Jump to content

Leaderboard

Popular Content

Showing content with the highest reputation since 21/06/22 in all areas

  1. Not sure if this warrants its own thread, so feel free to combine it with another! During the Kennedy Center pre-concert talk, Williams just revealed that Indy 5 will begin recording this coming Tuesday morning, at 10 AM to be precise. So exciting!
    23 points
  2. Roger says "Coming June 28th... It could be this 2-CD set coming your way next Tuesday. And nothing in July. We're exhausted and taking a break. Will see you back in August. " http://www.intrada.net/phpBB2/viewtopic.php?p=85204#p85204 Doug says " Next week’s new release is a tour-de-force of orchestral splendor. This is one to have. It’s a riveting score! " http://www.intrada.net/phpBB2/viewtopic.php?f=2&t=8936
    22 points
  3. http://filmmusicreporter.com/2022/06/22/obi-wan-kenobi-soundtrack-album-details/ Release 27th of June. Obi-Wan - John Williams (4:07) Order 66 - Nataltie Holt (1:41) Inquistors' Hunt - Natalie Holt (3:10) Young Leia - Natalie Holt (1:05) Days Of Alderaan - Natalie Holt (1:38) The Journey Begins - William Ross (2:58) Bail And Leia - Natalie Holt (2:20) Nari's Shadow - Natalie Holt (1:14) Ready To Go - Natalie Holt (2:27) Daiyu - Natalie Holt (2:25) Cat And Mouse - Natalie Holt (3:11) Spice Den - Natalie Holt (1:10) First Rescue - Williams Ross (3:11) Mapuzo - Natalie Holt (1:18) The Path - Natalie Holt (1:35) Sensing Vader - Natalie Holt (2:50) Parallel Lines - Natalie Holt (2:13) Some Things Can't Be Forgotton - William Ross (4:47) Stormtrooper Patrol - Natalie Holt (2:34) Hangar Escape - Natalie Holt (2:33) Hold Hands - Natalie Holt (1:40) Empire Arrival - Natalie Holt (2:04) Dark Side Assault - Natalie Holt (2:38) I Will Do What I Must - William Ross (2:49) Sacrifice - Natalie Holt (1:41) No Further Use - Natalie Holt (3:40) Overcoming The Past - William Ross (4:29) Tatooine Desert Chase - Natalie Holt (2:20) Who You Become - Natalie Holt (3:36) Saying Goodbye - William Ross (5:27) End Credit - William Ross (4:03 It looks like a well curated album with the Holt & Williams/Ross material nicely put together. Excited about a listen apart from the show. It does indeed look like some of the battle music in the episodes was replaced with music by Ross for a bit more of a 'Star Wars' sound. Some Things Can't Be Forgotton looks like duel from Ep. 3 I Will Do What I Must, 1st part of duel in ep. 6 Overcoming The Past. Either 2nd part of duel or the Reva scene on Tatooine.
    20 points
  4. https://www.washingtonpost.com/national/john-williams-90-steps-away-from-film-but-not-music/2022/06/23/26b97ac2-f2f2-11ec-ac16-8fbf7194cd78_story.html Lots of stuff here.
    19 points
  5. My spouse Edwin Wendler and I had a great time last night. We even met a poster from this board. At the post concert birthday dinner we talked to many and got several photos. Here are two of Daisy & Anne. John was 9 seats away to our left. The “Superman” match set to photos/video of JW was the highlife for us. “Dear Basketball” had me in tears as some of the voice over from Kobe talked about good-bye and other words which hit us harder since he’s no longer here. Also John’s beautiful score brought out more tears. Had Anne sign my 2CD Vienna concert CD. Edwin and her chatted in German for a moment. We sat right in front of Alan Silvestri and Thomas Newman and Mike post was next to us. Wow! A perfect evening!
