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The live recording done in 2000 at Tanglewood is available! http://www.bso.org/b...=twd75downloads Check out Richard Dyer's insightful liner notes as well.

You can find the whole interview here btw: http://www.jw-collec...rview/elley.htm

I remember an old article in British Film Magazine in 1978 written by reporter Derek Elley who interviews Williams and he talks of his career and recent works, among other things The Fury. Williams complements Brian DePalma's style and editing, says he had pretty much free hands with the score and that DePalma loves music and likes it to be in the forefront quite often. Also he adds that he had the good chance of recording the album for The Fury with the LSO before starting to work on The Superman, his next project.

That poem is awesome Alice! Is that a hand-shaped bookend? BTW for those wondering about the "Leaving after 789 posts" thing, see here: http://www.jwfan.com/forums/index.php?showtopic=21783&st=40#entry813544

One of my Tom Newman all-time favorites:

The slow version is really the quintessential one in my mind. As you say it sounds much more hymn-like and majestic in this version and the choir heard on the soundtrack adds an additional spiritual dimension to it. It has always sounded like reverent celebration of nature to me. Perhaps that is why it is among my very favourite John Williams themes as it captures the elusive and magical feeling of absolute awe and wonderment.

You can dress up the corpse, but you can't bring it back to life... Since all those calamitous blockbusters are based on another boring variation of saving the world from another archvillain striving for world domination, hear myself yawn from now till the this flick has vanished in the already too large pile of fire-sale dvd's for 1,99$.

A marvellous and very important composer, and a phenomenally good reader of film. I truly wish he would have spent more time writing music beyond cinema; his dramatic instincts would have served him well in other fields, I believe. That being said, his film music legacy lives on, and is an inspiration to all of us. I had the privelege of meeting him once in London, and he seemed a very sweet person, there was an aura of tremendous warmth about him; he seemed genuinely touched when I told him of a piece of mine that I had dedicated to him, and I feel he never quite got the recognition he deserved from the classical music world. So much of his music works incredibly well outside the context for which it was written, there is a very unique sense of structure to all his scores, a kind of symphonic conception of the score entire. Very often, his scores will contain really only two or three main elements that are then separated and explored singly, before ultimately being joined to form what might serve as a "main theme". Goldsmith was actually a far more contrapuntal musical thinker than what one might suspect upon an initial listen; there is a deceptively streamlined quality to his musical surfaces, which got even more and more "simplified" in the last decades of his career. I say 'deceptively', because I think Goldsmith's "point" was often not the material at hand, but rather the exploration of what kind of mileage you could get out of these devices. There is a lot to be learnt from him!

He did return to scoring disaster films. Disasters.