Feb. 7, 2026

The Music of John Williams: Our Top 5 Favorite Scores

The Music of John Williams: Our Top 5 Favorite Scores
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Season 7A Film By...

It's John Williams' birthday! Wayne and David are celebrating by sharing their Top 5 Favorite John Williams scores. Will all of your favorites make the list?

Check out our NEW YouTube Channel and subscribe now! Leave us a comment on our YouTube channel telling us your top 5 favorite John Williams scores. One lucky winner will receive the John Williams film score of there choice, as well as some A Film By... swag!

Head over to our Patreon and get started with a FREE 7-day trial. We've got plenty of exclusive content and episodes that you'll only find there! You can also sign up as a free member! 

www.afilmbypodcast.com/ for more information.
Email us at afilmbypodcast@gmail.com with your questions, comments, and requests.
Find us on Instagram, X, and Facebook @afilmbypodcast.

Special shout-out to our friends at All '80s Movies Podcast, MaiRo & Co Dog Treat Bakery, and the Accidental Legends Podcast!

WEBVTT

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Films that I've composed of my favorites, A Close Encounters,

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some of that music, I'm fond of All Alone, I'm

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fond of the score. Steven Spielberg loves the Reavers, which

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is a step McQueen film done so many many years ago,

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so quite a bit. Superman as an overture to a

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concert works extremely well. There's a lot and so all

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of various Star Wars films, Indiana Jones. But really, you

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know what people ask about the favorite scores? Really like

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about saying what's your favorite child? When you've got three kids,

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you love them all and there are things about each

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one you might want to improve if you could.

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This Sunday is John williams ninety fourth birthday, and gentlemen,

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in honor of the occasion, let's talk about the music

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of John Williams with our top five favorite scores. Hello everybody,

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I'm Jeff Johnson.

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I'm David Burns, and I'm Wayne Whiten.

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And this is a Film by podcast doing a special

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episode once once again. Last month we talked John Carpenter,

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the music of John Carpenter. You guys were with me.

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We did our top five Carpenter scores. Wayne doing an

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amazing job hosting that one, and I know how busy

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you guys are with phaser sets of stunt are ongoing

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Star Trek themed pod that that happens. To my knowledge,

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Williams has never been involved with the Star Trek franchise.

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Correct, he has not, no, unfortunately, okay.

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Well, well, Despite his absence from the Star Trek franchise,

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John Williams is one of the most iconic and influential

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composers in the history of cinema, with a career spanning

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more than six decades and a body of work that

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has defined the sound of modern cinema. From the unforgettable

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themes of Star Wars, Jaws, Indiana, Jones, and Jurassic Park

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to the emotional depth of Et, Superman and Schindler's List,

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Williams's music transcends the screen, becoming as memorable as the

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films themselves. His mastery of orchestration and melody has shaped

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generations of filmmakers and audiences alike. John Williams is more

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than a composer. He's a cornerstone of movie history. And

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I am so thrilled that we are getting to talk

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about it today. Before we get into it, I know

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we're I know you guys are probably excited to share

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your your top five John Williams scores. But you guys

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have something I can only dream. You guys have both

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had an experience I can only dream of. Uh, you've

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seen John Williams in concert three times?

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Three times?

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Okay, see, I saw you guys had seen him twice.

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I didn't realize that it was it was three. I was, okay,

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Can we can we talk a little bit about what

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that experience is like for for for those of us

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that dream of seeing it and are hoping to see it,

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because you know, the man's still out there, he's still

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he's still torn and doing stuff. What what What was

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it like? So tell me about the first time. Let's

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talk about the first time.

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I remember the first time.

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That was great, the first time. We're never going to forget.

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For one, I was definitely sick, definitely were but nothing

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was stopping me from seeing John Williams in concert. We

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were in Pittsburgh, our favorite city, not but yeah, and

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we went to see it downtown and then it was

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the first time. Obviously, I mean Wayne and I both

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were like gigantic Williams fans, and the fact that we

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were getting to see him for the first time in

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concert with a thrill in itself, so me being.

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That was a fancy concert to addressed? Was that one?

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Yeah, that's a fancy one. But the only thing, the

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one thing that I vividly remember was the fact that

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Sin as he started his the music and started conducting,

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a screen came down and it started showing clips from

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the movies as the orchestra is playing them live. Yeah,

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and I'm telling you, it was just chills, goosebumps running

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up and down my spine on how incredible that experience was.

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It was amazing. You know. He started off with playing

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some of his concert works, but then the first film

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piece he played was Close Encounters. When he played those

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those five familiar notes set chills down my spine. It

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was just unbelieve. I couldn't believe I was actually listening

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to this lie with him right in front of me.

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And then you go back, you see him a second time.

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Is this like a I imagine like maybe a couple

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of years down the road, And if so, yeah, what

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you know, Like I think about like seeing one of

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my favorite bands multiple times when they come to town.

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The set list is always going to change. A little bit,

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but they're going to also play the hits. So the

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second time you see him, is is it a little

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bit different or is the set list kind of like

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is the man doing the same the same thing?

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It was different, Yeah, because what he likes to do

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is for every concert he does, he'll choose like one

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of these obscure films that most people don't realize, and

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he'll play like three or four pieces. I remember for

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the first concert he did TV film that he had

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done called Jane Eyre, And I think the second one

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didn't he played Harry Was it Harry Potter? Yeah? I

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think it was Harry Potter? Maybe that he that he did,

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but it wasn't obscurity. I know he was doing. Didn't

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he debut Chamber of Secrets? Play a piece?

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Maybe? I think I remember it correctly. I do know

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he did the was it this? Was it CNN that

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he did?

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Yeah, at the end, not many people knew that he

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had he had done the NBC.

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NBC, that's what it was, NBC. A lot of people

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didn't realize he had done that. So he kind of

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like kind of turned around to like talk to the audience,

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and then he was like I'm going to play something

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that a lot of you probably don't realize I have done. Uh,

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but uh, you're gonna recognize it pretty quickly. And as

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soon as he went into the first few bars, like, oh,

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we know where that's from, it was the news.

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Wow.

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Uh.

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And of course the third time, you're you know you guys,

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I have to imagine the excitement is just as strong

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as the first time.

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Right.

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So, so the third time was in our hometown here

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in Cincinnati. It was was the last time we got

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to see him. And funny story behind that was as

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soon as we saw that he was coming to Cincinnati,

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I immediately went on and bought tickets first because Wayne

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had taken care of the other two, so I went

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ahead and bought them. And then at the time Megan,

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my niece, decided that her and her husband at the time,

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were going to buy tickets too, So we all bought

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tickets separately, and by we did not end up right

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next to one another. And what are the chances than that?

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Honestly, all I'll ask is if and when he comes

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anywhere near us, we please just call me and let

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me let me know. I really don't want to miss out,

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you know, Okay, so I've I've actually had conversations with

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both of you off Mike, so I kind of got

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a little sneak preview of what your top five lists

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are looking like, which I was surprised by some of

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the choices. I'm a Williams is my all time favorite composer.

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I could easily make this top five list, but I'm

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excited because most of my selections are I believe you

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guys are gonna are gonna talk about them, but we're

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gonna take a quick break before we get to that

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top five.

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Welcome to the All Eighties Movies Podcast. I'm Bill and

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I'm Jason, and this is the podcast where we talk

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about the blockbusters, the flops, and everything in between from

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one of the freshest decades for movies, the nineteen eighties.

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So whether you're a brain, a jock, a valley girl,

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or a Jedi, we've got some Eighties classics for you.

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Do these movies stand the test of time? Are we

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discovering something new? Is there an Eighties movie we are

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finally watching for the first time.

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Join us each week as we dive into the cinematic

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nostalgia that inspired and influenced a generation from the hits

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to the cult classics. We'll discuss our earliest memories, favorite scenes,

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fun facts, and are not so favorite movie moments too.

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You can find the All Eighties Movies podcast wherever you

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listen to your podcast. Please subscribe and happy listening.

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Welcome back. We are discussing the legendary composer John Williams

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and we're doing a little top five. This had to

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be difficult for you guys to to pare it down

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to just five choices. I know, you guys are gonna

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cheat and give me like an honorable mention later on,

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but even even at six, like picking six, you know,

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I can't imagine you two, especially agonizing over your choices.

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Well, I mean, my number one was easy. That's always

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been my number one. Yeah, that one was not hard

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at all. But the other four I struggled, especially when

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I got to picking five, because there's so many that

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like could be there that I had to like put

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on the back burner. A couple of them that are

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not there really broke my heart not to have them there.

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But I mean I had to look at what are

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my five favorites, and I can't have them all there,

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otherwise it'd be ten. Right, So, yeah, here we are.

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You know what you make.

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You make a good point.

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It's you know, you said your five favorites, and we're

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not saying these are the top five best John Williams scorers.

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We're saying these are our top favorites. Right, So Wayne,

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why don't you start us off? I would love to

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hear your number five pick.

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My choice for number five will start in nineteen ninety

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one with the often overlooked and forgotten Steven Spielberg Classic

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Hook Hooks Score. It's an emotional roller coaster from you

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got your gentle sweet melodies, you got your loud, bombastic

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marches that you're very familiar with, thrilling, exciting action cues.

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It perfectly matches Spielberg's magic vision of Netherland and the

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legend of Peter Pan that he gives us. It's got

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an incredible sweeping main theme, some beautiful motifs, especially the

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ones associated with Peter's you know, lost childhood. Just it's

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got an incredible melody, really brings out wonder and a

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bit of romantic orchestration there. It's it's just an incredibly

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magic score. You got you know, things like the song

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when You're Alone and then there's that six minute que

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the Flight to Netherland, really capture that pain of growing

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up and joy of rediscovering fun and imagination, with Williams's

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music doing just as much work telling the story as

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Spielberg's visuals do. There are two cues that I really

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wanted to point out of this score. One of them

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is You Are the Pan which is just a haunting

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and almost overwhelmingly beautiful theme. That's the scene where Peter

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is formally recognized by the Lost Boys and their leader,

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and then he gives them the sword. It's an emotional ceremony.

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This is a new theme that was introduced in the

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score about halfway through the film. Rich strings and choir,

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the lovely French horn. It reminds me just how much

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Williams can really tug at the emotions. And then there's

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Remembering Childhood, which is really the centerpiece of the entire score.

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It's also the longest cue, with over eleven minutes. All

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of the themes that he's composed for hook has heard there,

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big brass, sweeping streams, beautiful piano. It's heroic, it's glorious,

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it's majestic. It's really John Williams at the top of

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his form and hook has been released quite a few

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times on CD. It just recently was released about two

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years ago by Lall La Land Records in a three

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CD set. I think you got I got you that, David.

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What do you think of that set? I haven't. I

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don't have that one yet. I got the two CD one.

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Oh, it's a wonderful set. I mean, giving us inditional

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music and stuff that we haven't had before. It is

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extremely well done, as you know, and try to. They

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do everything extremely well by the way they do when

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they remaster this stuff. It is just beautiful in listening

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to it. So yes, I would highly recommend if you

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don't have it in your collection, get it.

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Yeah, it's top of my list, right, you know, aget

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I said, I got the two CDs set that they

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did about ten years ago, and it's wonderful. This this

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is just an incredible score that just shows everything that

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Williams can do, especially during the eighties and the nineties.

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Wayne's starting things off with an underrated choice from an

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underrated Spielberg film, David your number five choice.

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So Wayne mentions he used one word that encapsulates the

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score that I've ever already talked to and of course

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he used the word magic, and of course I am

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talking about the two thousand and one Harry Potter and

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the Sorcerer's Stone. This will come as no surprise to

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anybody that this is in my top five. For one,

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I love the books, I love all of the films,

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I love everything about them. But the fact that Chris

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Columbus got John Williams to do the music for this,

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because one, it's not a Spielberg film. Spielberg has nothing

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to do with this. And as you know, and Williams

242
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are like connected at the hip, which is great because

243
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they both are incredible at what they do. And with

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this one, when Chris Collins announced that John Williams was

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going to be performing the music for this, I knew

246
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right away that we were going to be in for

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something special. And boy did we get another special score

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from John Williams. So two tracks that I want to

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point out. One is Headwig's theme, probably the most recognizable

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piece of music from Harry Potter. Headwig's theme is truly magical.

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It begins with simple and enchanting bells, delicate by yet

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powerful that immediately set the tone for a score as

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wondrous as the film itself. While it is named for Hedwig,

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this theme encapsulates everything we imagine about Harry Potter and

255
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the enchanting world surrounding him. There's a reason this theme

256
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was used throughout the entire franchise. It perfectly captures a

257
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sense of magic, adventure, and discovery that defines the story.

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From the very first notes, John Williams signals that we

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are about to embark on a powerful journey, one filled

260
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with magic, witches, a remarkable boy in a school like

261
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no other. The other one is the Quidditch Match. Now,

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every piece on the soundtrack is incredible, but these two

263
00:15:12.240 --> 00:15:16.440
always pull me in. John Williams is not only amazing

264
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with themes for characters, which I'm sure we're going to

265
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get into a little while, but it is also a

266
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genius when it comes to action music that perfectly matches

267
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what's happening on screen. In the Quidditch Match, we experience

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the game for the first time through both Harry Potter's

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eyes and our own, and Williams's score heightens the excitement

270
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for everyone. The music quickly merges us in the vast,

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energetic atmosphere of the stadium, with the crowd cheering the

272
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mysterious magical elements that define the franchise ever present. We

273
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ride alongside Harry and his team as they zip around

274
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the pitch on their brooms, battling opponents while Harry desperately

275
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searches for the snitch CHAOSI RUPs all around, and then

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music propels us through every twist and turn, even weaving

277
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in hints of Headwig theme to tie the action back

278
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to the magical world. The dynamic complex orchestration delivers the

279
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heart pounding edge of your seat, thrilled that only Williams

280
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can provide.