    17 points
  6. NASA Tweet NASA is thanking John Williams, Mike Matessino and Intrada for SpaceCamp!
    16 points
  7. One of the things that irks me the most is the bait-and-switch its marketing perpetuated with Prequel era music. How many of us allowed ourselves to build expectations for hearing DotF, BotH, and friends after that first trailer--despite knowing full well that trailer music is rarely a reflection of the actual film/show score. For a program that was supposedly a love letter to those who cherished the long-maligned Episodes 1-3, you'd think there'd be a willingness to draw from one of the few aspects of those movies that people unequivocally hold in high regard. But as it stands, we perversely got more Ep 1-3 musical references in Sequel Trilogy, which was at times insultingly blatant in its antipathy to the PT ("this will begin to make things right" -- ugh!), than in a show literally about the characters, themes, and unfinished business of TPM/AOTC/ROTS. What are we left with?: some repeated minor trumpet chords and goddawful choral sample that maybe was intended to evoke Battle of the Heroes, and a variant of the Obi Wan theme that, by sheer virtue of the consistency of Williams's melodic language, kind of resembles Qui Gon's motif if you really want it to. I've said it before, but how profound would a tiny hint of Across the Stars have been when Obi Wan was circumlocuting about Padme? This is what leitmotifs are for, stating in emotional terms what characters cannot in words, connecting events of the past to developments in the present, deepening a scene rather than simply underscoring it. How many other such opportunities for musical commentary, resonance, storytelling were missed? If there's one thing that's slightly reassuring, it's that it's not just film score obsessives like us that feel like something was off musically. I've seen a heartening, if simultaneously depressing, awareness of the issue in the broader conversation around the show as well. None of this, by the way, is to disparage Holt's music, much of which is fine scoring indeed, and a welcome addition to the SW musical canon (especially Young Leia's theme, the Mapuzo arrival, and Tala's death). She was dealt a difficult hand, moreso than I think many of us fully appreciate.
    16 points
  8. Good job using the three legacy themes (maybe four? I buy the Qui-Gon quote) when you did, but it redeems nothing. This score was a train wreck for which Williams and Ross tried to lay across the tracks in the final two weeks, but even they couldn't save it in that timeframe. Chow (and maybe Holt) grossly misread the needs of the project, and if I had to guess, I'd guess Kathleen Kennedy saw the writing on the wall and got Williams involved. Think about it. Powell says Williams was on board Solo before he himself was. If his arrival on this show was anything other than a rescue mission, they would have been hyping it for months. That his theme was used so liberally testifies to what a snot bowl the existing score must have been. But back to the sudden reveal of the 3.5 themes. (I don't count the "Hyperspace" quote. That was just kind of odd, given the rest of the score—like someone's amnesia cleared up temporarily.) Saving lush and beloved melodies only for the final appearances of each character isn't intelligent and restrained; it's inane and self-defeating. The point of writing melodic leitmotifs is to enjoy the melody while it's playing and associate it with the characters and situations it describes, both as the story unfolds and when you hear it again outside the work—not to salivate over chords and note pairs that may or may not be leading somewhere familiar. (This can work, as in Rogue One's mid-movie Leia reference during Bail's dialogue, but noticing it shouldn't require Robert Langdon levels of scrutiny). If the score didn't touch any other themes but the Force, Vader, and Leia—heck, even if it reserved those themes for the biggest moments, and even if they were orchestrated in some simplistic Holty way—it still would have been better than what we've been doing for five weeks, basically licking traces of snot from the corner of the bowl and speculating that it tastes a little like Leia's theme. And yes, if the themes were present but poorly executed, we would be absolutely complaining about poor orchestrations of legacy themes, but only because in that corner of the multiverse, it would never even occur to us that someone could score a big moment for a legacy character with anything other than the character's theme. The complaints here aren't hypocrisy; they're a testament to the mind-bogglingly misbegotten approach that was taken on the first draft of this score. I have never been so eager for an immediate re-score of a project than I am for this. Sheesh, somebody start a Kickstarter. I have no idea how I might have reacted to it with music that was more in the Star Wars wheelhouse. It probably would have covered a multitude of sins of plotting and acting. After this mess, the whole of Star Wars fandom owes Michael Giacchino a gigantic apology.
    16 points
  9. Everytime I go into this thread there’s a brand new update, completely and entirely different from the last, which then unfolds into a new story as to what’s going on. Everyday there’s a new story about how this music was written. It’s incredible. It’s the best mystery novel I’ve ever read.
