Tom

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Tom last won the day on August 14 2016

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  1. I wonder how many new songs he will write for this.
  2. Mostly speculation, but I think the near final edit is done. Johnson wrote and shot the movie he wanted to make and seemed confident in doing so. Any other movie would allow for a couple months at best to assemble your near final edit. This just worked out that there is an absurd amount of time between shooting and release. Abrams has too much Lucas in him and could not stop fiddling with the edit until the end, which I think betrays a lack of vision/confidence in what you are doing.
  3. A Seinfeld fan I think too that Williams really tries to minimize travel. I don't think the back issues are just an excuse. It is much better for him to do whatever he can locally.
  4. So was sacrificing virgins to the gods. We don't do that anymore.
  5. well, I am mostly speculating, but I know Williams has mentioned doing the end credits first for many movies. That is vague though. This staggered recording business is fairly new to his scores. My guess is that the themes are fairly well-developed as concert-type pieces, but if a new subtheme or such develops while scoring the full picture, he would re-record the piece (assuming he recorded it the first time around) or add an insert.
  6. Given Williams' method of working through the themes first and then the scoring proper, the recording sessions probably showcased what will become the concert versions of the new themes, which indeed would be the highlights of the highlights.
  7. In the case of HttF and the Duel from Tintin, they are identical (as far as I can tell) to the soundtrack tracks.
  8. Given how many times he has performed Tintin and HttF in concert, I doubt he has newly arranged either piece. It will be nice to have a definitive Dartmoor. MR might be a new concert piece.
  9. Williams should have just entitled the full trumpet version of With Malice Toward None, The People's House (since that is half the track anyway) or such, then there would be less confusion.
  10. In the absence of evidence, the simplest theory is that Williams always had planned on a one disc additional volume. Why is it strange to include only one movement from UJ? He did not include all the movements from other suites like Lincoln or IJKCS.
  11. By this point for VII, the marketing machine was humming along (trailer, interviews, etc.). Obviously with RO still out, they are holding off saying much about VIII, score or otherwise. I know Williams is always collegial, but I am looking forward to what he says about working with Johnson. Will he be merely professionally polite, or genuinely effusive (which I think he was for Abrams).
  12. I would not be surprised if that is not Williams' favorite moment of his entire film score career. The music becomes the story at that moment.
  13. I had forgotten that fact (I even bought it online at the time). Oh well. I was still quite happen with the memoirs suite. I was lucky enough to hear him and Ma premiere it at Tanglewood. I was quite happy with the release.
  14. Perhaps we should be slightly annoyed with Sony, but if they offered this cd with the dvd (assuming it is worth having) for $30 alone would there be this much complaining? I remember when the Music of America set was released, it was under $20, and had the full amazing cello suite from Memoirs, as well as Air and Simple gifts, neither of which we released previously in an easy to get way (just as part of the massive Ma set). So, $20 for 40 minutes of new music, good, I will take it. If they want to throw in stuff I already have, fine.