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About obiwan71

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    Occasional Poster
  • Birthday 03/17/78

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    Paris, France
  1. The Official La-La Land Records Thread

    If The Towering Inferno were to be part of this upcoming batch, it would be just awesome! Keep holding my breath...
  2. I simply guess people at Intrada certainly think that the soundtrack to Jaws should always remain in print, given the significance of the film and its score in movie history.
  3. The samples sound fantastic! What a great release from Intrada, once again!
  4. France

    Terrible things have been happening tonight here in Paris. I'm home safe watching the news... looks and sounds surreal to me. Still a hostage situation at a concert venue, the death toll may well be catastrophic for this particular attack given the number of people still held inside.
  5. Same here! Unbelievable to have those two released in such a short time. What a glorious package!
  6. JAWS 2 - Expanded 2CD by Intrada!

    Holy sh...! Many thanks to Intrada for reissuing this. I'd been hoping for such a release for so long... and the package looks fantastic! Samples do sound te-rrific. Vintage Williams, we'll all agree on that!
  7. Boston Pops Film Night June 6-11 2014

    I'm pretty sure all those who'll attend will have a fantastic time. Unfortunately, for various reasons, I won't make it this year... would have loved to of course! Still, I feel extremely fortunate to have made the trip twice already. Great memories!
  8. Here is one of my shots from the June 11 concert:
  9. We had a great time indeed! I was glad to meet again some of our beloved members I had first come across last year, and had the utter privilege to meet the famous Stefan Cosman this time. Concerts were delightful as expected. Yesterday night was kind of an adventure, with all that rain pouring down by the end of the afternoon. We (that is rpvee and his mum, josefsuma and Régis, my French counterpart) were brave enough to wait under such rain and had got to the stage door very early... so that we were lucky to meet the Maestro (who presented himself at the door very early, at around 7!). That was truly a brief, intense encounter, during which we got our things signed! It was all worth the wait and the effort, as you can imagine.
  10. Nice picture of two good-looking men! I hope you're having fun and that you'll fully enjoy tonight's concert. Still have to realize I'm boarding in less than 10 hours here in Paris. I should now go to bed.
  11. If I had had more time to spend on that, I could have given it a try... but between work and things to get prepared before my forthcoming stay in Boston for Williams' concerts, I'm unlikely to find much time to do it.
  12. Thanks for the link... don't know how you found out about this video, but it's really nice to watch and listen to. I'm completely lost though when it comes to musical analysis (starting from 4:57...).
  13. The South End is a very nice neighborhood. I've enjoyed staying there last year... plenty of good restaurants to choose from in the area, all along Tremont St especially. I'll be staying in a studio that is just around a minute-walk away from the Prudential this year.
  14. French Williams interview?