    15 points
  10. Review and photos from El País: Full Happy Birthday and Imperial March performance:
    15 points
  11. Daisy Ridley made an appearance and sang John a sultry rendition of “Happy Birthday”
    15 points
  12. You’re not going to find an official source for the Rogue One stuff. I will say that the three people who I’ve heard talk about it have been well sourced, industry workers, and completely legitimate (one of whom was a 20-year user here who recently deleted their account; another an unrelated industry source at FSM; and third, Doug Adams who would not be telling these tales out of school). If that’s what James Southall is on about, I’d trust all three of those sources over him. If he’s talking about the Holt situation, I’d probably trust Southall over a JWFan user picked at random, but who knows. I noticed and liked plenty of score by both Holt and Ross in the series and I look forward to hearing it, regardless of how the sausage was made.
    13 points
  13. Been trying to familiarize myself more with the works of Lalo Schifrin here lately. Certainly some parallels to Williams. Started out with a background rooted in being a jazz pianist, worked in TV before mostly switching to larger films, born in 1932. His last big scoring effort, however, was in 2007 with the third Rush Hour movie. And it's easy for me to forget how easily that could have been the case with Williams. Music is so ingrained into his DNA that, indeed, I think it unlikely that he would ever truly step away from the music creation process. Say he'd stepped away from film scores back in 2007. For one thing, he's already cemented himself as one of the greats, with that title being secured even going back a considerable number of years prior. But also think of how much career-defining music he has put out since then. I think of his work on Lincoln, another entire film trilogy of Star Wars films, all of his concert pieces, etc. It all feels a little surreal. Other users, including myself, have waxed poetic on this strain of conversation before, so I realize I'm not making light of anything new. I think more than anything I'm trying to speak to myself trying to rationalize how bizarre it is that we're here on this forum still discussing, debating, and analyzing the continued film scoring efforts of John Williams, and that many think that some of these such efforts are among the best he's ever contributed to the musical form. He wrote Rey's theme at 83. Imagine living a life such that you are able to say that, perhaps, your best work was in your 80s. That's insane. Goldsmith. Bernstein. Hermann. Steiner. Mancini. Morricone. Titans of the industry that we look to as being emblematic of the old guard. Williams met, worked with, or was active alongside all of them at some point in their lives. He's that singular bridge tethering us in the here and now to old Hollywood. And somehow here we are getting ready to see him record a score to another one of the biggest movies ever made. To have a man be so prolific for so long at such a level of quality is a gift. To have a place like these forums for the 3+ generations of fans that have grown up and been inspired by his work is another. We could be in a timeline where Williams closed up shop in 2007 and we're all here in a dark cave driving ourselves mad with what could have been. But we're not. He's scoring another fucking Indiana Jones movie. And I still can't believe it.
    13 points
  14. I very strongly feel that Ludwig's music in general does not sound like cookie cutter RCP. Using synthetic sounds does not automatically = RCP. He has his own voice and approach that sounds nothing like Balfe & co.
    13 points
  15. It's kind of nuts how many people in various groups I'm seeing complaining about the score all over the internet. Reddit, Facebook, YouTube, Twitter. No matter where you go it's all people saying how disappointed they were with the score overall, but often bringing up how Ross' music was the only saving grace. I was expecting this score to be more divisive than anything, but it's not. Everyone just seems so disappointed, particularly with Holt's music. It's interesting because I've seen several very small but vocal subgroups saying how much they'd want a Zimmer/RCP Star Wars score... well, here it is, and almost nobody is defending it. And even the tiny amount of people defending it still speak of disappointment in many areas of the score. The music isn't terrible, it's just not Star Wars. I know JWFan gets a fair amount of attention, and we have a lot of industry insiders here, well IF ANYONE FROM LUCASFILM/DISNEY IS READING THIS: just know that this score is definitive proof that a Hans Zimmer / RCP / contemporary / modern-styled score WILL NOT WORK for Star Wars. We've been saying it from the beginning, and here is your evidence. Star Wars' music was never meant to be "modern". That is the entire reason George Lucas wanted a classical score from the very beginning, even when the studios were pressuring him to do otherwise.
    12 points
  16. Coming June 30 at The Legacy of John Williams, an exclusive video event. BOSTON CALLING — Legendary Musicians of the Boston Symphony Orchestra and the Boston Pops Reunite to Celebrate John Williams With Special Guests Ann Hobson Pilot, Tim Morrison, Gus Sebring and Keisuke Wakao Featuring Author and Writer Emilio Audissino Hosted by Maurizio Caschetto and Tim Burden More info here: https://thelegacyofjohnwilliams.com/2022/06/27/announcing-boston-calling-video-event/
    12 points
  17. Poor John Williams, there's so much better stuff he could've done with these six hours, like writing another concert, scoring Indy V or just playing golf.
