or series, an adaptation of some old British or Russian novel. It's something I can imagine hearing over the opening credits with various charactes shown moving on screen with their respective actors' names presented.

 

The interesting thing about this theme to me is that while at many points it sounds more like an authentic 1940s theme than it does like Williams, it also reminds me strongly of the music of the 1960s till early 1970s as well, of Williams's pre-1975 career. This escapist film in a "historical setting" is taking place in an era when he was already working. The DeRosa legato was a part of that era as well.

 

It's as if it was bridging the Golden and the Silver ages.

 

1 hour ago, King Mark said:

The closest score it relates to right now would be Sabrina, at least for me

Hmm, it does sound like Sabrina. Let's hope it reflects a good chemistry between the two leads.

Edit: Oh god. The OTHER Sabrina.

 

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35 minutes ago, Fabulin said:

It's as if it was bridging the Golden and the Silver ages.

 

 

It's indeed a great theme for...

 

Spoiler

Helena of Troy

 

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2 hours ago, Tom said:

Specifically, I think this part in sped up heroic trumpet mode would sound like the perfect compliment to the Indy theme.

 

 

 

I was thinking the same thing the other day! I could easily imagine this theme in "action mode." Hopefully we get a few great statements of it like that on the OST.

 

EDIT: Not sure if anyone else has brought this up, but I guess we now know where those 5 notes were from!

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21 hours ago, Edmilson said:

 

You see that, haters? Mangold said Williams never wrote a score that isn't memorable - and that includes Stepmom, Sleepers, The River, SpaceCamp, The Patriot, Presumed Innocent, The Accidental Turist, The Terminal, etc. All of those are memorable scores!

 

Maybe he just doesn't remember the bad ones because of how forgettable they are.

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29 minutes ago, Ricard said:

Front row recording of Sunday's performance:

 

 

 

A selection of the best available recordings from the three nights (already posted on this thread) can be found here:

https://www.jwfan.com/?p=14278

 

I think you meant to post Helena's Theme, rather than Throne Room & Finale?

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14 minutes ago, Tydirium said:

 

I think you meant to post Helena's Theme, rather than Throne Room & Finale?

 

Fixed. The guy who sent me the link just uploaded the SW video and says he has "way more photos & videos coming".

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7 minutes ago, Alex said:

I just hope the music for the inevitable big action set piece is not condensed into a 4 minute track which is missing a load of interesting bits.

Alex....I hate to burst your bubble...but you already know the truth:(

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You were in LA this last weekend?  We could have met!

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I was in LA for the last month! Doh! 

 

I'm sure I'll be back sooner than later anyway, so we'll coordinate next time!

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23 hours ago, KK said:

 I definitely heard Marion's theme being interwoven in the second half somewhere, so I suspect Helena is going to be her daughter. But I bet this has already been dissected to death here.

Indy and his goddaughter, Helena...

image.png

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Does anyone else think this theme confirms that Phoebe's character won't be taking the reigns of a possible new adventurer.

 

I'm not naive to think Disney would leave the "Indy" franchise alone after this movie.

 

But nothing in this theme conveys she's the next one.  

 

Phoebe is wonderful and I've loved everything she's ever done btw

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12 minutes ago, Bellosh said:

Does anyone else think this theme confirms that Phoebe's character won't be taking the reigns of a possible new adventurer.

 

I'm not naive to think Disney would leave the "Indy" franchise alone after this movie.

 

But nothing in this theme conveys she's the next one.  

 

Phoebe is wonderful and I've loved everything she's ever done btw

Hard to say. I’m sure Williams will have some more heroic/adventurous iterations of her theme for some of the action scenes. Although it’s tough to say which part he would use as a more action-y hook. Probably the first phrase?

 

Im imagining something like the more heroic versions of Rose Theme from Last Jedi in “The Fathiers” or “The Battle of Crait”. Can’t wait to hear what else the maestro has cooked up for us ☺️

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