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Found 11 results

  1. TheMagicFlute

    Identify the music

    The below clip is from the film 18 Again! (1988). https://www.imdb.com/title/tt0094593/ Around 45 seconds, the music looks very familiar. Is the music taken from the film Superman (1978) composed by John Williams or taken from some other film? Thanks. https://vimeo.com/331066876
  2. Folks, Jim Bowers who runs the Caped Wonder.com website on the history of the Christopher Reeve Superman Films has just done a podcast with Jay Towers on the release of Superman: The Movie 40th Anniversary Remastered 3CD set. Jim Bowers is also a project consultant on this new set and was also involved in the 2008 FSM Set. Check it out for some unique insight (specifically on the new Fortress of Solitude cue as well as another unreleased snippet on this set) As well as an interesting tease on more Williams upcoming remastered expanded albums. Last but not least yours truly also gets to chime in this podcast. Enjoy! Caped Wonder Superman Podcast Episode Eight: First Generation Fans is here, where Jay and Jim share their excitement about the brand-new remastered Superman-The Movie 3-CD soundtrack from La-La Land Records! https://www.capedwonder.com/?fbclid=IwAR0MR5JxDVhiOxwKuvdkDHu2C93kgqs8t_dEtxinLF6tT0m-m5v0MFA9tmM http://bit.ly/CapedWonder8 https://capedwonder.com/CapedWonder_podcasts/CW_SUPERMAN_PODCAST_EP8_FEB_19_2019.mp3 Also on Episode #8, Jay and Jim feature an excerpt from Super Fan Amer Zahid’s spoken word about his love for the various Superman-The Movie soundtrack releases over the past 40 years and his excitement for this most recent release from La-La Land Records.Download Amer’s entire audio here: Download Link: https://www.capedwonder.com/CapedWonder_podcasts/CW_Amer_Superman_Podcast_Ep8.mp3
  3. When was the last time you cried listening to a podcast? I've never cried listening to a podcast but there is a first for everything. I actually had to pull my car over a few weeks ago to wipe away the tears when I first heard this show. I guarantee you will too when you skip to the 44:23 mark of this episode. If you are a fan of film music or film as a whole, this story, which is about John Williams' cue "Leaving Home" from Superman, will open the floodgates. http://underscorepodcast.blogspot.com/2018/11/interview-alan-snelling.html
  4. It seems to me that the Superman march (the A-melody of the march, that is) and The Fanfare are assumed to be merely two interchangeable representations of the title character, but I feel this is inaccurate, at least in the initial score. Every time you hear the A-march outside of the credits in the original film (heard just thrice!), it plays specifically when the focus is on Superman's heroics being admired by other non-main characters. The helicopter rescue is an obvious application of this, as are the ways it later underscores the amazement of the police officers ("The Burglar Sequence"), and the amazement of the Air Force One pilots ("Super Rescues"). Thus, the A-march is a theme for Superman-The-Celebrity, while The Fanfare is a more general tag for the character + his heroics when admiration for Superman isn't the main focus. It seems that when the potential admirants are in grave distress themselves, the fanfare is preferred for heroic scenes (see the bus rescue part in "Superfeats"). In contrast though, I'm not sure the B-section of the march has any specific purpose as a theme even in the first score. In Superman II, Ken Thorne more or less follows this pattern, by accident or otherwise. The main showpiece for the A-march comes in the Niagara Falls rescue scene, where the context is again placed on the public admiration for the character's actions. Notice that the march fails to appear in "Superman Triumphs Over The Villains", where the fanfare and the B-march are used instead (the heroics are not accompanied by an admiring public in this scene). It might get slightly hazy in Superman III, due to the March being used in "The Final Victory". I suppose this might be justified by Superman restoring his good public persona in that scene after triumphing over his evil self that caused such infamy, or something. As much as I love the score for Superman IV, the A-march feels completely misused, assuming I'm right about all of the above. The original purpose of the march was either ignored or went unnoticed. It should not appear in "Nuke 1 Fight", "Net Man", "Lift To The Moon", or "The Moon Fight", among possibly other appearances. On the other hand, the march should probably appear in the United Nations scene when the crowd cheers at Superman's plan, as well as the scene where Superman has the PSA moment with the public after the subway rescue. Needless to say, the Superman poster moment in Supergirl also misuses the march, as the scene isn't about human non-main characters admiring him. The Fanfare would have been better. I'll admit I've never seen Superman Returns aside from fragments, so I''ll leave that commentary in more capable hands. How closely is the original purpose of the march adhered to? Any thoughts on this?
