The Post represents the 29th professional collaboration between director Steven Spielberg, and composer John Williams. Their relationship now dates back some 43 years, to The Sugarland Express in 1974, and has encompassed some of the biggest blockbuster films of all time, including Jaws, Close Encounters of the Third Kind, E.T. The Extra-Terrestrial, Jurassic Park, Schindler’s List, four Indiana Jones films, and dozens of other classics too numerous to mention. However, unlike most of their collaborations to date, The Post is a very different type of score. In many ways, it’s a throwback to the dramas Williams scored in the 1970s, crossed with the political thrillers of the 1990s; it has much in common with scores like Black Sunday and Sleepers, with their taut sense of drama and suspense, JFK and Presumed Innocent with their mystery and intrigue, The Eiger Sanction and Catch Me If You Can with their jazzy undertones. It’s a welcome return to a type of scoring that Williams hasn’t really embraced in well over a decade, and stands in perfect contrast to the flamboyance of Star Wars: The Last Jedi, proving that even at the age of 85 he hasn’t lost any of his dramatic sensibility.
1. The Papers (3:56) 2. The Presses Roll (5:01) 3. Nixon’s Order (1:47) 4. The Oak Room, 1971 (1:46) 5. Setting the Type (2:34) 6. Mother and Daughter (3:23) 7. Scanning the Papers (2:23) 8. Two Martini Lunch (2:34) 9. Deciding to Publish (5:42) 10. The Court’s Decision and End Credits (11:04)