Jump to content
Ricard

Guess what movie was released 45 years ago today

Recommended Posts

He probably views his Spielberg collaboration as highly important and feels that this first go is not up to the standards he would later set for himself for the collaboration.  

Share this post


Link to post
Share on other sites
10 minutes ago, SteveMc said:

He probably views his Spielberg collaboration as highly important and feels that this first go is not up to the standards he would later set for himself for the collaboration.  

Does he really thinks he still has to prove something to anyone regarding his skills?

Share this post


Link to post
Share on other sites
14 minutes ago, phbart said:

I still don't understand why JW doesn't want his work on this film released.

 

Because he composed just the theme and not the whole score... maybe...

Share this post


Link to post
Share on other sites

I can kinda understand him. Outside the excellent theme, it's mostly just a lot of shuffling percussion. But still -- it has such historical significance, it MUST be released!

Share this post


Link to post
Share on other sites
4 hours ago, ATXHusker said:

Still haven't seen the movie or listened to the score.

 

Along with Jaws, it's one of only two Spielberg movies where the main theme is heard during the opening credits (still haven't seen Always)

Share this post


Link to post
Share on other sites
5 hours ago, Corellian2019 said:

Along with Jaws, it's one of only two Spielberg movies where the main theme is heard during the opening credits (still haven't seen Always)

 

Catch Me If You Can, Tintin?

Share this post


Link to post
Share on other sites
10 hours ago, Corellian2019 said:

I don't remember Tintin, but for Catch Me if You Can, isn't the theme that was referenced in "Escapades" played more frequently throughout the film?

 

Tintin’s theme is quoted in the main titles.

 

CMIYC really has three main thematic ideas (represented in each movement of “Escapades”), I think an argument could be made for any of them being the primary force behind the score. Definitely worth including as one of the few times Williams struts with a theme in the first seconds of a Spielberg movie.

Share this post


Link to post
Share on other sites
11 hours ago, crumbs said:

That means Williams, at 87 years old, has now lived more years collaborating with Spielberg than years without. Quite an accomplishment. 

 

Juassic Park came out just before I started listening to film music. The CD was the first OST I ever bought. I remember Spielberg's liner notes, calling it "vintage Williams" and comparing it to Jaws, which at the time to me already was a film of the rather distant past, a mile stone in film music (and film) history from a distant era, miraculously made by the same people who made the brand new JP.

 

The time span between Jaws and JP is 7 years shorter than that between JP and today.

Share this post


Link to post
Share on other sites
36 minutes ago, Ghostbusters II said:

I never could make it through The Sugarland Express.

 

The film or the soundtrack?

 

The film is actually quite good. It's delightful to go on a treasure hunt for Spielberg's trademarks in this one, and Zsigmond's cinematography is very clever (as usual).

Share this post


Link to post
Share on other sites

Yeah, it's a good movie, but honestly after watching it in high school I understood why Williams never had it released. The music's not bad, of course, and it does its job very well, but it's pretty...slight, added up. Not just in amount (I remember it being on the sparser side), but I didn't think the music would be the most enjoyable to listen to on its own. 

 

If anything, I really respect Williams for it, and I wish a lot of modern film composers would go through a similar quality of introspection regarding their work. 

Share this post


Link to post
Share on other sites
On 4/6/2019 at 11:57 PM, Richard said:

THE SUGARLAND EXPRESS is a bravura debut, and is a very confident first work, for the cinema. It deserves to be watched.

DUEL is better. ;)

(and yes, it had been played in European cinemas)

 

P.S.: We should compare the music in Duel and Sugarland. Hm.

Share this post


Link to post
Share on other sites
9 minutes ago, Martinland said:

P.S.: We should compare the music in Duel and Sugarland. Hm.

 

Apples and oranges. First is a harsh, dissonant score with shades of Herrmann's PSYCHO, the second is a down-to-earth, rough-n-tough Americana score.

Share this post


Link to post
Share on other sites
51 minutes ago, Thor said:

Apples and oranges.

Well, yes, they are both fruits, which is to say they are both off the main road stylistically - that's what I meant (jokingly anyway): Let's compare these one-of-a-kind debut approaches. Fair enough?

Share this post


Link to post
Share on other sites
7 hours ago, Martinland said:

...it had been played in European cinemas)

As I am sure you well know, DUEL was made and broadcast as the ABC Movie Of The Week. It was then extended by fifteen minutes, and given a limited theatrical run. Make no mistake: THE SUGARLAND EXPRESS was Spielberg's first work expressly for cinema.

 

 

 

 

On 4/5/2019 at 4:16 PM, phbart said:

I still don't understand why JW doesn't want his work on this film released.

The question is: why was there no OST, back in 1974?

Share this post


Link to post
Share on other sites
15 minutes ago, Richard said:

The question is: why was there no OST, back in 1974?

 

As I mentioned in my post above, I wouldn't be surprised if William thought the music was too slight to release, and either couldn't or desire to rework it for an album setting. This approach wasn't too uncommon then, Goldsmith talked about it at least once.

Share this post


Link to post
Share on other sites
12 minutes ago, Richard said:

"...at least once"?

Example, please, Nick.

 

I'm trying to find the relevant interview, I'm having a difficult time right now. @crocodile You know the interview? I think you might have had a quote from it as a signature years back.

Share this post


Link to post
Share on other sites
2 hours ago, Nick Parker said:

 

As I mentioned in my post above, I wouldn't be surprised if William thought the music was too slight to release, and either couldn't or desire to rework it for an album setting. This approach wasn't too uncommon then, Goldsmith talked about it at least once.

 

Yeah, that. Also, the beginning of the 70s must have been a frustrating period for Williams fans, since a lot of his scores failed to get a soundtrack release at the time.

Share this post


Link to post
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.


×
×
  • Create New...