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Man, David, you you have just put me in the

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mood to sit down and watch every film in the

283
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in the in the Potter franchise.

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Great choice, absolutely great choice on I mean is let

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me just ask because I'm not gonna First off, there

286
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are no wrong answers on this top five list. I'm wondering.

287
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We say that now, but wait until I give you

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my next one.

289
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Oh jeez, here we go.

290
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Oh yeah, Dave, you have no idea, but no My

291
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quick question here is when you look at his work

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in the Harry Potter franchise, is the Sorcerer's stone like

293
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the just the the go to choice or is there

294
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is there any any music from the others.

295
00:16:57.679 --> 00:17:01.600
So, for me, it depends on what you're looking at

296
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because the music changes as you go. Obviously we know

297
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John Williams didn't do at all, and but the story goes.

298
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You know, the kids grow up with the story, so

299
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the music kind of grows with the kids if you

300
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think about it. Yeah, when you get into later years,

301
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you're still getting John Williams themes throughout the entire UH franchise,

302
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but you get that that more mature horror type, if

303
00:17:26.680 --> 00:17:29.480
horror is the correct word I could use. But you

304
00:17:29.559 --> 00:17:32.559
get more of those elements later on in it, but

305
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you're still getting elements of John Williams head with steament

306
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all that stuff in the entire franchise. So I guess

307
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it depends on what you're really looking at when you're

308
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looking at Harry Potter itself. Are you looking at the

309
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beginning or you look at the middle, or you're looking

310
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at the end. So if you're looking at what part

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of the story you're really in tune with, that would

312
00:17:51.119 --> 00:17:53.960
be your answer. But for me, because I love John Williams,

313
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I have to go with the Sorcerer's Stone.

314
00:17:55.799 --> 00:18:01.400
Well, yeah. I looking back, I think about my love

315
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for the Harry Potter, the films and the books.

316
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Uh.

317
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And I have you to think for that because uh,

318
00:18:07.759 --> 00:18:10.039
I think back to uh, I think the fourth the

319
00:18:10.079 --> 00:18:12.599
fourth book, the Goblet of Fire, had not been released,

320
00:18:13.640 --> 00:18:17.319
and you had been after me for months to to

321
00:18:17.559 --> 00:18:21.240
start reading this, uh this, this this book series that

322
00:18:21.319 --> 00:18:24.599
I I believe I told you, uh what was obviously

323
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a stupid children's book that I didn't have time. I

324
00:18:27.559 --> 00:18:31.440
remember this, and man, was I a fiend after that

325
00:18:31.480 --> 00:18:33.480
first one. I was knocking on your door like, hey,

326
00:18:33.519 --> 00:18:34.759
you got another one? You got another one.

327
00:18:34.880 --> 00:18:36.359
It was like that what was it that Chappelle with

328
00:18:36.359 --> 00:18:37.279
the Christ.

329
00:18:39.599 --> 00:18:40.960
You got more than Harry Potter books?

330
00:18:41.039 --> 00:18:41.240
Yeah?

331
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Yeah, Now I I owe that to you, my friend,

332
00:18:44.279 --> 00:18:47.400
for for introducing me to what what is arguably one

333
00:18:47.440 --> 00:18:54.359
of the the great uh uh literary and uh cinematic

334
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heroes of our of our generation. Wayne. Can we talk

335
00:19:01.759 --> 00:19:02.960
about your your fourth pick?

336
00:19:05.160 --> 00:19:08.599
Well, let me start with a quote. Every man would

337
00:19:08.599 --> 00:19:12.440
praise it. It's such a splendid plan. And someday soon

338
00:19:12.519 --> 00:19:15.119
we shall point with pride to the guide for the

339
00:19:15.160 --> 00:19:15.960
married man.

340
00:19:17.279 --> 00:19:29.440
Who what we need.

341
00:19:29.119 --> 00:19:32.680
In the world today is a god for the married

342
00:19:32.920 --> 00:19:38.799
Man as being that in every way we'll provide for

343
00:19:39.039 --> 00:19:42.799
the hurried man, help not.

344
00:19:43.079 --> 00:19:50.799
Too worried, assist too he sor.

345
00:19:55.599 --> 00:19:59.359
I'm such a god. But in many ways during the

346
00:19:59.480 --> 00:20:05.319
time for okay, yeah, well now let me let me

347
00:20:05.319 --> 00:20:07.640
get into this. You know, Williams has scored a lot

348
00:20:07.680 --> 00:20:10.519
of different genres. In the nineteen sixties was a defining

349
00:20:10.640 --> 00:20:13.960
style and sound for him, very much rooted in his

350
00:20:14.079 --> 00:20:17.200
jazz background and just starting to blossom into what we

351
00:20:17.240 --> 00:20:20.359
know and love, you know from the seventies, eighties and beyond.

352
00:20:20.759 --> 00:20:24.119
I love his sound in the sixties. So my choice

353
00:20:24.160 --> 00:20:27.200
for number four is the nineteen sixty seventh film A

354
00:20:27.319 --> 00:20:30.359
Guide for the Married Man, directed by Gene Kelly and

355
00:20:30.440 --> 00:20:35.200
starring Walter Matthew and Robert Morse. The plot from the

356
00:20:35.200 --> 00:20:37.440
film is simple. It's a man named Paul, who is

357
00:20:37.440 --> 00:20:41.559
played by Matthew, is discovers it as neighbor has been

358
00:20:41.640 --> 00:20:44.240
cheating on his wife and getting away with it, and

359
00:20:44.240 --> 00:20:46.599
then he's introduced to the Guide for the Married Man,

360
00:20:46.640 --> 00:20:50.039
which is an unspoken rule book for husbands who want

361
00:20:50.079 --> 00:20:52.599
to keep their wives but have fun on the side

362
00:20:52.680 --> 00:20:57.839
in the meantime, therefore leading to a happier marriage. I

363
00:20:57.920 --> 00:21:01.039
love this score so much I probably listened to it

364
00:21:01.079 --> 00:21:04.519
a thousand times. Now. I'm sure most of you out

365
00:21:04.519 --> 00:21:11.160
there listening are screaming why because this isn't the John

366
00:21:11.200 --> 00:21:14.039
Williams that we're familiar with. But this is a Williams

367
00:21:14.680 --> 00:21:18.000
that is working out of his comfort zone, trying different things,

368
00:21:18.240 --> 00:21:20.079
and he seems to be having a lot of fun

369
00:21:20.200 --> 00:21:25.279
doing it. He's crafted a jazzy, lighthearted sound that reflects

370
00:21:25.359 --> 00:21:28.400
everything we think about the nineteen sixties, you know, complete

371
00:21:28.400 --> 00:21:32.240
with that swinging rhythms, muted brass, clever instrumental textures that

372
00:21:32.279 --> 00:21:36.359
are just all over the place. The music never once

373
00:21:36.480 --> 00:21:41.319
takes itself seriously, you know, punctuating jokes and situations with

374
00:21:41.400 --> 00:21:44.519
a cheeky wink rather than the grand statements that we

375
00:21:44.559 --> 00:21:47.680
are used to from John Williams. It's clear he's having

376
00:21:47.680 --> 00:21:52.880
fun embracing the air's pop infected sensibilities while keeping the

377
00:21:52.880 --> 00:21:57.799
score agile and elegance. It's it's almost cartoon like, with

378
00:21:57.839 --> 00:22:00.839
a lot of inspiration coming from bugs, Bunny and Tom

379
00:22:00.839 --> 00:22:03.200
and Jerry rather than you know, like Beethoven and Mozart.

380
00:22:04.000 --> 00:22:10.160
Now I see you laughing, Well, the film may today

381
00:22:10.400 --> 00:22:14.720
look a little sexist and politically and morally incorrect. It

382
00:22:14.799 --> 00:22:17.640
was the swinging sixties, after all. But what you really

383
00:22:17.720 --> 00:22:22.400
can't deny is John williams brilliance. He delivered it here written.

384
00:22:22.519 --> 00:22:25.319
He's written an opening song for the film, titled The

385
00:22:25.359 --> 00:22:28.920
Guide for the Married Man. It's sung by the Turtles.

386
00:22:29.480 --> 00:22:32.799
It's a really catchy theme, fun to listen to, and

387
00:22:32.839 --> 00:22:35.559
it plays over images of Walter Mathow tempted by a

388
00:22:35.559 --> 00:22:41.720
woman's rear end while walking down the street. Okay, Another

389
00:22:41.960 --> 00:22:44.440
highlight of the scores the cue the Globe Trotters, which

390
00:22:44.480 --> 00:22:46.960
is an exciting sweet It's very reminiscent of John Barry's

391
00:22:47.079 --> 00:22:51.599
James Bond style, but with Williams's own grandiose flare. And

392
00:22:51.640 --> 00:22:54.440
then There's No Place Like Home, where the main character

393
00:22:54.559 --> 00:22:57.279
Paul is rushing home to see his wife after deciding

394
00:22:57.359 --> 00:22:59.920
not to go through with the affair, which you know,

395
00:23:00.000 --> 00:23:02.119
really wouldn't find itself out of place right in a

396
00:23:02.240 --> 00:23:07.400
Chuck Jones Looney Tunes cartoon. You know, don't dismiss it.

397
00:23:08.720 --> 00:23:10.880
Search it out. It's been released on the CD once

398
00:23:10.960 --> 00:23:13.680
and only once, back in July of two thousand by

399
00:23:13.799 --> 00:23:17.119
film Score Monthly. Beautifully remastered complete. It's even got the

400
00:23:17.119 --> 00:23:20.480
song by the Turtles, which is so much fun. But

401
00:23:21.759 --> 00:23:23.640
you know, all I got to see is it's not

402
00:23:23.680 --> 00:23:26.960
your usual John Williams. But don't dismiss it because of that.

403
00:23:27.000 --> 00:23:29.519
Give it a listen, Admire the fun, the care free

404
00:23:29.519 --> 00:23:33.160
style of Williams that we rarely hear listeners.

405
00:23:33.200 --> 00:23:38.079
I have to come to Wayne's defense here just briefly,

406
00:23:39.079 --> 00:23:43.920
because one thing you don't know about our content episodes. Obviously,

407
00:23:43.920 --> 00:23:46.599
we are always we're traveling, We're going to We're always

408
00:23:46.599 --> 00:23:50.039
one of these conventions, you know, to seek out some

409
00:23:50.079 --> 00:23:52.799
of our favorite celebrities and get some interviews. For you guys,

410
00:23:53.960 --> 00:23:58.440
No road trip is complete without the Wayne wided road

411
00:23:58.440 --> 00:24:02.160
trip music. And Wayne is always going to give you

412
00:24:02.240 --> 00:24:05.759
just film composers. That's that's all we're gonna get from Wayne.

413
00:24:06.680 --> 00:24:09.359
Last year, I think we're driving to Steell City Con

414
00:24:09.519 --> 00:24:13.200
in Pittsburgh, and I recognize when I hear John Williams.

415
00:24:13.240 --> 00:24:15.720
I know I hear John Williams. I recognize it, and

416
00:24:15.759 --> 00:24:18.279
then I I kind of perk up on the back

417
00:24:18.359 --> 00:24:21.240
seat because I'm curious why Wayne would have the Austin

418
00:24:21.319 --> 00:24:26.319
Powers soundtrack on his playlist, and He's like, no, no,

419
00:24:26.400 --> 00:24:28.119
this is this is John Williams. I was like, no,

420
00:24:28.200 --> 00:24:31.759
it's not John Williams. And yeah, it was my first

421
00:24:31.799 --> 00:24:35.160
time hearing The Guide for the Married Man, so it's

422
00:24:35.160 --> 00:24:38.319
it's fun. It actually is a fun a fun soundtrack

423
00:24:38.319 --> 00:24:39.720
to listen to. Would you agree with that, Dave?

424
00:24:40.119 --> 00:24:42.440
Oh, no, absolutely, And I mean John Williams is good

425
00:24:42.440 --> 00:24:44.640
with the JS stuff, So I mean, if you if

426
00:24:44.640 --> 00:24:47.400
you listen to some of his older stuff, you know, sixties,

427
00:24:47.519 --> 00:24:49.680
I mean, he was really good, So why not put

428
00:24:49.720 --> 00:24:51.960
that into the films? And it is a good score.

429
00:24:52.279 --> 00:24:53.880
I don't wouldn't put it in my top five, but

430
00:24:53.960 --> 00:24:56.079
this is our top five, so Wayne, it's cool.

431
00:24:56.200 --> 00:24:57.920
Well yeah, yeah, Yola.

432
00:24:57.720 --> 00:24:59.880
I understand. You know, I'm more into the same six

433
00:25:00.000 --> 00:25:01.519
sixty sound that a lot of people a lot of

434
00:25:01.559 --> 00:25:03.720
people are, you know, they're so used to the Star

435
00:25:03.759 --> 00:25:07.079
Wars Indiana Jones style that you know, the sixties is very,

436
00:25:07.200 --> 00:25:10.240
very different. But I love his sound. He's he just

437
00:25:10.400 --> 00:25:13.480
he changes his style and the way he does things

438
00:25:13.480 --> 00:25:15.920
every decade, it seems, and and you just got to

439
00:25:15.960 --> 00:25:16.599
appreciate that.

440
00:25:17.240 --> 00:25:19.480
And as it was stated, there is no wrong answer

441
00:25:19.480 --> 00:25:20.240
to John Williams.

442
00:25:20.240 --> 00:25:24.359
There is no there is no wrong answer, and David,

443
00:25:23.519 --> 00:25:29.640
I have to say your number four pick is absolutely

444
00:25:30.799 --> 00:25:35.039
not a wrong choice. It absolutely deserves and should be

445
00:25:35.079 --> 00:25:37.279
on this list. Can you give us your number four?

