Maestro

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About Maestro

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  • Birthday 12/07/84

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    www.timgreiving.com

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    Los Angeles, CA

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  1. Johnny's Best Counterpoint Moments

    Lately, for me, it's been this bad boy:
  2. A little more insight, perhaps, into Rey's theme (as well as Kylo Ren's theme... among other things): http://projectorandorchestra.com/john-williams-on-the-force-awakens-and-the-legacy-of-star-wars/ “It’s an interesting challenge with her, because her theme doesn’t suggest a love theme in any way. It suggests an adventurer, a female adventurer, but with great strength. She’s a fighter, she’s infused with the Force, and it needed to be something that was strong but thoughtful. She’s a very young girl, but she’s a woman of diverse parts, and so there’s a maturity, I think, about the approach, melodically, to her that I hope will fit her. It seemed particularly challenging, both in the scavenger section in the beginning and in the trip to the island to find Luke in the end, where her theme is pretty fully realized with the orchestra. And it seemed to the right degree of strength and beauty for an adventuress.”
  3. Hey guys! Sorry—I'm just now seeing this thread. I should've realized that little "aside" in my piece would kick up a few question marks, since it was a total revelation to me when I first learned it. Just to clarify and verify, in an interview I conducted with Paul Hirsch last October, Hirsch said this: "[Williams] was approached about doing Mission: Impossible, and he said, 'Would you mind if I changed the theme?' And they said, 'Oh no, no, no, you can't change the theme.' And he said, 'Well, never mind.' But I thought, you know, hey, if John Williams wants to change the theme, I would be very interested to know what he would have come up with." ...which almost makes it sound like it was a deal-breaker for the studio and not necessarily De Palma. But who knows!
  4. Hans Zimmer started on INTERSTELLAR

    Some of you may enjoy my conversation with Christopher Nolan and Hans Zimmer on the score. SOME.
  5. Hey gang— If it tickles your fancy, I interviewed New Zealand composer Hanan Townshend about his work on Terrence Malick's new film, To the Wonder. (He first worked with Malick on The Tree of Life, interning and filling in some of the gaps. And he's only 26!) Malick is, in my opinion, one of the most brilliant directors out there, and his use of music is rather unorthodox (he tends to favor a collage of existing/concert pieces). Townshend relays his experience on To the Wonder and offers a little insight into Malick's musical mind and process. http://projectorandorchestra.com/malickean-music/ Bon appetit! Tim
  6. Initial observation: neither filmmusic nor filmusic are actual words, and I don't think they are used by any practitioners of the craft or anyone in the industry. I'd suggest changing that.
  7. The Witches of Eastwick leaves me feeling a little empty. I recognize in it the same DNA strands of other scores I love, and there are certainly some goosebump moments (namely "The Ballroom Scene")—but something about it just doesn't resonate.
  8. Jack Reacher (Film & Score)

    Thanks for the nice mention, Maurizio. For you JW kids, here's a fun quote from my interview with McQuarrie: "We eventually did bring [the producers] the first eight minutes of score that Joe was a real champ to do as a demo. When Tom [Cruise] heard it…I’ve never heard back from him so quickly in my life. I heard back literally eight minutes later. He said, “Who is this guy?? Where did you find him? I haven’t heard a score like this since John Williams scored Born on the Fourth of July.”
  9. TV: Twin Peaks

    Great, hypnotic review, Quint. You've nailed much of the wonder and irresistible charm of this one-of-a-kind show. (Though I personally never got bored!) And has there ever been a show that made you appreciate good coffee more?
  10. This go-round, I'm noticing how closely in style much of Hook is related to Last Crusade. The similarities to Home Alone have always been obvious to me, but I'm hearing a lot of LC mannerisms today (which is awesome).
  11. JW article in LA Times

    I hate reading populist articles on John Williams. Not only do they always regurgitate the same stories (he writes with pencils at a piano, Spielberg wanted other composers for Schindler's List...but they're all dead), the same filmography lists ("Williams has composed music for such classic films as 'Jaws,' 'Indiana Jones,' and the 'Star Wars' series"), and the same obvious information, but they often make stupid, sweeping generalizations about Williams and film music as a whole (ie., "Williams has no discernible tells as a songwriter"). Seriously, haven't we read this article 20 or 30 times now? And this is in the L.A. Times, no less, in a city where Williams has been a household fixture for decades. "Who the heck is this John Williams guy? OH, he wrote the music for E.T.!" And yet, these are the anointed people who get to interview Williams—the giant publications that ask the same insipid questions and write the same stupid article over and over. Curmudgeonly rant over.
  12. John Williams correspondence

    Lukas Kendall wrote this, in a recent FSM blog post: There was some fascinating documentation at USC, including Williams’s personal correspondence when he was in London working on the movie. Most of the letters are business-like but a couple of them are more personal. I wish someone would write a Williams biography!
  13. WARNING: Big time Desplat "fanboy" here (though I prefer referring to it as a man-crush)... To judge this score as a standalone piece of music is completely fair, as Desplat has explicitly stated that this is always one of his goals. Of course he's serving the film, as all good composers do. But in my opinion, worthy film scores are worth judging on their own merits. And in this case, the artist agrees. Having said that, I think it's an incredibly moving score. Singularly Desplat, while also channeling Williams' recent style with amazing reverence. Memorable themes, colorful orchestration, and many aching, poignant moments. It is both grandly symphonic and surprisingly intimate. I realize that not everyone loves Desplat's elegant method of writing, but I firmly believe that he is writing the best film music among all of today's active film composers—and Harry Potter is further proof of that.
  14. Harry Potter vs. Tintin: Cage match! To the death!
  15. Breaking news from the Pittsburgh Post-Gazette. Major bummer.