    I've been working on a translation. I could put it here in a few minutes. Yet, I'm realizing... where does the last section come from, the one that talks about "regrets"?? This is what I could come up with... I probably could put out a better version. Please note there is a nice play on words with the title. I couldn't honestly find something elegant enough for my taste. Steven Spielberg's long-time collaborator and winner of several Academy Awards, he is a key figure of the Paris exhibition « Musique et cinéma : le mariage du siècle ? » (« music and movies: marriage of the century? »). Still, it is in Los Angeles that Le Vif/L'Express met this exceptionnal artist. We're not at his home, yet not in unknown territory. It is in Hollywood, at DreamWorks' offices, in the heart of Universal Studios, that John Williams greets us. It feels like home for him, as Steven Spielberg, his long-time friend and collaborator, has been working here since 1974. Almost forty years and thousands of notes, among the most famous ones he has ever written. « Tatata taaa tata taaa », that's him. Certainly his most famous theme, along with « ta taa tatatata taaa ». Two scores for two films: Raiders of the Lost Ark with a certain Indiana Jones, and Star Wars, with Darth Vader and his black mask. His career as a composer has earned him 48 Academy Award nominations, including one for Spielberg's Lincoln this year. He has won the Oscar five times, including for Jaws and E.T. At the age of 81, he still writes music every day, especially classical music, and performs as a conductor. As part of the tribute held at the Cité de la musique in Paris, John Williams agreed to give us an interview. In a polite, warm, gentle way, he reviewed his career, which began in the 50s... in Hollywood. Is it time for a new appreciation on film music? Things started to change around thirty years ago. Before that, it felt inappropriate to ask for an American orchestra to perform film scores. Musicians certainly thought they were educated to play some Beethoven, Mozart, or Brahms, but certainly not music that « would sell ». That attitude is now gone. Especially because scholars have been studying great Hollywood composers, like Bernard Herrmann (Hitchcock's counterpart) or Alfred Newman (The Seven Yeart Itch, All About Eve, Life Is Beautiful... ). A new light has been shed on film music, for what it really is – or what it is not. Be cautious though: many scores are not meant to be performed in concert, and only work when synchronised with pictures. It would be a mistake to have them all performed live from an orchestra. Your collaboration with Steven Spielberg is as as that of Alfred Hitchcock with Bernard Herrmann. What could you tell us about it? Steven is an honest, considerate human being and he loves music. What matters most is human relationship. What I have done for him has been sometimes very heterogeneous in nature. Steven enjoys musical romanticism in classic movies much more than I do. Through Steven's movies I have had the opportunity to explore all of its qualities. I have enjoyed looking for things that would match Steven's imagery, and I think we have discovered things, together. The music of Jaws would be an example: neither of us could have imagined what it brought to the film nor the kind of influence it has had on movies in general. Steven is a movie fan, which I'm not as much. He comes to attend scoring sessions, he sits and listens to the orchestra as a regular person buying a ticket would do. How do you work? Generally, I don't read screenplays as they would influence me on the directions in which my work should go. I talk with the director on the style of the music, and where it should be inserted on film. Then, I draw back and I spend several weeks alone, finding the right way or just hoping to find it. Sometimes, I think I can't write music as good as thirty years back. Yet, I have also listened to more music in the meantime, I have conducted more music, and have worked with even more musicians and performers. Then it is likely I could bring all that to a balance. You perform regularly as a conductor. How is it important to you? Writing music is a solitary experience. That is not a «living » one. Conducting an orchestra truly is. It turns music into something organic. Every composer should conduct. It is essential. The ways of creating sound have multiplied with the advances in technology, but the ultimate artistic experience still lies with music being performed by an orchestra. What was the part of music in building the Hollywood myth? That music, born in the 30s, took its roots in the tradition of European opera. Composers had a romantic approach to it. Orchestras themselves, which comprised European players, had a particular way of performing, which echoed images and actors' play. A handful of composers – Franz Waxman, Bernard Herrmann, Alfred Newman, Erich Wolfgang Korngold – had similar tastes in music. What they wrote have become an integral part of American culture. Don't forget musicals and songwriters. The influence of comedy and popular theater, as it developed in the early 20th century, before the time of talking movies, has been tremendous. What happened between 1900 and 1930, musically, has had a huge impact on Hollywood. We got a sound where Korngold, paying his tribute to Richard Strauss and opera, was met with popular comedy. This is a music which would also be greatly influenced by the Great Depression and World War II. The score for Casablanca would not be the same had it not be for the War. Do you think there is a such a thing as typically American classical music? Definitely. There is something that I find fascinating about American composers. Let's take the trio Aaron Copland, George Gershwin and Leonard Bernstein: they embody American music, yet all three were sons of Jewish Russian immigrants. They were from the first generation of Americans. Still, they laid the basis for an American music without years of history before them. French or German works, on the contrary, have been the result of centuries of evolution. I find it astounding the capacity of absorption the American continent seems to have. What do you think young score composers bring to film today? New techniques, electronics, the use of computers in their work. Mychael Danna, who has just won the Oscar (for Life of Pi), wrote a beautifully atmospheric score. This is orchestral in nature, but not for the most part: the orchestra is just one of the components, that is something we were not used to thirty years ago. That is a new, thrilling direction. Alexandre Desplat (A Prophet, The Tree of Life, Argo... ) also does very nice things, either with orchestra or without. I feel very interested in the work of those composers. Do you listen to music out of your work? Not so much, since when I start listening to Haydn or Brahms, I quickly realize it is much better than anything I could ever write. And I will not talk of dinners: if music gets played, I can't stand do nothing but listen to it and stop being involved in conservations. As Rachmaninov said: « there is enough music for a whole life, but life is not long enough for all the music ». It will be impossible to live long enough to listen to it all, to study it all, to appreciate it all, to learn it all. I'm 81 and I have only hit the surface! »
  15. French Williams interview?

    Wow.... had never seen nor read that. I could give it a try, though it's a fairly long text actually.