446
00:25:37.880 --> 00:25:41.160
I sure can so. I mean this one automatically new

447
00:25:41.160 --> 00:25:43.319
is going to be in the top five without question. Okay,

448
00:25:44.519 --> 00:26:44.079
obviously I'm talking about nineteen seventy eight Superman. So this

449
00:26:44.200 --> 00:26:48.440
score in itself is probably the greatest superhero theme ever

450
00:26:48.759 --> 00:26:53.319
brought to cinema, to television, whatever you name it. Everyone

451
00:26:53.440 --> 00:26:57.319
recognizes this theme without even know where it's from. So

452
00:26:57.400 --> 00:27:00.240
there's actually two tracks on here that I really would

453
00:27:00.279 --> 00:27:03.119
like to point out. First one, obviously, is the prelude

454
00:27:03.200 --> 00:27:06.240
and main title March. You know what can be said

455
00:27:06.240 --> 00:27:08.519
about this piece of music except that it is indeed

456
00:27:08.559 --> 00:27:11.640
the greatest them to any superhero, without question. This is

457
00:27:11.640 --> 00:27:15.359
the theme that defines who and what Superman is. Even

458
00:27:15.400 --> 00:27:17.920
within the score, you can almost hear the music itself

459
00:27:17.960 --> 00:27:22.640
declaring his name. John Williams composition truly makes you believe

460
00:27:22.680 --> 00:27:25.920
a man can fly. As you listen, it's easy to

461
00:27:25.960 --> 00:27:29.400
imagine yourself leaping into the air, arms stretched out, red

462
00:27:29.480 --> 00:27:33.680
case billowing behind, and soaring through the clouds. This powerful

463
00:27:33.720 --> 00:27:37.039
theme is a testament to Win's unique ability to capture

464
00:27:37.039 --> 00:27:40.559
the essence of a hero, and it remains unmatched in

465
00:27:40.599 --> 00:27:45.519
its impact and legacy. The other one is the Love

466
00:27:45.640 --> 00:27:50.279
theme from Superman. A slowed down rendition with subtle hints

467
00:27:50.319 --> 00:27:53.960
of the main theme, this piece beautifully conveys the blossoming

468
00:27:54.000 --> 00:27:58.359
relationship between Lois Lane and Superman. The score gently guides

469
00:27:58.440 --> 00:28:01.880
listeners through their emotional journe capturing the moment when their

470
00:28:01.880 --> 00:28:05.519
hearts connect as they soar together among the clouds. Williams's

471
00:28:05.519 --> 00:28:09.279
composition is both powerful and dramatic, expressing a love that

472
00:28:09.319 --> 00:28:14.799
transcends boundaries, even those between worlds. Romantic and evocative, these

473
00:28:14.960 --> 00:28:17.799
this theme stands as a fitting musical tribute to the

474
00:28:17.880 --> 00:28:22.680
enduring bond between these iconic characters. Jeff, I know what

475
00:28:22.759 --> 00:28:25.799
a Superman fan you are. You are probably you are

476
00:28:25.880 --> 00:28:29.400
the biggest supermanan fan that I personally know. Oh and

477
00:28:30.319 --> 00:28:33.000
you I know you agree with me that nothing can

478
00:28:33.079 --> 00:28:36.319
match this theme. Nothing when it comes to a superhero.

479
00:28:36.799 --> 00:28:42.240
No, this is This is the definitive theme for a superhero.

480
00:28:43.480 --> 00:28:47.039
I don't care if you're talking Marvel, DC, what what year,

481
00:28:47.119 --> 00:28:50.720
what decade? This is the go to theme. This is

482
00:28:50.759 --> 00:28:53.920
the one I feel like anyone that if they haven't

483
00:28:54.000 --> 00:28:57.720
seen a Superman film, they still can hear this music

484
00:28:57.759 --> 00:29:01.880
and they they know, you know, they know what it is,

485
00:29:02.039 --> 00:29:05.559
and ultimately they they they will believe a man can fly.

486
00:29:06.559 --> 00:29:08.000
Just beautiful, beautiful score.

487
00:29:08.000 --> 00:29:11.000
I love this one. Definitely one of my all time favorites.

488
00:29:11.279 --> 00:29:13.240
I know Scott and I talked about this film for

489
00:29:13.240 --> 00:29:14.200
a film at forty five.

490
00:29:14.559 --> 00:29:16.759
When we come back seventy eight, Yeah we got, we had,

491
00:29:17.039 --> 00:29:21.119
we had, we had baby Superman himself erons with us

492
00:29:21.160 --> 00:29:24.759
on that episode. Sure did Yeah great to s Yeah, listeners,

493
00:29:24.799 --> 00:29:26.559
go back and check that one out. Scott and David

494
00:29:26.960 --> 00:29:30.359
uh just doing an amazing job having a wonderful conversation.

495
00:29:30.440 --> 00:29:33.279
And and I got to point out to missus Tesmacher herself,

496
00:29:33.359 --> 00:29:37.480
Valerie Perne was was so kind, uh you know, friend

497
00:29:37.519 --> 00:29:39.519
of the show. She actually did a little little opening

498
00:29:40.240 --> 00:29:42.440
uh for us on that one. So that that was

499
00:29:42.440 --> 00:29:44.599
always That's one of my all time favorite episodes. I love,

500
00:29:44.640 --> 00:29:46.640
I love that we had that experience with with uh,

501
00:29:47.000 --> 00:29:47.960
with those individuals.

502
00:29:48.640 --> 00:29:49.599
Very special episode.

503
00:29:50.200 --> 00:29:52.839
It was uh before I know, we got to take

504
00:29:52.839 --> 00:29:54.759
a break, but before we do, uh, you know, I'm

505
00:29:54.759 --> 00:29:57.759
just thinking back to Wayne's interesting choice.

506
00:29:59.200 --> 00:29:59.559
Wayne.

507
00:30:00.880 --> 00:30:02.640
Now might be a good time to talk about the

508
00:30:02.720 --> 00:30:05.640
early years of John Williams, is there? What could you

509
00:30:05.640 --> 00:30:08.039
tell us about that? Because I know you could probably

510
00:30:08.039 --> 00:30:10.160
write his autobiography.

511
00:30:09.559 --> 00:30:11.640
If you, Oh, I could, but it's already been done.

512
00:30:11.680 --> 00:30:15.759
There's that wonderful, wonderful film that Spielberg did by John Williams.

513
00:30:15.759 --> 00:30:17.640
So if you really want to know about his early

514
00:30:17.720 --> 00:30:19.759
years or for his entire career, just watch that. But

515
00:30:20.200 --> 00:30:23.680
I just wanted to point out that two and talking

516
00:30:23.720 --> 00:30:26.559
about his early years. You know, we we mentioned that

517
00:30:26.599 --> 00:30:31.200
he got his start working in jazz. You know, he

518
00:30:31.200 --> 00:30:34.400
he used to work as a session pianist, which meant,

519
00:30:34.519 --> 00:30:36.319
you know, he's with the orchestra. He would play piano

520
00:30:36.799 --> 00:30:38.559
for a lot of other composers and a lot of

521
00:30:38.559 --> 00:30:40.680
other films. So you know, you may not see his name,

522
00:30:41.119 --> 00:30:43.319
but you can hear him on a lot of films.

523
00:30:43.359 --> 00:30:47.759
You wouldn't You wouldn't realize, like Breath directors in Tiffany's

524
00:30:48.319 --> 00:30:50.119
Sharad the Great Race, that he both you know, all

525
00:30:50.119 --> 00:30:53.240
three of those films by for him Agnsini. His piano

526
00:30:53.279 --> 00:30:55.640
playing can be heard in To Kill a Mockingbird for

527
00:30:55.720 --> 00:31:00.319
Elma Bernstein and even like the films like said Blane again,

528
00:31:00.519 --> 00:31:03.839
City of Fear, Face of the Fugitive. Those are all

529
00:31:03.880 --> 00:31:08.799
three very very early scores of Jerry Goldsmith's that Williams played.

530
00:31:08.839 --> 00:31:12.200
He was known as Johnny Williams though back there Williams,

531
00:31:12.359 --> 00:31:16.039
Johnny Williams, and you know, probably he's probably most famous

532
00:31:16.039 --> 00:31:18.119
if you really want to hear his piano playing. If

533
00:31:18.119 --> 00:31:20.359
you ever remember, there's an old TV show called Peter Gunn,

534
00:31:21.160 --> 00:31:23.920
very very very famous opening theme that starts off with

535
00:31:23.960 --> 00:31:26.440
a piano that's that's John Williams.

536
00:31:26.880 --> 00:31:27.319
Wow.

537
00:31:27.640 --> 00:31:30.279
Yeah, And he's incredible. You know. He started on a

538
00:31:30.279 --> 00:31:33.680
lot of very early TV series like M Squad is

539
00:31:33.720 --> 00:31:37.119
one of them, which he was working with Stanley Wilson.

540
00:31:38.000 --> 00:31:39.960
I've got it there that's actually been released on CD

541
00:31:40.039 --> 00:31:43.160
and it's it's got some wonderful jazz scores by him.

542
00:31:43.920 --> 00:31:46.319
But he you know, when he was working there for Universal,

543
00:31:46.680 --> 00:31:48.720
he shared an office with a lot of the other

544
00:31:48.759 --> 00:31:52.759
composers like Leyla Scheffrin, Quincy Jones, Jerry Goldsmith. They were

545
00:31:52.799 --> 00:31:56.039
all crammed into this one little room with all with

546
00:31:56.160 --> 00:31:59.039
the piano trying to compose for the various TV series.

547
00:32:00.519 --> 00:32:04.000
Williams has been known to quote it was a situation

548
00:32:04.079 --> 00:32:06.440
where we taught each other and learned from each other,

549
00:32:06.799 --> 00:32:09.000
and it was a group effort to produce the results

550
00:32:09.000 --> 00:32:11.200
that each one of us were able to accomplish. You know,

551
00:32:11.240 --> 00:32:14.039
it's amazing. I can only imagine being in that room

552
00:32:14.079 --> 00:32:16.920
with all these fantastic composers that at the beginning of

553
00:32:17.000 --> 00:32:17.839
their career.

554
00:32:18.440 --> 00:32:21.359
Just to sit there say nothing and just listen.

555
00:32:21.920 --> 00:32:24.119
Yeah, oh my gosh, you fly on the wall.

556
00:32:24.599 --> 00:32:27.640
God, what what an amazing experience that would have been.

557
00:32:28.039 --> 00:32:29.799
And Wayne didn't. Wayne didn't, he didn't he do some

558
00:32:29.880 --> 00:32:30.960
Gilligan's Island stuff.

559
00:32:31.359 --> 00:32:34.160
Yes, he scored the pilot episode. He didn't write the theme,

560
00:32:34.599 --> 00:32:37.200
but he scored the pilot episode, and that music was

561
00:32:37.319 --> 00:32:40.160
used throughout the rest of the entire series. You know,

562
00:32:40.480 --> 00:32:43.240
all those familiar themes, especially the opening thing that they

563
00:32:43.359 --> 00:32:46.160
use in practically every freaking episode, and then the closing

564
00:32:46.200 --> 00:32:49.640
bit that they used. That's all John Williams, he worked

565
00:32:49.640 --> 00:32:51.839
on so many different different shows. We'll talk about it

566
00:32:51.880 --> 00:32:54.359
when we go into TV. But I also remember his

567
00:32:54.440 --> 00:32:56.559
first film. I want to talk about his first film

568
00:32:56.559 --> 00:33:02.559
real briefly. It was The American International's Picture, which is

569
00:33:02.680 --> 00:33:06.400
a B movie about a teenage street racer who gets

570
00:33:06.480 --> 00:33:08.839
mixed up in a drug ring and has to clear

571
00:33:08.880 --> 00:33:12.480
his name was started a Dick Contino. It's mostly a

572
00:33:12.519 --> 00:33:14.720
forgotten film. No one and you'd even remember this film

573
00:33:14.759 --> 00:33:16.920
if it wasn't for a Mystery Science Theater three thousand.

574
00:33:17.200 --> 00:33:20.200
Having chosen you, there you go. Is it in nineteen

575
00:33:20.319 --> 00:33:22.599
ninety one, so you can go out and watch it

576
00:33:22.880 --> 00:33:25.279
and enjoy the earliest of John Williams and it is

577
00:33:25.400 --> 00:33:26.119
very interesting.

578
00:33:27.319 --> 00:33:30.599
Well, before you you all run off to check out

579
00:33:30.640 --> 00:33:33.480
Mystery Science Theater three thousand, we're gonna take a quick break,

580
00:33:34.039 --> 00:33:36.640
but stay with us because when we come back, we've

581
00:33:36.680 --> 00:33:40.799
got more of our top five favorite John Williams scores.

582
00:33:44.799 --> 00:33:46.920
This episode is brought to you by the Mayroe and Co.

583
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and now they're available online at Mayroanco dot com. Welcome back.

591
00:34:25.760 --> 00:34:29.159
We are talking about our favorite, our top five favorite

592
00:34:29.280 --> 00:34:34.159
John Williams scores. Wayne and David have given us just

593
00:34:34.239 --> 00:34:38.519
a few very fun ones to talk about, and now

594
00:34:38.639 --> 00:34:41.760
we arrive we're at the top three, gentlemen, so I

595
00:34:41.880 --> 00:34:45.800
know we're going to get some very interesting choices. Wayne,

596
00:34:45.880 --> 00:34:48.840
Let's start with you your number three pick, sir.

