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Showing content with the highest reputation on 02/29/16 in all areas

  1. 5 points
    Glad to see it happen. And very gracious of Morricone to acknowledge Williams by name in his acceptance speech.
  2. 4 points
    When Morricone was announced as the winner, I felt dissapointed. I knew he would win, but I still retained some hope. Yet, after watching Morricone walking to the stage and giving a gentlemanly acceptance speech, and mentioning Williams, I felt relieved. It's not like Ludovic Bource winning over Williams just for the film's popularity back in 2011. Morricone is an obviously deserving composer.
  3. 3 points

    2010's will be Williams' best decade?

    War Horse is simply one of the best, and most emotional scores of his entire career. Tintin is a delightful romp. Lincoln is wonderfully introspective with several A+ themes. The Book Thief is an engaging score that takes a hold of you from the start and doesn't let go until the end, and The Force Awakens is a delightful new direction in his action adventure scoring with wonderful themes and great variations of all of them (and I'm still chomping at the bit to hear the hour of unused alternates and stuff). I just cannot wait for The BFG, I think its going to be a real special one. I hope Johnny scores both Ready Player One and Episode 8!
  4. 3 points
    Not a fan? I reckon it's a technically well-made film with a solid cast (Stan always rocks). But like I said earlier, I just can't take "activist" pieces like this. I understand the urge of a director, or any artist, to utilize one's craft to push some "real world" agenda; I totally get where it comes from, but I just don't care for that sort of thing these days. And yet I can enjoy any John Adams opera... I suppose he manages to not be preachy at all, and to paint such "current events" in broad, almost mythical terms, through which things can take on a more elemental relevance - I believe this is absolutely vital with such material. Spotlight, by contrast, like almost any contemporary film with a political or social thrust, is a sterile treatment of something that people will gasp at and shake their heads over, and then forget about - not because what it's about is lightweight or silly, but because of the flatness and vacuousness with which the subject is treated. What does the film really say, what does it accomplish? This stuff happened, these reporters did these things, yay journalism, priests like little kiddies... and then the filmmakers get up to accept their award and make some halfassed call to action. It's just all a little bland, all right? I didn't feel like this was the work of people truly trying to say something and to bring about some sweeping change for the betterment of humanity. It felt like the work of people who seize on whatever the big "cause" of the day is and push it for the benefit of their own image, then move on to something else when it falls out of fashion. This is the problem I have with this whole genre of "issue" films. It's obviously not that I like movies to be utterly devoid of any meaning or import, but those have to be derived from, or related to, something more timeless and fundamental to work for me, in the way that Adams transforms his chosen material. I just can not be engaged by so much stuff that seems to be de rigueur lately: straight crime films (although this varies a bit for me), or rape films, or sexuality issues films, or ethnic tension films, or, as here, religious dirty laundry films. These things just do not matter to me, because the filmmakers never seem interested in truly making them matter to me. It is almost invariably just an agenda taken up with little real spirit, in order to appear progressive and appropriately Hollywoodian in social concerns, and the most egregious thing is that this film probably won largely on such terms. And that's the real crime of the Academy and Hollywood as a whole. No, it's not that there aren't enough black people. It's this constant peddling of material that supposedly is about Important Things, but is rarely anything more than a husk, the shriveled excretion of someone's ego desperate to prove itself tolerant and aware. This isn't fucking Poitier anymore, it's dilettante activism. Anyway, we delivered the bomb.
  5. 3 points