  5. Hey, Anyone have the full orchestral score for this cue or know where I can find it? thanks Griga01
  6. Hi to all JWFN members. It is great to see such dedication and knowledge to the man who has scored more than just the movies. On that note The History Press and I would like to share word of a new book published now in the UK and September 1st 2018 in the US. John Williams is the spine and soul of this book. Mark O’Connell didn’t want to be Luke Skywalker. He wanted to be one of the mop-haired kids on the Star Wars toy commercials. And he would have done it had his parents had better pine furniture and a condo in California. Star Wars, Jaws, Close Encounters of the Third Kind, E.T. The Extra Terrestrial, Raiders of the Lost Ark and Superman didn’t just change cinema – they made lasting highways into our childhoods, toy boxes and video stores like never before. In Watching Skies, O’Connell pilots a gilded X-Wing flight through that shared universe of bedroom remakes of Return of the Jedi, close encounters with Christopher Reeve, sticker album swaps, the trauma of losing an entire Star Wars figure collection and honeymooning on Amity Island. From the author of Catching Bullets – Memoirs of a Bond Fan, Watching Skies is a timely hologram from all our memory systems. It is about how George Lucas, Steven Spielberg, a shark, two motherships, some gremlins, ghostbusters and a man of steel jumped a whole generation to hyperspace*. *Action figures sold separately. From examining his contributions to these key films, the soundtracks to broken homes and the VHS revolution to seeing the musical DNA from JANE EYRE all the way through to ATTACK OF THE CLONES, WATCHING SKIES is as much about John Williams as it is Spielberg, Lucas and Donner. It is about how 'Leaving Home' was exactly the cue going through the author's life and mind when he did just that, how the 'Love Theme from Superman' had to be played at a Pinewood Studios wedding, how 'ET and Me' scored a divorce and how a honeymoon on Amity Island couldn't help but hear those JAWS 2 harps at every street corner and beach rock. Were it not for the work of Williams, this book and these movies would not exist with the same legacy they have today. WATCHING SKIES - STAR WARS, SPIELBERG AND US is available now. WATCHING SKIES on Facebook WATCHING SKIES on Twitter For more about WATCHING SKIES and author Mark O'Connell
  7. On my copy of the (mostly) excellent Rhino release of Superman, there's a glitch in the left channel of the concert version of the Superman theme at about 22 seconds in. I've always thought this to originate from the analogue tapes instead of a fault on my particular disc or the particular batch that my disc comes from - does anyone not hear the glitch?
  8. It's official now. Apparently it draws inspiration from Frank Miller's The Dark Knight Returns. Henry Cavill returns, as does David S. Goyer. Nolan is an executive producer. Karol
  9. Any of you have heard about this 2014 album? https://itunes.apple.com/us/album/film-classics-vol.-1/id874297330 Film Classics, Vol. 1 - Roy Budd & London Symphony Orchestra1 - "Indiana Jones - Raiders Of The Lost Ark" Suite 2 - "E.T." Suite 3 - "Superman" Suite: March Of The Villains - Can You Read My Mind (Love Theme) - Main Theme 4 - "Star Wars Trilogy" Suite: Main Theme - Princess Leia's Theme - Imperial March - Yoda's Theme - Han Solo and The Princess - Parade Of The Ewoks
  10. It seems they were not pleased with Returns, and want to do a reboot. Will this mean we can kiss Williams' heroic march goodbye forever? Or will they not be able to sepparate it from Superman? Source
  11. Firstly, my apologies if this has been posted before in some way, I did do a search of JWFan but couldn't find any reference to it... Anyway, I stumbled upon this page: http://musicandmotio...d/Superman_Pdf/ Here you'll find a list of PDFs which contain page by page scans of JW's hand-written manuscript for Superman: The Movie (1978)!!! A fascinating insight, it includes title page, table of contents, most of the cues (some are missing sadly, I haven't found them elsewhere) and a printed full-score 'Superman Theme'. The FSM Superman: The Music (1978-88) "Blue Box" liner-notes made several references to JW's comments, markers etc, hand-written in and around the staves of the manuscript; e.g. 'The Rescue of Jimmy' [13m4] (from 'Superfeats') had Superman's arrival indicated as "Guess Who?", 'Kansas High School' [4m1] notated as "Heavy 50's Rock". These (and more) can all be found here!! Just thought I'd let you all know, is all!
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