597
00:34:49.480 --> 00:34:52.079
Well, for my number three pick, I'm I've been the

598
00:34:52.159 --> 00:34:55.320
rules a bit, but I love this score so much

599
00:34:55.360 --> 00:34:57.599
that it had to make my top five pick for

600
00:34:57.840 --> 00:35:01.840
best John Williams score. In nineteen eighty five, at the

601
00:35:01.880 --> 00:35:05.559
height of his career, Steven Spielberg had an idea, what

602
00:35:06.079 --> 00:35:09.079
if I took the look and feel of big budget

603
00:35:09.119 --> 00:35:12.679
Hollywood motion pictures, but size it down into a half

604
00:35:12.679 --> 00:35:16.440
hour anthology series for family viewing right in your own home.

605
00:35:17.079 --> 00:35:20.760
And from that idea sprung Amazing Stories, a half hour

606
00:35:20.800 --> 00:35:27.000
television series emphasizing wonderment, fantasy, irony, and comedy. But Spielberg

607
00:35:27.079 --> 00:35:28.679
knew that the only way to achieve this was to

608
00:35:28.719 --> 00:35:31.719
bring some of Hollywood's top talent on board as well,

609
00:35:32.039 --> 00:35:33.639
and the only way he would be able to do

610
00:35:33.679 --> 00:35:37.239
that is to show them by stepping right in and

611
00:35:37.320 --> 00:35:41.079
doing it himself. Spielberg directed episodes, and because of this

612
00:35:41.199 --> 00:35:43.199
he was able to get big names like Peter Hyam's,

613
00:35:43.239 --> 00:35:48.119
Burt Reynolds, Clint Eastwood, Jo Dante, Martin Scorsese, Tim Burton, Roberts,

614
00:35:48.159 --> 00:35:50.679
and Mechison many many more to join him on that

615
00:35:50.880 --> 00:35:55.639
TV adventure. But he allowed these famed directors not only

616
00:35:55.679 --> 00:35:57.840
the freedom to do what they wanted, but to bring

617
00:35:57.920 --> 00:36:01.159
their own people to work with them as well. And

618
00:36:01.519 --> 00:36:03.639
because of this, amazing stories of some of the most

619
00:36:03.639 --> 00:36:07.719
incredible and diverse musical scores ever written for television, music

620
00:36:07.760 --> 00:36:12.440
by Jerry Goldsmith, James Horner, Danny Elfman, Allen Silistrie, George Delarue,

621
00:36:12.880 --> 00:36:16.440
my Uncle Kaymen, Bruce Broughton, David Newman, Thomas Newman, so

622
00:36:16.440 --> 00:36:18.840
many more. I could just go on continuing naming, but

623
00:36:19.280 --> 00:36:22.079
it goes without saying that Spielberg's own episodes would be

624
00:36:22.079 --> 00:36:25.599
scored by his friend and musical partner John Williams. Of course,

625
00:36:25.639 --> 00:36:28.400
Williams provided the opening and closing theme for the series,

626
00:36:28.440 --> 00:36:31.920
as well as the pilot episode, but his second effort

627
00:36:32.039 --> 00:36:35.000
that makes my top five list, the fifth episode called

628
00:36:35.280 --> 00:36:38.800
The Mission. This was a special episode in hour long

629
00:36:38.840 --> 00:36:41.599
World War two drama again directed by Steven Spielberg and

630
00:36:41.639 --> 00:36:44.599
starring Kevin Costner, who plays an airman of a B

631
00:36:44.760 --> 00:36:48.119
seventeen bomber who one of his crew members could become

632
00:36:48.159 --> 00:36:51.559
trapped in the belly turrant after a fireflight and is

633
00:36:51.599 --> 00:36:55.519
fated to die when the plane has to land. It's

634
00:36:55.559 --> 00:37:00.599
got some amazing special effects, beautifully shot, beautifully directed, stands

635
00:37:00.599 --> 00:37:04.159
as the first scripted TV episode ever to be broadcast

636
00:37:04.199 --> 00:37:07.480
in stereo surround sound. So it's fitting that John Williams

637
00:37:07.519 --> 00:37:10.440
would give it his all, delivering us one of his

638
00:37:10.519 --> 00:37:15.039
most remarkable scores ever for television, one that stands right

639
00:37:15.039 --> 00:37:19.320
alongside Et the Extraterrestrial and Raiders the Lost Art. Now,

640
00:37:19.480 --> 00:37:22.519
two cues I want to point out. The first one

641
00:37:22.599 --> 00:37:25.519
is The Parachute and the Control Room, which plays over

642
00:37:25.559 --> 00:37:27.039
the scene where the crew come up with the idea

643
00:37:27.039 --> 00:37:29.760
of shoving a parachute into the turret so Jonathan can

644
00:37:29.800 --> 00:37:33.400
jump out. It's an incredibly suspenseful piece with crazy strings

645
00:37:33.400 --> 00:37:35.800
and frantic woodwinds that build up to a hopeful glee

646
00:37:35.840 --> 00:37:37.880
until it all begins to fall apart and the parachute

647
00:37:37.960 --> 00:37:41.119
is ripped, and then the music instantly goes solemn and

648
00:37:41.199 --> 00:37:44.599
dramatic as they begin to lose all fool. The highlight

649
00:37:44.679 --> 00:37:48.280
of the entire score is the final massive queue titled

650
00:37:48.360 --> 00:37:52.000
Jonathan Begins to Draw and the Landing, over eleven minutes

651
00:37:52.079 --> 00:37:54.880
long and plays from the return from the final commercial

652
00:37:54.920 --> 00:37:58.360
break to the end of the episode without stopping. This

653
00:37:58.440 --> 00:38:00.960
piece is one of the finest exam pulls a suspense

654
00:38:01.239 --> 00:38:04.719
and emotional build up that Williams has ever produced. It

655
00:38:04.800 --> 00:38:07.679
starts off slowly with his themes that he had created

656
00:38:08.000 --> 00:38:11.079
and begins to build with every refrain, adding percussion and

657
00:38:11.119 --> 00:38:14.039
brass along the way, and then just when the tension

658
00:38:14.079 --> 00:38:17.760
becomes unbearable, Williams releases it all with an incredible fanfare

659
00:38:17.760 --> 00:38:20.840
of brass and strings as the plane makes a miraculous

660
00:38:20.840 --> 00:38:25.360
safe landing. But once fanfare is over, it once again

661
00:38:25.400 --> 00:38:28.559
goes quiet with a surreal and magical style that before

662
00:38:28.599 --> 00:38:33.119
bringing back the full orchestra one final beautiful rendition of

663
00:38:33.119 --> 00:38:41.000
the theme to play the episode out. This music, it's

664
00:38:41.079 --> 00:38:43.800
just absolutely incredible, and it really reminds me of the

665
00:38:43.800 --> 00:38:47.320
score that he wrote for Et, especially the build up

666
00:38:47.320 --> 00:38:49.880
that Williams given it just because it's TV. He put

667
00:38:50.159 --> 00:38:54.000
everything he had into it and created the most incredible

668
00:38:54.119 --> 00:38:56.880
television work ever. And it is out on CD, but

669
00:38:56.920 --> 00:38:59.920
it's really hard to find. Back in two thousand and six,

670
00:39:00.679 --> 00:39:05.039
in Torotter Records released a three volume Amazing Story Set,

671
00:39:05.519 --> 00:39:09.079
which had six CDs. The Mission is the final score

672
00:39:09.119 --> 00:39:12.760
included on volume three. It's complete, along with eight other

673
00:39:12.960 --> 00:39:16.039
episode scores and an unused version of the main title,

674
00:39:16.199 --> 00:39:18.519
the end credits, and William's own theme he created for

675
00:39:18.559 --> 00:39:21.480
the Ambuland logo. They're all out of print and they

676
00:39:21.480 --> 00:39:23.400
are really expensive, but if you can get your hands

677
00:39:23.400 --> 00:39:25.440
on one, get it. It's worth it.

678
00:39:25.559 --> 00:39:29.159
Good pick only, Yeah, a great pick. I have two

679
00:39:29.159 --> 00:39:33.440
things to say about this choice. First off, our very

680
00:39:33.440 --> 00:39:38.280
own Amber lewis the voice of reason. She too happens

681
00:39:38.320 --> 00:39:42.679
to be a huge John Williams fan, and Wayne is

682
00:39:42.960 --> 00:39:47.079
clearly channeling a little bit of Amber here as he

683
00:39:47.960 --> 00:39:50.039
breaks the rules and just goes, we're gonna do a

684
00:39:50.039 --> 00:39:53.960
TV theme. So I'm sure Amber is happy to hear

685
00:39:54.559 --> 00:39:56.079
Wayne talking about this one.

686
00:39:56.760 --> 00:39:59.119
I had to I listened to it so many times,

687
00:39:59.159 --> 00:40:01.280
you know this one. I went to pick my top five,

688
00:40:01.320 --> 00:40:03.280
I had to look at which scores do I enjoy

689
00:40:03.320 --> 00:40:05.719
the most, which ones by listening the most? This one

690
00:40:05.840 --> 00:40:07.320
is way up there at the top of the list.

691
00:40:07.719 --> 00:40:11.920
Well listeners, Wayne, you know, he kind of shared some

692
00:40:12.000 --> 00:40:16.440
of the incredible composers that were part of Amazing Stories.

693
00:40:16.480 --> 00:40:22.280
He gave you just a murderer's row of legendary directors

694
00:40:22.280 --> 00:40:25.119
who were involved with this show. You guys are so

695
00:40:25.239 --> 00:40:29.719
busy on phaser sets of stun But I hold out

696
00:40:29.719 --> 00:40:32.960
hope that one day we'll get the the the Amazing

697
00:40:33.000 --> 00:40:36.559
Stories limited series where you guys go back and talk

698
00:40:36.599 --> 00:40:38.800
about this, because man, I would love to hear it.

699
00:40:38.760 --> 00:40:40.760
But I'd love to do that. I love this series.

700
00:40:41.039 --> 00:40:45.360
One day, Yeah, all right, we one day soon. In

701
00:40:45.400 --> 00:40:49.480
the meantime, though, David your number three pick.

702
00:40:50.159 --> 00:40:52.039
So I think Wayne's kind of like looking at my

703
00:40:52.159 --> 00:40:55.119
notes because I know when he was talking about his

704
00:40:55.199 --> 00:40:58.599
fifth pick, he mentioned the word magic, which obviously led

705
00:40:58.599 --> 00:41:03.239
into my Harry Potter. This time he mentions a particular

706
00:41:03.320 --> 00:41:07.840
movie that's very close to what he was discussing, and

707
00:41:07.920 --> 00:41:10.519
of course I'm talking about nineteen eighty two. Is et

708
00:41:11.440 --> 00:41:15.639
This film I vividly, vividly remember seeing in the theater

709
00:41:15.719 --> 00:41:17.119
when I was a kid, and I'm never going to

710
00:41:17.159 --> 00:41:21.719
forget the experience because I know as pretty much probably

711
00:41:21.719 --> 00:41:23.280
everybody who saw this in the theater, and I think

712
00:41:23.280 --> 00:41:24.960
it was the entire country who saw this in the

713
00:41:24.960 --> 00:41:28.239
theater and probably went back multiple times to see it.

714
00:41:29.239 --> 00:41:31.920
Not a dry eye in the house. And I remember

715
00:41:32.320 --> 00:41:35.039
being that young and just bawling my eyes out at

716
00:41:35.039 --> 00:41:38.280
the end of this film. So there are two tracks

717
00:41:38.599 --> 00:41:40.639
of that goes along with this score. Again, the whole

718
00:41:40.639 --> 00:41:43.880
score is just beautifully done and pretty similar to what

719
00:41:43.880 --> 00:41:46.679
Wayne mentions on how John Williams is just a master

720
00:41:46.760 --> 00:41:49.039
of just that build up that he does, and he

721
00:41:49.079 --> 00:42:28.199
does it brilliantly throughout this score. The first one is flying.

722
00:42:28.360 --> 00:42:31.880
In this segment, the musical theme vividly accompanies the moment

723
00:42:31.920 --> 00:42:35.639
when Elliott's bike is pushed to its limits, careening towards

724
00:42:35.679 --> 00:42:38.719
the edge of a cliff, before magically lifted into the

725
00:42:38.760 --> 00:42:41.599
air as the bike soars across the sky in front

726
00:42:41.639 --> 00:42:46.360
of the moon. The score perfectly captures a sense of childhood, innocence, dreams,

727
00:42:46.400 --> 00:42:51.119
and wonder. John Williams's composition evokes the spirit of exploration,

728
00:42:51.519 --> 00:42:55.000
an adventure that resonates with audiences, reminding us of the

729
00:42:55.079 --> 00:42:59.119
excitement and imagination we experience as children. The theme is

730
00:42:59.159 --> 00:43:02.440
as epic and memorable in its musical form as it

731
00:43:02.519 --> 00:43:06.039
is the iconic visual of Elliott and Et flying together,

732
00:43:06.360 --> 00:43:12.960
a moment that remains etched in cinematic history. The second piece,

733
00:43:13.400 --> 00:43:17.719
which is clearly my favorite of all of ET, is

734
00:43:17.800 --> 00:43:21.639
Adventure on Earth. This stands out as a remarkable track

735
00:43:21.800 --> 00:43:24.199
both in the album and in the film. With a

736
00:43:24.280 --> 00:43:27.840
duration of over fifteen minutes, every note in this orchestra

737
00:43:27.920 --> 00:43:32.079
piece evokes the wonder and excitement of childhood, capturing the

738
00:43:32.079 --> 00:43:35.000
innocence of magic and adventure that defines the story of Et.