    John Wilson is a JW fan

    Do you ever browse the internet to keep tabs on your fans? I can barely switch on a computer, let alone Google! [laughs] Many younger composers and students often ask me... No look, I'll drop the act. This antediluvian image I've helped cultivate for myself is something of a lie, I guess [laughs]. The truth is that I have an unhealthy addiction to social media. Around about 7 years ago I registered on a forum dedicated to me - the 'John Williams Fan Network' or 'JWFan' for short. Sounds incredibly egocentric, I know, but I did it only after pressure from my wife. Since then I've become what's known as a 'top poster'; but no-one knows who I really am. Probably for the better! That'll keep them guessing. I hope so.
  6. 2 points
    If you can't hear the clarity, compositional craft and mastery of orchestral colour displayed in L'Inferno Bianco or Raggi di Sole Sulla Montagna, then they have fallen on deaf ears. And "averagely standard" (a tautology) compared to what? The score sounds like no other composer writing today, and that is one of its strengths. Get yo head out of yo ass.
  7. 2 points
    Morricone's son translated almost exactly word-by-word. This is the text in Italian: "Ringrazio l'Accademia per questo prestigioso riconoscimento. Il mio pensiero va agli altri nominati, in particolare allo stimato John Williams. Non c'è una musica importante senza un grande film che la ispiri. Ringrazio Quentin Tarantino per avermi scelto, Harvey Weinstein, e tutto il team che ha reso possibile questo straordinario film. Dedico questa musica e questa vittoria all'Oscar a mia moglie Maria. Grazie." This is how I would translate it: "I thank the Academy for this prestigious acknowledgement. My thoughts are with the other nominees, particularly with the esteemed John Williams. There is no important (film) music without a great movie that inspires it. I thank Quentin Tarantino for having chosen me, Harvey Weinstein, and the whole team which made this extraordinary movie possible. I dedicate this music and this victory at the Oscars to my wife Maria. Thank you." Morricone's son translated the bit about John Williams as "My tribute goes to the other nominees, in particular to the esteemed John Williams", which means the same thing.
  8. 2 points
    The movie would probably have to be a ginormous hit for that to happen. Happy to see Ennio win and it was very nice of him to mention "the esteemed John Williams" in his speech
  9. 2 points
    Williams wrote the better score by far but Morricone was far more overdue an Oscar.
  10. 2 points
    I didn't expect Chris Rock to be the best host ever, but I thought he'd take the controversy in hand, diffuse it a bit, and turn everyone's attention back to the movies. He started off that way. He hasn't kept up his stride. And now it's starting to get just plain awkward. I'm not just talking about the whole diversity thing. When the presenters start upstaging the host, thing's aren't going well.
  11. 2 points
  12. 2 points
    Just for the record here's a more detailed analysis of what I was talking about (everything has been transposed to D minor for easier comparison): This is the flute line from the middle, quiet section of the Imperial March (LISTEN here, note I used the string line later on but the melody is exactly the same, only transposed down an octave). Now compare the labelled fragments A, B and C with Kylo Ren's main motif as it appears in Jakku Village (LISTEN): and the "falling" motif as it appears in The Abduction (LISTEN): Fragment C seems to appear in the main horn melody (this is what I was talking about in my earlier post), and the trumpets above it also hint at fragment A. Whereas the falling motif looks like it's built out of fragment B entirely. I guess it's interesting that Williams appears to base Kylo Ren's music on the middle, quieter section of the Imperial March, but turning it into loud brass statements. Almost as if Kylo Ren has only grasped a small part of Vader's legacy and turned it into something bigger than it actually is, but never getting close to the main power (i.e. Vader's theme, which only plays when Ren looks at Vader's mask.) Does that even make any sense? Anyway, Rey's theme seems, in turn, to be literally reflecting Kylo Ren's theme (LISTEN): ...by playing the last three notes, then playing the first three notes in reverse (but G# is brought down to G). *gasp* I wonder what this could mean? (LISTEN) Another "link" which at least appears in the concert suite of Rey's theme is the repeating trumpets, which sound almost like the repeating trumpets playing over Kylo Ren's theme in Jakku Village. It might just be a purely musical choice though.
  13. 1 point
    I would enjoy The Book Thief a lot more if Angela's Ashes didn't exist. I just hear too many similarities between the two. I am due for a relisten though, so my opinion may change. War Horse, Tintin, Lincoln and The Force Awakens are all 5 star scores for me.
  14. 1 point
    Really? Anyone could write Raggi di Sole Sulla Montagna? Please, show me examples.
  15. 1 point
  16. 1 point
    I don't think the highs of the 2010s have reached the highs of the last several decades for Williams. And of course this will be his least prolific decade, with hopefully 10 scores. On a similar note though, I agree that the lows have been nowhere near the lows of previous decades either. No boring Stanley & Iris or nonstop War of the Worlds scores in the mix. It's been a great decade for him, and hopefully The BFG turns out to be classic Williams fantasy.
  17. 1 point
    I bet Nolan wasn't surprised! Yet again he has his finger on the pulse of Hollywood. Can't wait to see Rylance in Dunkirk.
  18. 1 point
    So individuality is synonym to the great quality?
  19. 1 point
    Individuality. One of the greatest merits there is.
  20. 1 point
  21. 1 point