739
00:43:35.880 --> 00:43:38.960
The music mirrors the urgency in the exhilaration of the

740
00:43:38.960 --> 00:43:44.239
film's climactic scenes, racing through the neighborhood, escaping the authorities

741
00:43:44.280 --> 00:43:47.000
on flying bikes, and plunging into the forest in a

742
00:43:47.039 --> 00:43:51.840
desperate bid for freedom. John Williams masterfully guides listeners through

743
00:43:51.840 --> 00:43:55.320
a journey of suspense and emotion. The score beckons us

744
00:43:55.360 --> 00:43:58.880
to follow the characters into the unknown, building anticipation for

745
00:43:58.960 --> 00:44:01.960
the pivotal moment when Elliott must say goodbye to Et.

746
00:44:02.719 --> 00:44:06.480
The orchestration swells with emotion, reflecting both the hope and

747
00:44:06.519 --> 00:44:10.360
the heartbreak of letting go As the music reaches its crescendo,

748
00:44:10.639 --> 00:44:15.079
it encapsulates the bittersweet farewell, allowing us to experience every

749
00:44:15.199 --> 00:44:19.679
tear and every heart felt goodbye alongside the characters. This

750
00:44:19.800 --> 00:44:22.400
piece is more than just a soundtrack. It is a

751
00:44:22.440 --> 00:44:27.840
powerful narrative in itself. William's composition heals and uplifts, leaving

752
00:44:27.880 --> 00:44:31.320
a lasting impression that resonates deeply with anyone who has

753
00:44:31.360 --> 00:44:35.480
witnessed the story unfold on screen. The final notes, paired

754
00:44:35.480 --> 00:44:38.480
with the iconic line I will be right here, wrap

755
00:44:38.559 --> 00:44:42.519
up the emotional journey, ensuring that this score remains unforgettable

756
00:44:42.559 --> 00:44:44.599
for generations of listeners.

757
00:44:45.199 --> 00:44:52.480
What an amazing film score PT is. Yep, David, you

758
00:44:52.679 --> 00:44:55.679
just took me back. So I'll tell you this. The

759
00:44:55.880 --> 00:44:59.920
very first movie I ever saw in a movie theater

760
00:45:01.159 --> 00:45:03.199
was E t the Extra Trestdrill. I remember, I was

761
00:45:03.239 --> 00:45:07.039
six years old. I was captivated, and I remember bawling

762
00:45:07.079 --> 00:45:11.079
my eyes out at that that pivotal moment when when

763
00:45:11.199 --> 00:45:15.360
Et dies and you you you're crushed. You know, I

764
00:45:15.360 --> 00:45:18.199
didn't understand what was going on at six years old.

765
00:45:18.280 --> 00:45:22.039
But you know, we've we've we've talked, guys, We've we've

766
00:45:22.159 --> 00:45:26.639
we've talked with with the the the Beautiful d Wallace

767
00:45:26.679 --> 00:45:29.400
several times. Oh yeah, we you know, she's very fond

768
00:45:29.440 --> 00:45:30.239
of the other film.

769
00:45:30.880 --> 00:45:31.800
Uh.

770
00:45:31.840 --> 00:45:33.400
And you know, I've been to univer we we've all

771
00:45:33.400 --> 00:45:35.760
been to Universal Studios. We've with E T the Ride,

772
00:45:36.400 --> 00:45:40.239
all of this. None of it works without this beautiful music.

773
00:45:41.360 --> 00:45:44.159
And it's David. It's a It's an absolutely great choice.

774
00:45:46.039 --> 00:45:48.000
I know we got we only got a couple of

775
00:45:48.000 --> 00:45:50.840
picks left for you guys. But before we move forward,

776
00:45:51.440 --> 00:45:53.079
you know, and I got to jump back to Wayne

777
00:45:53.079 --> 00:45:55.239
here since he he brought a TV theme and you know,

778
00:45:55.320 --> 00:45:59.119
kind of piqued my interest with John Williams and TV. Way, Wayne,

779
00:45:59.119 --> 00:46:01.599
can we talk a little bit of about his television work.

780
00:46:02.119 --> 00:46:05.440
He's worked a lot on television before. Wayne.

781
00:46:05.559 --> 00:46:07.679
I do know I knew one big one that you're

782
00:46:07.679 --> 00:46:10.599
going to mention, So go ahead. I'm excited to hear

783
00:46:11.679 --> 00:46:15.079
the one sci fi series that Wayne's going to mention

784
00:46:15.119 --> 00:46:16.119
that John Williams did.

785
00:46:16.400 --> 00:46:19.519
Oh oh yeah, of course, Landed the Giants. I absolutely

786
00:46:19.760 --> 00:46:20.119
love that.

787
00:46:20.159 --> 00:46:21.920
I know that's not what you That's not what I'm

788
00:46:21.960 --> 00:46:22.360
thinking of.

789
00:46:23.320 --> 00:46:28.079
I try you're talking about Lost in Space. Yes, Lost

790
00:46:28.079 --> 00:46:31.320
in Space. I mean you know that was That series

791
00:46:31.400 --> 00:46:33.679
was produced by Irwin Allen along with the Time Tunnel

792
00:46:33.719 --> 00:46:37.679
and Land of the Giants, and Alan and Williams had

793
00:46:37.679 --> 00:46:40.639
a partnership before even long before Williams of Spielberg and

794
00:46:42.039 --> 00:46:45.400
John Williams was the the head composer on Lost in Space,

795
00:46:45.440 --> 00:46:49.199
which means his music was prominent and used throughout the

796
00:46:49.360 --> 00:46:52.760
entire three three years of this series. And it's it's incredible.

797
00:46:52.760 --> 00:46:55.440
It's once again, it's that sixties style that I talked

798
00:46:55.440 --> 00:46:59.199
about earlier, but it's probably the closest you can you

799
00:46:59.239 --> 00:47:03.000
can hear within his scores for the first season, the

800
00:47:04.039 --> 00:47:07.280
seeds that would eventually become the Star Wars films, yep.

801
00:47:07.599 --> 00:47:10.400
Because you know, like just like the Star Wars films,

802
00:47:10.400 --> 00:47:12.280
where he's got you got Yo Yoda's themes, you got

803
00:47:12.360 --> 00:47:14.719
your Darth Vader's theme, you got your your Jaba theme.

804
00:47:14.880 --> 00:47:16.480
You know, you got themes for different characters. He did

805
00:47:16.480 --> 00:47:19.079
the same thing in Lost in Space. You know, you

806
00:47:19.119 --> 00:47:21.039
have your robot theme, you have your chariot theme, you

807
00:47:21.079 --> 00:47:25.119
have Will's theme, the launch theme. You know, it's very very,

808
00:47:25.280 --> 00:47:27.679
very similar, and you can hear that style, even though

809
00:47:27.719 --> 00:47:30.320
the sound, the sixties sound is very different from what

810
00:47:30.320 --> 00:47:32.039
he was doing in the seventies. But it's it's an

811
00:47:32.039 --> 00:47:35.280
incredible body of work that he did throughout all the

812
00:47:35.280 --> 00:47:39.320
three years. He only actually composed scores for the first season.

813
00:47:40.159 --> 00:47:42.800
But and I'm going to explain this later on when

814
00:47:42.800 --> 00:47:45.920
I get to my first first choice in more detail,

815
00:47:46.000 --> 00:47:49.400
but he had to come back every season and reperform

816
00:47:49.559 --> 00:47:52.840
his his music so that they can use it throughout

817
00:47:52.840 --> 00:47:54.360
the series, and then a kuaike A CD. He mentioned

818
00:47:54.679 --> 00:47:58.199
he did Time Tunnel, which is another wonderful score he put.

819
00:47:58.280 --> 00:48:01.039
He scored the pilot which had them going back to

820
00:48:01.039 --> 00:48:03.480
the Titanic. So if you ever want to hear him

821
00:48:03.519 --> 00:48:06.320
doing his score with the Titanic, there it is. And

822
00:48:06.400 --> 00:48:09.480
Land of the Giants is absolutely incredible. It's probably the

823
00:48:09.519 --> 00:48:12.480
closest to his sound of Star Wars and of like

824
00:48:12.559 --> 00:48:15.079
Superman than he's had he ever got, only because it's

825
00:48:15.079 --> 00:48:19.880
like seven years before. But he scored every second of

826
00:48:19.880 --> 00:48:23.800
that episode. His music only stops for the commercial breaks

827
00:48:23.920 --> 00:48:26.239
in that pilot episode of Land of the Giants, and

828
00:48:26.320 --> 00:48:27.119
I love that.

829
00:48:28.840 --> 00:48:31.400
Wayne. I'm glad you're the one offer in your picks

830
00:48:31.480 --> 00:48:36.920
because I could not be talking about Williams in the

831
00:48:37.000 --> 00:48:42.039
depth that you are tonight. With the jazz and the

832
00:48:42.480 --> 00:48:45.559
sixties compositions and then the TV stuff, So thank you

833
00:48:45.599 --> 00:48:50.400
for that. I gotta be honest, I was surprised, you guys.

834
00:48:50.599 --> 00:48:52.320
I kind of had the idea like, oh, this will

835
00:48:52.679 --> 00:48:55.119
this might not be a very long episode because you

836
00:48:55.159 --> 00:48:57.360
guys are really give me your top five John Williams

837
00:48:57.400 --> 00:49:00.800
picks and you're probably there's gonna be a lot of crossover,

838
00:49:01.079 --> 00:49:05.760
is what I had initially prepared for. And it's it's

839
00:49:05.880 --> 00:49:09.639
not until your number two picks where you guys finally

840
00:49:10.559 --> 00:49:16.039
are sharing one. So David, I think it's, uh, we'll

841
00:49:16.039 --> 00:49:18.880
start with you, and because I'm sure Wayne's gonna have

842
00:49:18.920 --> 00:49:22.800
plenty to say about this one, but I'm sure, yeah,

843
00:49:22.480 --> 00:49:24.559
but what are we talking about? What is the number

844
00:49:24.599 --> 00:49:26.880
two pick that you guys both have on your list.

845
00:49:27.440 --> 00:49:31.039
So it's a it's a tiny science fiction film from

846
00:49:31.159 --> 00:49:34.800
nineteen eighty yep, and it's called Star Wars The Empire

847
00:49:35.079 --> 00:49:38.719
Strikes Back, which still is the best Star Wars film

848
00:49:38.760 --> 00:50:46.119
ever made in my opinion, by the way.

849
00:50:13.920 --> 00:50:16.840
That's not just your opinion, that's my mine too.

850
00:50:17.440 --> 00:50:19.880
And it's probably the best the best music that John

851
00:50:19.880 --> 00:50:23.840
Williams had done of the entire series, as well, and

852
00:50:23.960 --> 00:50:27.079
there's two reasons why for me that this is the

853
00:50:27.119 --> 00:50:30.519
best Star Wars music from John Williams. The first one obviously,

854
00:50:30.559 --> 00:50:32.719
and Wayne kind of you know touch based on this too,

855
00:50:32.800 --> 00:50:36.639
that John Williams is incredible with his themes. Uh, He's

856
00:50:36.679 --> 00:50:39.400
done so well with that and pretty much everything he's touched,

857
00:50:39.880 --> 00:50:41.639
especially you know he got into the seventy eighties and

858
00:50:41.679 --> 00:50:43.760
nineties and stuff that, you know, his his themes are

859
00:50:43.800 --> 00:50:48.039
just beautifully done and beautifully written. But the first one, obviously,

860
00:50:48.159 --> 00:50:50.239
and no one's gonna be surprised when I mentioned this,

861
00:50:50.320 --> 00:50:54.480
and this is the Imperial March, among the best themes

862
00:50:54.639 --> 00:50:58.199
for any villain. The Imperial March stands as a defining

863
00:50:58.320 --> 00:51:02.239
musical statement in cinema. From its very first notes, listeners

864
00:51:02.280 --> 00:51:05.239
can envision Darth Vader's striding through ranks of troops, with

865
00:51:05.480 --> 00:51:09.719
massive star destroyers gliding across space and tie fighters screaming past.

866
00:51:10.480 --> 00:51:13.239
This piece perfectly embodies the strength and power of Vader

867
00:51:13.320 --> 00:51:17.239
in the entire empire, illustrating the immense control he wields

868
00:51:17.239 --> 00:51:21.440
over his military and the galaxy itself. John Williams's brilliance

869
00:51:21.840 --> 00:51:25.559
shines through in this instantly recognizable theme, which has become

870
00:51:25.599 --> 00:51:28.519
synonymous with impending doom and the reign of the Emperor

871
00:51:28.519 --> 00:51:31.920
and his sith Lord. The Imperial March is without question

872
00:51:32.280 --> 00:51:36.039
the definitive musical representation of the Empire, signaling the arrival

873
00:51:36.079 --> 00:51:40.559
of death and destruction whenever it is heard now. The

874
00:51:40.679 --> 00:51:45.440
second piece is probably very close to being my favorite,

875
00:51:45.480 --> 00:51:48.280
as is the Imperial March, and Wayne might agree with

876
00:51:48.320 --> 00:51:50.679
me on this, I don't know, but this is the

877
00:51:50.719 --> 00:51:54.800
Battle of haalth oh Yea. This expansive piece from the

878
00:51:54.800 --> 00:51:58.599
Empire strikes Back masterfully captures the intensity and drama of

879
00:51:58.639 --> 00:52:02.440
the Battle of Haalth Banning nearly fifteen minutes, John Williams

880
00:52:02.440 --> 00:52:06.239
Scores takes listeners on a journey from the tense anticipation

881
00:52:06.320 --> 00:52:09.639
of trench warfare to the exhilarating flight of snow speeders,

882
00:52:09.679 --> 00:52:12.719
weaving through the icy landscape and around the towering of

883
00:52:12.800 --> 00:52:16.639
at eight walkers. The music opens with a sweeping rendition

884
00:52:16.760 --> 00:52:20.800
of the familiar Star Wars theme, dramatic inviting, before gradually

885
00:52:20.840 --> 00:52:24.960
building momentum as the action unfolds. Brief interludes of the

886
00:52:24.960 --> 00:52:27.960
Imperial Marts signal the looming threat of the Empire, while

887
00:52:27.960 --> 00:52:31.199
the piano magnifies the imposing presence of the at eighties

888
00:52:31.239 --> 00:52:35.679
as they advance, each step echoing and pending doom. As

889
00:52:35.719 --> 00:52:39.360
the battle escalates, the tempo quickens, mirroring the frantic pace

890
00:52:39.400 --> 00:52:42.719
of the snow Speeders and the chaos of combat. William's

891
00:52:42.719 --> 00:52:46.760
composition perfectly synchronizes with the on screen destruction and fast

892
00:52:46.840 --> 00:52:50.360
paced action from the trenches to the base, desperate evacuation,

893
00:52:50.800 --> 00:52:53.119
and the speeders darting between the legs and the massive

894
00:52:53.159 --> 00:52:58.000
metal walkers. The result is a thrilling musical narrative that

895
00:52:58.039 --> 00:53:01.920
not only matches the visuals, but also heightens the emotional

896
00:53:01.960 --> 00:53:05.039
impact of one of cinema's most memorable battles.

897
00:53:05.679 --> 00:53:08.639
David, that was very well, said Wayne, I you know

898
00:53:08.960 --> 00:53:10.960
anything you want to add?

899
00:53:13.079 --> 00:53:15.360
Well, this was probably my only obvious choice for the

900
00:53:15.360 --> 00:53:17.239
favorite the list. But how could I not choose this?

901
00:53:18.119 --> 00:53:20.960
You know. I won't go into the details because David,

902
00:53:21.000 --> 00:53:23.239
you did a phenomenal job on that, but I want

903
00:53:23.280 --> 00:53:26.880
to tell you why I think this and my number

904
00:53:26.880 --> 00:53:30.960
one pick that I chose coming up is on my list.

905
00:53:31.519 --> 00:53:34.519
The score to The Empire Strikes Back is is everything

906
00:53:34.840 --> 00:53:39.119
a perfect film score should be. It's music that perfectly

907
00:53:39.159 --> 00:53:41.760
accompanies the images on screen. It's it's a tone in

908
00:53:41.800 --> 00:53:45.800
emotion for the scenes that it underscores, but it tells

909
00:53:45.880 --> 00:53:49.440
the story both on screen and while listening to it separately.

910
00:53:50.199 --> 00:53:52.400
You know, when you listen to his cues, like what

911
00:53:52.480 --> 00:53:55.000
you mentioned the Battle of Hawk, you can close your

912
00:53:55.039 --> 00:53:59.320
eyes and listen, and you know through the music, the dialogue,

913
00:53:59.360 --> 00:54:02.559
the movement of the actors, the steps of the ad ads,

914
00:54:02.599 --> 00:54:05.159
Because the music is telling you the story just as

915
00:54:05.199 --> 00:54:08.800
much as Irban Kirshner did on screen. You can hear

916
00:54:08.840 --> 00:54:12.320
the moments when the Millennium Falcon enters the asteroid field,

917
00:54:12.559 --> 00:54:15.079
when Yoda lifts the X wing with the force, when

918
00:54:15.159 --> 00:54:18.679
Leah and Lando and the others narrowly escapes Cloud City.

919
00:54:19.159 --> 00:54:23.880
His themes are so memorable, and they forced our way

920
00:54:23.880 --> 00:54:26.320
into pulp culture. Really, I mean, like you mentioned, Imperial

921
00:54:26.360 --> 00:54:28.119
March is one of the most iconic moments in film

922
00:54:28.199 --> 00:54:32.559
music history. It's just absolutely incredible. No other composer could

923
00:54:32.599 --> 00:54:36.039
ever do it better than him, I'll say that right now.

924
00:54:36.519 --> 00:54:39.920
And you mentioned probably my favorite cue of the entire score,

925
00:54:40.000 --> 00:54:41.679
one of the longest one too. But I also want

926
00:54:41.719 --> 00:54:45.119
to bring up a short one, the Clash of Lightsabers

927
00:54:45.159 --> 00:54:47.880
and the stormtroopers are coming. It's a short piece compared

928
00:54:47.920 --> 00:54:50.360
to the rest, but that's the scene where Lando and

929
00:54:50.480 --> 00:54:53.599
Lea are running towards the money of Hooking to escape

930
00:54:53.639 --> 00:54:57.280
from Cloud City. It's a fanfare that showcases all of

931
00:54:57.280 --> 00:55:00.360
Williams's new themes that he wrote the full hour of

932
00:55:00.360 --> 00:55:06.639
the London Symphony Orchestra. It's just an incredibly beautiful but

933
00:55:06.880 --> 00:55:09.480
strong piece of music that it's not quite the end

934
00:55:09.519 --> 00:55:12.280
of the film, but it's it's a great lead in

935
00:55:12.719 --> 00:55:15.679
to to what we've got you know what's coming for

936
00:55:15.800 --> 00:55:16.599
the final scenes.

937
00:55:27.239 --> 00:56:09.320
H You guys have offered us some incredible picks and

938
00:56:09.800 --> 00:56:12.880
we are now on our way. There's only there's only

939
00:56:12.960 --> 00:56:14.360
one left. I know you guys are gonna sneak in

940
00:56:14.880 --> 00:56:19.639
honorable mention listeners. Yeah, of course you will. Listeners. I'm

941
00:56:19.679 --> 00:56:22.639
just I'm just checking my my list and I still

942
00:56:22.679 --> 00:56:25.239
see two that you guys haven't talked about that would

943
00:56:25.239 --> 00:56:29.360
be on my top five. And listeners, if you're like me, uh,

944
00:56:29.719 --> 00:56:34.280
probably wondering will they name one of your choices that's

945
00:56:34.280 --> 00:56:36.960
on your list. We're gonna take one last break and

946
00:56:37.000 --> 00:56:39.480
when we come back we'll find out.

947
00:56:42.920 --> 00:56:46.119
Ever noticed how some of the most legendary movies, TV shows,

948
00:56:46.159 --> 00:56:48.159
and songs were never supposed.

949
00:56:47.800 --> 00:56:51.159
To work, box office flops, on paper, network rejects, songs

950
00:56:51.159 --> 00:56:52.440
the artists didn't even want to.

951
00:56:52.400 --> 00:56:56.639
Record, and yet boom instant classic cultural obsession songs that

952
00:56:56.639 --> 00:56:59.440
have played everywhere NonStop for decades.

953
00:56:59.599 --> 00:57:01.440
We dig it to the projects that were supposed to

954
00:57:01.480 --> 00:57:03.920
flop and accidentally became icons.

955
00:57:04.039 --> 00:57:07.760
Bad ideas, bad timing, somehow perfect results.

956
00:57:07.960 --> 00:57:11.159
This is the accident the legends, proving that failure is

957
00:57:11.239 --> 00:57:12.960
just a success that showed up late.

958
00:57:13.079 --> 00:57:17.559
We're available anywhere that you find podcasts, Speaker, Apple or Spotify.

959
00:57:21.119 --> 00:57:25.360
All right, gentlemen, you have given us some amazing picks

960
00:57:25.360 --> 00:57:30.880
so far, and I know you're gonna you got to

961
00:57:30.880 --> 00:57:34.679
give us an honorable mention. So Wayne, I'm gonna let

962
00:57:34.679 --> 00:57:40.679
you you start. Tell us about a John Williams score

963
00:57:41.400 --> 00:57:45.360
that almost made your list. Not good enough to make it,

964
00:57:45.400 --> 00:57:47.480
but yeah, but good enough just to just to give

965
00:57:47.480 --> 00:57:47.880
it a mention.

966
00:57:48.400 --> 00:57:51.239
Oh, it came very very close. But my honorable mention

967
00:57:51.360 --> 00:57:53.599
has got to be a score that many people have

968
00:57:53.679 --> 00:57:56.920
never really even heard or have just forgotten about. And

969
00:57:56.960 --> 00:58:00.840
that's his music for the nineteen seventy nine horror adaption Dracula.

970
00:58:01.400 --> 00:58:03.639
If you haven't seen this film, please go and watch it.

971
00:58:03.639 --> 00:58:06.360
It's a gorgeous film. It's beautifully acted, beautifully directed, and

972
00:58:06.400 --> 00:58:10.360
Williams's music that's the icing on the cake. He's never

973
00:58:10.400 --> 00:58:13.719
made a horror movie sound so beautiful, you know. He

974
00:58:13.960 --> 00:58:17.119
approached it like a tragic love story and wrote these long,

975
00:58:17.199 --> 00:58:21.519
sweeping melodies that give the count a sense of dark melancholy,

976
00:58:21.760 --> 00:58:27.920
just beautiful, lush strings, fantastic use some action sequences. It's

977
00:58:28.480 --> 00:58:31.760
definitely an incredible score. Just it blows my mind how

978
00:58:32.159 --> 00:58:36.960
this little film of Dracula got this, this just beautiful

979
00:58:36.960 --> 00:58:41.079
score by John Williams. And this score was lost for

980
00:58:41.119 --> 00:58:43.760
a very very long time. The tapes, the original tapes

981
00:58:43.840 --> 00:58:47.239
were lost, and it had an album released back in

982
00:58:47.320 --> 00:58:50.159
nineteen seventy nine, and then they couldn't find them, and

983
00:58:50.199 --> 00:58:52.639
I was so sad. But it was just a few

984
00:58:52.679 --> 00:58:56.000
years ago they actually found the original tapes and released it,

985
00:58:56.159 --> 00:58:59.360
remastered it and it's available. Go find it out, Go

986
00:58:59.400 --> 00:59:02.360
watch this film, Go find the score. You'll never regret it,

987
00:59:02.400 --> 00:59:04.000
because this is just absolutely incredible.

988
00:59:04.480 --> 00:59:05.199
It is a good rank.

989
00:59:05.679 --> 00:59:09.000
Franklin Jella as Dracula is one of the all time greats.

990
00:59:09.239 --> 00:59:14.320
As far as Dracula performances goes David an honorable mention

991
00:59:14.559 --> 00:59:18.840
something that is great because it's John Williams, but just

992
00:59:18.880 --> 00:59:20.360
not great enough to make your list.

993
00:59:20.599 --> 00:59:23.039
So Jeff, I'm throwing an audible here. I gave you

994
00:59:23.159 --> 00:59:25.559
my one that I thought I was going to do,

995
00:59:25.599 --> 00:59:28.840
but I decided to go a different route for my

996
00:59:29.159 --> 00:59:34.159
nable mention. So I've always enjoyed this score, but the

997
00:59:34.239 --> 00:59:37.639
third time I saw John Walliams live in concert really

998
00:59:38.039 --> 00:59:41.639
made me fall in love with this score. Matter of fact,

999
00:59:41.679 --> 00:59:44.519
it even made me well up a little bit for

1000
00:59:44.599 --> 00:59:47.519
tears because of just how good it was hearing it

1001
00:59:47.559 --> 00:59:50.559
live in person from John Williams. Of course, I'm going

1002
00:59:50.599 --> 00:59:52.679
to go back to the seventies like Wayne, I'm going

1003
00:59:52.719 --> 00:59:54.920
a little bit further back into the seventies. I went

1004
00:59:55.039 --> 00:59:58.800
to a John Wayne film from nineteen seventy two called

1005
00:59:59.119 --> 01:00:03.039
The Cowboys. The main title of The Cowboys is everything

1006
01:00:03.039 --> 01:00:06.320
you would hope for, playful, adventurous, and brought to life

1007
01:00:06.320 --> 01:00:09.800
by the sweeping orchestration that John Williams is renowned for

1008
01:00:10.400 --> 01:00:13.239
epic and scope. The music perfectly captures the spirit of

1009
01:00:13.280 --> 01:00:17.119
high adventure in the American West, roping, fighting, riding horseback,

1010
01:00:17.199 --> 01:00:20.360
and the youthful exuberance of boys discovering what it means

1011
01:00:20.360 --> 01:00:23.559
to be a cowboy. Led by the legendary John Wayne,

1012
01:00:23.920 --> 01:00:26.360
these young cowboys are accompanied by a score that evokes

1013
01:00:26.400 --> 01:00:30.280
the vastness and openness of the prairies. Williams masterfully intertwines

1014
01:00:30.320 --> 01:00:34.280
themes of danger and youthful optimism, inviting listeners to imagine

1015
01:00:34.280 --> 01:00:35.719
what it must have been like to be young in

1016
01:00:35.760 --> 01:00:38.599
a world where excitement and peril were never far away.

1017
01:00:39.480 --> 01:00:43.239
This piece is a testament to Williams's versatility, proving he

1018
01:00:43.280 --> 01:00:46.840
can tackle any genre and seamlessly weave together both grand

1019
01:00:47.039 --> 01:00:51.079
and intimate musical moments. So, yeah, when we saw when

1020
01:00:51.119 --> 01:00:53.119
I listened to this piece of music when we were

1021
01:00:53.400 --> 01:00:56.960
there live, I literally was welling up with tears because

1022
01:00:57.000 --> 01:01:00.840
it was done so well. If you've not heard this music,

1023
01:01:00.920 --> 01:01:03.599
this theme, you're really missing out. It is a beautiful

1024
01:01:03.639 --> 01:01:06.960
piece of music from this movie, and it's one of

1025
01:01:06.960 --> 01:01:09.840
the rare movies that John Williams dies. I hope I

1026
01:01:09.880 --> 01:01:11.960
didn't ruin that for people, but it's from nineteen seventy two.

1027
01:01:11.960 --> 01:01:14.400
A cmp for crying out loud, Come on now. But

1028
01:01:15.079 --> 01:01:17.039
this it is a really good movie for one thing.