    I think John Williams will win.
  22. 1 point
    Don't be ashamed, Michael, it's a brilliant score. If you think the Main Title is good, then try "The Trip To Arrakis": cosmic, man!
  23. 1 point
    We must overcome greed to see the problems facing our planet, says Leo as he holds his golden statue in a theatre full of fellow millionaires.
  24. 1 point

    2010's will be Williams' best decade?

    Ha, ha....always glad to be of service as an 'anti' thermometer!
  25. 1 point

    Ennio Morricone - The Hateful Eight

    "Mr. Monicorre... I mean, Mr. Noricome... I mean, Mr. Noci... You, Italian guy, sign here!"
  26. 1 point
    I agree with Lee. The descision to sing it "castrato" largely ruins it. But it's pretty good apart from that.
  27. 1 point


  28. 1 point
    It is the only one - wash you ears - that actually features a long unified cue with a larger musical vision than just to catch a fleeting moment onscreen (the long welcome to the park one) and plays nicely with its Goldsmith/Williams reminiscences, i. e. the jumbly horn call for the dino hunt best featured in the latter part of the suite. It's a neat 40-minute album and much better than the slapdash and pointless 80's cliché collection of TOMORROWLAND (that movie sucked) and the asthmatic INSIDE OUT (some wonderful inventive moments that failed to come together).
  29. 1 point
    They should have given an Oscar to these Globe reporters, not to some lame movie timebeater made 15 years after the fact - it's strictly for rainy sunday afternoons. I would have rather given the award to REVENANT and that is saying something,. believe me.
  30. 1 point
    AWESOME!!!! But I don't care about the Oscars...
  31. 1 point


    They thought he was black, because he calls everyone "baby"!
  32. 1 point
    The Oscars are totally meaningless! OMG 6 wins for Mad Max!!!!
  33. 1 point
    I've heard the scores to both Hateful 8 and SW TFA. Williams had the better score. This was a sympathy vote. Morricone was right to acknowledge Willliams - the least he could have done
  34. 1 point
    I honestly don't honestly hate any movie or filmmaker. If a movie does nothing for me, I just don't care. Doesn't madden me and I don't post in triplicate about how much I loathed it... but that's just me! Tell us all about this truth then. Who here is full of shit? I love when a new member wants to put someone in their place....
  35. 1 point
    So another Academy Awards ceremony passes at JWFan, and all I can think about is how full of shit everyone here is! Looking forward to all the "I don't care" posts next year. Goodnight friends!
  36. 1 point
    GREAT look from Cranston! HAH!
  37. 1 point
    He went so long the music stopped. Way to plow through, buddy!
  38. 1 point
    Honestly, seeing the rapport between them this week, the way Johnny got to be there with him, and his gracious nod to his colleague--and just #50 by itself--this has been nearly as good as a win for him this year anyway.
  39. 1 point
    He really should have been offered to perform. Lang's song was beautiful!
  40. 1 point
  41. 1 point
    Nice to end on Nimoy I guess Wes Craven was the snub unless I missed it
  42. 1 point
    I dunno. The whole Girl Scout cookies thing was this year's version of Harris's embarrassing Oscar "predictions" bit last year.
  43. 1 point
    By this far the most annoying and unfunny host ever
  44. 1 point
    Best line of the night so far: "This Oscar is going home in a Honda Civic."
  45. 1 point
    Hint: If you're a white dude telling a minority that everything is fine and they shoudln't be complaining you should probably just not.
  46. 1 point
  47. 1 point
    See? Now that's how you do it. You would think a gaggle of actors would be able to pull off a prompted speech better than they almost always do. But when you see J.K. Simmons do it, you realize how cringeworthy the rest of that crowd is. He's just a great guy.
  48. 1 point
  49. 1 point
  50. 1 point


    I really don't think people in their 80's should be required to reinvent themselves.
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