1029
01:01:17.559 --> 01:01:20.159
Jeff Bruce dern is in it for crying out loud.

1030
01:01:20.239 --> 01:01:22.480
Yeah, it's it's one of job it's one of John

1031
01:01:22.480 --> 01:01:24.320
Wayne's best Yes movies.

1032
01:01:24.599 --> 01:01:25.519
I completely agree.

1033
01:01:26.000 --> 01:01:30.000
That was what a stealthy choice. I you know your

1034
01:01:30.039 --> 01:01:32.840
onnable mention. I was like, wow, that's of course. I'm

1035
01:01:32.920 --> 01:01:35.320
surprised it didn't make your listen and now it's not

1036
01:01:35.320 --> 01:01:36.360
even making your honorable mention.

1037
01:01:36.559 --> 01:01:42.320
So interesting, very interesting, very very recently released, complete and remastered.

1038
01:01:42.360 --> 01:01:43.360
So go out and get it.

1039
01:01:43.440 --> 01:01:47.599
Yes, absolutely, all right, Well, gentlemen, it is that time.

1040
01:01:48.840 --> 01:01:52.400
I know you both well enough. I didn't have to ask.

1041
01:01:52.480 --> 01:01:55.800
I knew what your number one picks would be before

1042
01:01:55.840 --> 01:02:01.000
we even you know, before I even got your lists, Wayne,

1043
01:02:01.000 --> 01:02:03.880
because I've been on enough road trips with you, and

1044
01:02:04.079 --> 01:02:09.119
I've heard this theme maybe as often as I've heard

1045
01:02:09.159 --> 01:02:15.480
the themes for Empire or for et. But you want

1046
01:02:15.519 --> 01:02:17.960
to go ahead and let us know what Wayne White's

1047
01:02:18.039 --> 01:02:20.280
number one John Williams pick is.

1048
01:02:21.159 --> 01:02:23.119
I know this is an odd one, but hear me

1049
01:02:23.199 --> 01:02:24.559
out and let me explain it to you.

1050
01:02:24.679 --> 01:02:26.119
Here we go again.

1051
01:02:27.679 --> 01:02:30.039
My number one pick for best On Williams score is

1052
01:02:30.079 --> 01:02:34.199
the nineteen seventy eight Brian de Palma film The Fury. Now,

1053
01:02:35.360 --> 01:02:37.119
I know, I can imagine, I can hear everybody out

1054
01:02:37.119 --> 01:02:40.840
there screaming, what are you crazy? You know, But of

1055
01:02:40.920 --> 01:02:43.360
all the John Williams scores that I own and love,

1056
01:02:43.480 --> 01:02:45.079
this is the one that I go back to the most,

1057
01:02:45.280 --> 01:02:48.159
the one that gets the most frequent listens from me.

1058
01:02:48.159 --> 01:02:49.440
And there's a good reason for that.

1059
01:02:50.599 --> 01:02:50.800
You know.

1060
01:02:50.880 --> 01:02:53.199
This is a case of where I purchase and listen

1061
01:02:53.280 --> 01:02:56.000
to the score before I saw the film. So when

1062
01:02:56.119 --> 01:02:58.360
I first listened to this music, and it was the

1063
01:02:58.400 --> 01:03:01.159
original album version, which I'll get into shortly, I had

1064
01:03:01.159 --> 01:03:03.039
no context to what I was listening to. I was

1065
01:03:03.079 --> 01:03:08.039
just enjoying the music, which brings me in too explaining this, Well,

1066
01:03:08.119 --> 01:03:11.599
there's a huge difference between when I say the album

1067
01:03:12.000 --> 01:03:15.719
and the score. Back in the sixties, seventies and eighties,

1068
01:03:15.840 --> 01:03:20.000
it was very difficult and expense to release soundtrack albums,

1069
01:03:20.280 --> 01:03:23.079
you know. Most of the time, actual releases were left

1070
01:03:23.119 --> 01:03:25.719
to just the big blockbuster movies, in huge filts like

1071
01:03:25.760 --> 01:03:28.920
Star Wars and Superman. And there was a good reason

1072
01:03:28.960 --> 01:03:31.599
for that because the Musicians Union had different rules when

1073
01:03:31.639 --> 01:03:34.159
it came to the reuse of music. When a score

1074
01:03:34.199 --> 01:03:35.960
was written for a film. It was a one time

1075
01:03:36.159 --> 01:03:38.880
use and that was for the movie. In order to

1076
01:03:39.000 --> 01:03:40.960
for a record label to release a score on LP

1077
01:03:41.079 --> 01:03:44.519
ror cassette, the rules stated that not only the musicians

1078
01:03:44.559 --> 01:03:49.920
had to be repaid one hundred percent, but every instrument player,

1079
01:03:49.920 --> 01:03:53.280
every technician, everybody had to be repaid one hundred percent

1080
01:03:53.360 --> 01:03:56.639
of the wages as well. It made it very expensive,

1081
01:03:56.760 --> 01:03:58.719
and the record labels, they don't want to pay all

1082
01:03:58.719 --> 01:04:02.519
these people for, you know, doing nothing, so they decided

1083
01:04:02.559 --> 01:04:05.079
most of the time to instead have the composer and

1084
01:04:05.119 --> 01:04:08.119
the orchestra go back in and reperform the score or

1085
01:04:08.159 --> 01:04:10.719
whatever part of the score that the composer wanted to

1086
01:04:10.760 --> 01:04:14.920
include on the album. Now, with most composers like Goldsmith

1087
01:04:14.960 --> 01:04:17.800
and Horner and John Berry, they usually just went in

1088
01:04:17.800 --> 01:04:21.719
and reperformed it, but not John Williams. He would rewrite

1089
01:04:21.760 --> 01:04:25.000
the music before even going back in there, and just

1090
01:04:25.039 --> 01:04:30.559
to give the listener of the album an ultimate musical experience.

1091
01:04:30.719 --> 01:04:32.679
Sometimes it was just a little bit kind of like

1092
01:04:32.840 --> 01:04:35.119
for what he did for Superman and Star Wars, but

1093
01:04:35.280 --> 01:04:39.840
other times it was very extensive to almost where none

1094
01:04:39.880 --> 01:04:41.800
of the music is likewise he's heard in the film.

1095
01:04:42.159 --> 01:04:44.239
He did this for Et the Extraterrestrial and Return of

1096
01:04:44.239 --> 01:04:47.000
the Jedi, but for the most extreme case, it was

1097
01:04:47.039 --> 01:04:50.239
The Fury. With the Fury, he created one of the

1098
01:04:50.280 --> 01:04:54.400
finest listening experiences I have ever heard from a soundtrack,

1099
01:04:54.719 --> 01:04:57.920
an almost concertlike event that tells the story in surreal

1100
01:04:58.320 --> 01:05:03.119
and hauntingly beautiful way. The original score was recorded by

1101
01:05:03.159 --> 01:05:06.719
the Hollywood Symphony in la and early nineteen seventy eight

1102
01:05:06.719 --> 01:05:09.960
with a seventy five piece orchestra, but the album was

1103
01:05:10.000 --> 01:05:12.440
recorded later in seventy eight when Williams was working on

1104
01:05:12.480 --> 01:05:15.280
Superman the Movie, with the London Symphony Orchestra, a much

1105
01:05:15.519 --> 01:05:19.000
larger and profound sounding orchestra with well over one hundred players.

1106
01:05:19.440 --> 01:05:22.480
But this makes the album much fuller, the music much

1107
01:05:22.599 --> 01:05:27.119
richer and emotional than the actual score. It's two completely

1108
01:05:27.119 --> 01:05:31.880
different listening experiences with one score, and both are equally brilliant.

1109
01:05:32.800 --> 01:05:35.320
And there's differences, I mean there are differences. With the

1110
01:05:35.320 --> 01:05:39.039
Hollywood Symphony he was using a theareman quite often in it,

1111
01:05:39.079 --> 01:05:41.480
but with the London Symphony, since there was no theoremin

1112
01:05:41.599 --> 01:05:44.159
used in this score for Superman, he had to recreate

1113
01:05:44.199 --> 01:05:48.159
the sounds with the more traditional instruments. Just you have

1114
01:05:48.199 --> 01:05:51.159
to listen to both of them to appreciate it. There

1115
01:05:51.159 --> 01:05:53.639
are a couple pieces, like for Gillian, which is a

1116
01:05:53.719 --> 01:05:58.480
typical Williams's style, but it's light and hopeful. It's greatly

1117
01:05:58.599 --> 01:06:01.559
expand on the album version. And then there's the Search

1118
01:06:01.639 --> 01:06:04.960
for Robin, a lovely piece with the main melody played

1119
01:06:05.000 --> 01:06:07.360
on clarinet, and then the woodwinds and the brass coming

1120
01:06:07.360 --> 01:06:11.119
in later, builds up to a waltz that reminds me

1121
01:06:11.199 --> 01:06:12.920
of the kind of a little bit of the Christopher

1122
01:06:12.920 --> 01:06:15.639
Young's theme that he created for hell Razor. And then

1123
01:06:15.679 --> 01:06:19.159
finally there's Death on the Carousel and end titles, which

1124
01:06:19.360 --> 01:06:23.480
starts off somber and quiet with woodwinds and strings, before

1125
01:06:23.480 --> 01:06:27.599
transitioning into the sounds of a wild calliope, continuing to

1126
01:06:27.639 --> 01:06:31.639
go faster and faster before it becomes practically unbearable. Then

1127
01:06:31.719 --> 01:06:35.480
Williams unleashes the full power of the entire orchestra for

1128
01:06:35.719 --> 01:06:38.719
one final scene, the last scene in the movie where

1129
01:06:38.760 --> 01:06:41.360
Robin uses her telekinesis to kill the men on the

1130
01:06:41.360 --> 01:06:45.639
amusement park ride. This is the most powerful and dramatic

1131
01:06:45.679 --> 01:06:49.280
that Williams has ever gotten. It's incredible in the actual

1132
01:06:49.320 --> 01:06:52.800
film version, but with the London Symphony Orchestra performing it,

1133
01:06:52.800 --> 01:06:56.880
it nearly blows you out of your seat. Everyone needs

1134
01:06:56.920 --> 01:06:59.360
to go and reevaluate this separate from the film. I

1135
01:06:59.360 --> 01:07:02.559
know the film is a mediocre the score is anything

1136
01:07:02.599 --> 01:07:06.440
but that. It's been released many many times over, both

1137
01:07:06.440 --> 01:07:11.599
the original and the score beautifully remastered by Lala Land.

1138
01:07:12.920 --> 01:07:16.079
Just I don't know what more to say this. It's

1139
01:07:16.320 --> 01:07:19.719
it desperately needs reevaluated away from the film. It's a

1140
01:07:19.719 --> 01:07:24.360
full blown psychological thriller that Williams scores so beautifully but shockingly.

1141
01:07:24.920 --> 01:07:27.239
I wish Williams had done more horror films in his

1142
01:07:27.360 --> 01:07:30.559
careers because he's a master at it, and this score

1143
01:07:30.639 --> 01:07:31.119
proves it.

1144
01:07:31.880 --> 01:07:36.119
Wayne, I gotta say it the Fury. It's a pretty

1145
01:07:36.119 --> 01:07:40.719
good thriller. It's a really cool film, made significantly better.

1146
01:07:40.480 --> 01:07:42.039
By John Williams music.

1147
01:07:42.199 --> 01:07:45.480
So not a bad choice, ed absolutely is not a

1148
01:07:45.480 --> 01:07:56.039
bad choice. That leaves us one final selection, one pick left, David.

1149
01:07:55.440 --> 01:07:59.519
If adventure has a name, it must be your your

1150
01:07:59.599 --> 01:08:00.360
number one pick.

1151
01:08:01.559 --> 01:08:05.320
It absolutely is, Jeff, So anybody who knows me is

1152
01:08:05.360 --> 01:08:07.000
not going to be surprised that this is my number

1153
01:08:07.039 --> 01:08:09.159
one pick. I have said it quite a few times

1154
01:08:09.199 --> 01:08:12.239
on our podcast, actually that this is the one movie

1155
01:08:12.239 --> 01:08:15.239
that made me fall in love with movies and filmmaking,

1156
01:08:15.320 --> 01:08:17.800
and that's the same thing with the score. The score

1157
01:08:18.000 --> 01:08:20.840
actually helped me fall in love with music too. And

1158
01:08:20.880 --> 01:08:23.680
of course I'm talking about nineteen eighty one's Raiders of

1159
01:08:23.720 --> 01:08:55.880
the Lost arc So we could sit here and talk

1160
01:08:55.920 --> 01:08:59.079
probably an hour about how incredible this score is and

1161
01:08:59.079 --> 01:09:02.319
what John Williams did. But there are three pieces of

1162
01:09:02.439 --> 01:09:04.479
music that I would really like to talk about that

1163
01:09:04.600 --> 01:09:08.000
are throughout this film. Of course, you have to talk

1164
01:09:08.000 --> 01:09:11.239
about the Raiders march, right, guys. This theme stands as

1165
01:09:11.279 --> 01:09:14.520
one of the most iconic adventure motifs in cinematic history,

1166
01:09:15.000 --> 01:09:18.319
instantly evoking the spirit of nineteen thirties escapades like no other.

1167
01:09:18.760 --> 01:09:23.119
Its unmistakable melody is deeply intertwined with the film's legacy,

1168
01:09:23.359 --> 01:09:26.039
inspiring countless viewers to fall in love with both movies

1169
01:09:26.039 --> 01:09:28.920
and music, just as it did for me. Few pieces

1170
01:09:29.000 --> 01:09:32.680
are as universally recognized. The moment it begins, audiences everywhere

1171
01:09:32.720 --> 01:09:36.359
are transported into a word of daring exploits and heroic journeys.

1172
01:09:36.399 --> 01:09:39.520
Like many of John William's scores, this theme embodies the

1173
01:09:39.640 --> 01:09:42.520
essence of the story, the hero request and the thrill

1174
01:09:42.560 --> 01:09:45.079
of discovery. Listening to it, you could almost feel the

1175
01:09:45.199 --> 01:09:48.399
urge to Donna whipp leather jacket and Fedora, ready to

1176
01:09:48.439 --> 01:09:51.479
adash in the unknown in search of treasures destined for

1177
01:09:51.560 --> 01:09:56.159
a museum. The second piece is, of course, Marion's theme.

1178
01:09:56.960 --> 01:09:59.960
Every hero needs a counterpart who can stand alongside them,

1179
01:10:00.039 --> 01:10:03.039
and in Raiders of Laws Dark, Marion's Stem provides just that.

1180
01:10:04.039 --> 01:10:07.880
John Williams crafts a dramatic and emotionally resonant score that

1181
01:10:07.920 --> 01:10:13.560
perfectly compliments Inniana Jones, highlighting Marian's strength and resilience. The

1182
01:10:13.640 --> 01:10:17.079
music captures her fortitude and independence, while also reflecting her

1183
01:10:17.119 --> 01:10:20.560
deep passion and unwavering commitment to protect those she loves.

1184
01:10:21.119 --> 01:10:25.399
William's mastery and character driven themes shines through in this piece,

1185
01:10:25.800 --> 01:10:29.079
offering it another example of how his compositions bring cinematic

1186
01:10:29.119 --> 01:10:37.520
figures vividly to life. And of course, the last one

1187
01:10:37.840 --> 01:10:40.199
is kind of like the Battle of haw in the

1188
01:10:40.199 --> 01:10:43.720
Empire strikes Back. This is the Desert Chase. Among the

1189
01:10:43.760 --> 01:10:46.359
many unforgettable scenes and Raiders of Lost Dark, the Desert

1190
01:10:46.439 --> 01:10:49.600
Chase sequence stands out not only for its thrilling action,

1191
01:10:50.119 --> 01:10:53.760
but also for its dynamic score. In this piece, John

1192
01:10:53.800 --> 01:10:58.199
Williams brings the music to life, reintroducing the iconic raiders

1193
01:10:58.199 --> 01:11:00.359
them as any of Jones' racist on horse back to

1194
01:11:00.439 --> 01:11:04.520
catch up with the caravan carrying the arc. Every punch, leap,

1195
01:11:04.600 --> 01:11:07.840
and moment of tension is echoed in the score's energetic rhythms,

1196
01:11:08.119 --> 01:11:12.199
perfectly mirroring the on screen action, as Iniana fights to

1197
01:11:12.239 --> 01:11:14.840
gain control of the truck being thrown in front of

1198
01:11:14.840 --> 01:11:18.600
it and narrowly escaping by sliding underneath. The tempo intensifies,

1199
01:11:19.079 --> 01:11:23.680
with William's composition brilliantly matching each beat to the escalating suspense.

1200
01:11:24.159 --> 01:11:27.680
The result is a musical experience that amplifies the excitement

1201
01:11:27.840 --> 01:11:31.560
and heroism of the scene, making it as memorable as

1202
01:11:31.600 --> 01:11:33.399
the visuals themselves.

1203
01:11:34.119 --> 01:11:37.359
And let me add that if any labels are listening,

1204
01:11:37.399 --> 01:11:41.000
we need a complete and remastered version of this score. Plead. Yes,

1205
01:11:41.239 --> 01:11:43.520
it's ridiculous that we don't have this yet.

1206
01:11:43.800 --> 01:11:46.479
I agreeing, Wayne, it's it's it's it's a crime. It

1207
01:11:46.560 --> 01:11:49.000
is that we don't have this yet, And I don't

1208
01:11:49.000 --> 01:11:51.319
know who's to blame. I might want to look at

1209
01:11:51.359 --> 01:11:52.079
Disney now for this.

1210
01:11:53.960 --> 01:11:55.560
Yes, I know.

1211
01:11:55.640 --> 01:11:58.840
How difficult it's been for you guys to narrow this

1212
01:11:58.960 --> 01:12:03.039
down to your top five John Williams scores. But I

1213
01:12:03.079 --> 01:12:06.159
will say this, if you guys were ever gonna try

1214
01:12:06.199 --> 01:12:08.640
and do the impossible task of doing your top five

1215
01:12:08.840 --> 01:12:14.920
John Williams themes, I will I'll say right now, Marion's

1216
01:12:14.960 --> 01:12:18.279
theme from Raiders of the Lost Arc would without a

1217
01:12:18.359 --> 01:12:23.720
doubt be in my top five. Just beautiful music, amazing

1218
01:12:24.079 --> 01:12:28.199
film score, all these, all these have been and uh, gentlemen,

1219
01:12:28.199 --> 01:12:31.960
I gotta thank you because you did not disappoint with

1220
01:12:31.960 --> 01:12:32.720
with your lists.

1221
01:12:33.319 --> 01:12:35.680
No, so thanks, Jeff, appreciate that. It's always a pleasure

1222
01:12:35.680 --> 01:12:37.680
to talk about John Williams. I know Wayne were both

1223
01:12:38.000 --> 01:12:39.840
highly anticipating this podcast.

1224
01:12:40.319 --> 01:12:42.399
Yeah, oh yeah, I know my choices are odd, but

1225
01:12:42.520 --> 01:12:45.479
I love John Williams and every one of his scores. Yep,

1226
01:12:45.920 --> 01:12:49.239
you know, just I couldn't wait to do this one now.

1227
01:12:49.279 --> 01:12:53.199
Wayne, I love your choices, and I appreciate that you

1228
01:12:53.199 --> 01:12:55.760
you you you chose from the heart. You you went

1229
01:12:55.800 --> 01:12:57.960
with your favorites. You didn't you know, it would have

1230
01:12:58.000 --> 01:13:00.960
been easy for you guys to have an an exact

1231
01:13:01.560 --> 01:13:06.600
mirror image, and I'm glad that you didn't. Wayne's Dave

1232
01:13:06.800 --> 01:13:16.720
was a shadowy reflection of your channeling my inner listeners.

1233
01:13:17.399 --> 01:13:22.119
What would be your top five John Williams scores? I'll

1234
01:13:22.119 --> 01:13:23.880
tell you what. We're gonna have a little fun here.

1235
01:13:24.880 --> 01:13:29.159
If you are listening to this episode on YouTube or

1236
01:13:29.159 --> 01:13:33.319
you're not, doesn't matter. It is available on YouTube right now.

1237
01:13:34.279 --> 01:13:38.399
Go check it out on that platform. Leave us a

1238
01:13:38.399 --> 01:13:41.720
comment and let us know what your top five John

1239
01:13:41.760 --> 01:13:46.720
Williams scores are. Wayne and David are going to choose

1240
01:13:47.039 --> 01:13:51.680
one of these comments when they look over these lists,

1241
01:13:51.720 --> 01:13:56.560
and someone will get the John Williams score of their

1242
01:13:56.640 --> 01:14:01.680
choice on what would be Wayne CD? Or are we

1243
01:14:01.720 --> 01:14:04.359
doing like an album like Vinyl?

1244
01:14:04.960 --> 01:14:07.680
What do you want to do?

1245
01:14:05.720 --> 01:14:10.560
Oh? Okay, Wayne, Wayne's going with like you know? If

1246
01:14:10.640 --> 01:14:15.199
Wayne who who? If he's not being paid by uh

1247
01:14:15.319 --> 01:14:18.399
La La and uh in Trada that he should be.

1248
01:14:19.119 --> 01:14:21.920
We will get you the John Williams score of your choice,

1249
01:14:21.920 --> 01:14:24.079
and we'll probably through some film by Swagen as well.

1250
01:14:24.439 --> 01:14:26.880
All you gotta do is head to YouTube right now

1251
01:14:27.640 --> 01:14:30.000
and drop us a comment and let us know what

1252
01:14:30.039 --> 01:14:33.039
your top five picks are. Other than that, you can

1253
01:14:33.119 --> 01:14:35.960
join us on social media find us on Facebook, Instagram,

1254
01:14:36.000 --> 01:14:39.239
and x You can hit the website to Film by

1255
01:14:39.239 --> 01:14:42.680
Podcast dot com. Wayne is writing all these Star Trek

1256
01:14:43.239 --> 01:14:46.239
novel reviews. Wayne, I don't know how you have time

1257
01:14:46.920 --> 01:14:53.000
to do the Phaser show, do the regular show. You're

1258
01:14:53.039 --> 01:14:55.119
you're reading all these Star Trek books and writing these

1259
01:14:55.119 --> 01:14:59.279
amazing reviews. I'm assuming you sleep sometimes.

1260
01:15:00.039 --> 01:15:00.399
I don't know.

1261
01:15:00.560 --> 01:15:01.000
Check I do.

1262
01:15:01.920 --> 01:15:02.119
Yeah?

1263
01:15:03.000 --> 01:15:05.239
Check out Wayne. Yeah, check out Wayne on the Film

1264
01:15:05.319 --> 01:15:08.840
by podcast dot com. Uh, and you'll see h all

1265
01:15:08.840 --> 01:15:11.520
the episodes that we have there streaming on the platform

1266
01:15:11.520 --> 01:15:15.760
with your choice. Guys, we've got another composer by the

1267
01:15:15.840 --> 01:15:18.920
name of John. We're going to talk about that. We've

1268
01:15:18.920 --> 01:15:23.199
talked about John Carpenter. We tonight, we just now discussed

1269
01:15:23.479 --> 01:15:27.800
John Williams. I think our next John. What's that happening

1270
01:15:27.840 --> 01:15:28.319
in the fall?

1271
01:15:28.760 --> 01:15:29.479
Maybe August?

1272
01:15:29.560 --> 01:15:31.399
August, August, August, yep summer.

1273
01:15:31.399 --> 01:15:36.119
Okay, who we got Wayne saying that name?

1274
01:15:37.239 --> 01:15:40.439
Oh, it's going to be one of my favorite composers

1275
01:15:40.479 --> 01:15:44.399
as well, especially television, and that is John Debney.

1276
01:15:44.560 --> 01:15:49.800
Yeah. We will have a top five favorite film score

1277
01:15:49.920 --> 01:15:53.319
slash television score because Wayne is going to be uh

1278
01:15:53.520 --> 01:15:55.199
running running a muck again. I'm sure.

1279
01:15:56.399 --> 01:15:58.640
Oh, I'm gonna run amuck. I'm gonna cheek like Wayne

1280
01:15:58.640 --> 01:15:59.159
did on one.

1281
01:15:59.319 --> 01:16:03.760
Okay, Well, John Debney's coming uh in the meantime, hopefully

1282
01:16:03.760 --> 01:16:06.560
Wayne will maybe he'll drop in on the on the

1283
01:16:06.560 --> 01:16:10.359
the regular film by show and give us some some

1284
01:16:10.439 --> 01:16:14.079
of his uh soundtrack spotlights. It's we haven't had that

1285
01:16:14.159 --> 01:16:15.840
yet this season, Wayne, So.

1286
01:16:16.159 --> 01:16:17.600
No, and but I'm sure we got a few of

1287
01:16:17.640 --> 01:16:20.520
them coming up. You know, I'm always ready to talk

1288
01:16:20.560 --> 01:16:21.520
about film scores.

1289
01:16:21.880 --> 01:16:23.760
All right, well, what do you what's going on with

1290
01:16:23.800 --> 01:16:27.319
the phaser sets of Stun continuing every Wednesday? Right now? Right?

1291
01:16:27.760 --> 01:16:30.359
Yeah, we're talking about Starfleet Academy right now, which has

1292
01:16:30.359 --> 01:16:32.079
turned out to be a really good television.

1293
01:16:32.159 --> 01:16:36.000
Yes, I had such low expectations and it's it's been

1294
01:16:36.039 --> 01:16:39.359
fun so far. And this is this is a correct

1295
01:16:39.399 --> 01:16:42.760
me if this is what the sixtieth anniversary.

1296
01:16:42.239 --> 01:16:44.119
For starting sixty years?

1297
01:16:44.359 --> 01:16:49.079
Wow, listen, I don't, uh, I don't. I don't run

1298
01:16:49.119 --> 01:16:51.079
the show, but but actually I do run the show.

1299
01:16:51.119 --> 01:16:52.399
So can can we hope?

1300
01:16:52.479 --> 01:16:52.880
Can? I?

1301
01:16:52.920 --> 01:16:53.560
Can? I? Can? I?

1302
01:16:53.840 --> 01:16:54.399
Can you guys be.

1303
01:16:54.439 --> 01:16:57.279
Volunteer to cover the original series at some point this

1304
01:16:57.279 --> 01:16:57.760
this season.

1305
01:16:58.079 --> 01:17:00.640
You don't need a volunteer list, because we've already decided

1306
01:17:00.640 --> 01:17:03.840
that we're going to cover the og Star Trek this year.

1307
01:17:04.239 --> 01:17:06.920
I'm so excited for that. All right, well, listeners look

1308
01:17:06.960 --> 01:17:10.840
forward to that, and we look forward to hearing from

1309
01:17:10.840 --> 01:17:14.920
you about your John Williams choices. And as always, for

1310
01:17:15.000 --> 01:17:17.239
all of you that are listening to the show, following

1311
01:17:17.319 --> 01:17:21.840
us on social media, subscribing to both our YouTube channel

1312
01:17:21.920 --> 01:17:26.840
and to Patreon where we get all the bonus content. Well,

1313
01:17:26.840 --> 01:17:27.159
thank you,