    12 points
  18. That still doesn't explain why her remaining music for the show is so bad.
    12 points
  19. This is not a 90 year old man. This is an ageless and timeless wizard!
    12 points
  20. Something tells me Kathleen Kennedy wasn´t as hands on with Kenobi as she normally is with Star Wars projects (what with Mando, Ahsoka, Andor in production etc) and so she let Chow just get on with it. Then, maybe, she came to have a look at what was going on, heard the score, went "What the f*** is this?", panicked, called JW, JW goes, "Yeah, no thanks, I´ll give you a theme, but that´s it", then they get Bill Ross involved to adapt the theme and write additional music. What a mess.
    12 points
  21. No, so he had to bring in Holt to write the action cues.
    11 points
  22. Promise me you won't call the insane asylum if I tell you that one of the chapters of the book lists the 1187 appearances of the motif, with timecode in the films and albums, and also a description of the scenes and orchestrations.
    11 points
  23. I don't know. I think if whole episodes are near entirely Ross for what's supposed to be a minor rescore/adaptation gig (especially when a lot of it doesn't involve the Obi-Wan theme), then I don't think it far fetched to believe there's more to the story. Especially with how quiet Lucasfilm/Disney has been about it, given they would have you believe Holt is the only person of importance (despite her admitting her own main theme got replaced, and had very little to do with the final one). And I say this as someone who's still fairly defensive of Holt, and would sooner blame everything on the higher ups than her specifically.
    11 points
  24. Rey's Theme is still one of my favorite Williams themes ever
    10 points
  25. “Nedry’s Jeep here! I got Nedry’s Jeep here!! See, no one cares…”
    10 points
  26. The Duel with Mutter and Ma was a back and forth between violin and cello, they made gestures towards each other throughout and at a couple points drew their bows at each other. It was pretty fun. Here they are after The Duel while the audience applauds. The crowd laughed at their sparring during the piece.
    10 points
  27. I made the mistake of listening to this after the Kenobi album: Hearing this energy and sophistication of writing is like feeling the warmth of the sun on your face after staying the night in a cold damp cave
    9 points
  28. I just started listening to the Obi-Wan Album. Track 1 is Williams' Obi-Wan theme. Track 2 is the opening Order 66 action music from ep1. I'm still cringing from the sharp contrast in styles. From beautiful sweeping orchestral to modern RCP banging drums and brass. Just like when I first heard it, hearing that opening action cue just sets the precedent for the rest of score and it's a harsh reminder of what modern film scoring has become.
    9 points
  29. It’s detriment free and sounds better than ever, so please have faith. You’ll hear specifics when Doug and Roger talk later on the show. If you can’t listen live I’ll post a link. Chris Malone worked on restoring a particular cue and we all know that he is from the school of Mike Matessino excellence!
    9 points
  30. Oh no! Not wanting to be outdone by NASA, it appears that Bezos got to Williams. Maybe Shatner inspired him?
    9 points
  31. I think we'll never find out why this whole thing was such a fuck up. But I can guarantee you... that the person who has 'come last', in relative terms, and the unsung hero in all of this, is William Ross. The one person that the majority of us was hoping would completely score the fucking thing in the first place. I like John Williams' theme. But it is waaaaaay over-used. Which reflects badly on William Ross (with that awkward "Kenobi Theme Adapted By" credit) against the fact that a substantial proportion of the entire score is completely his... and I don't need validation on that because you can fucking hear it. Holt's and Ross' contributions are like chalk and cheese, and frankly I think it's cruel and unfair to everybody involved. And that is [probably] the last thing I have to say on the matter. Because I'm bored of it all now.
    9 points
  32. Since the back of my head appears in some of the earlier photos (I was sitting in A 12 on the orchestra right side), I might as well chime in... I didn't have the best viewing angle, but the performances and sound were excellent, and it indeed was a very nice concert. The opening montage of his various filmography played to the music from E.T. was very nice, as it covered other aspects of his career beyond his blockbusters, like Born on the Fourth of July, Far and Away, and Seven Years in Tibet. Home Alone seemed to get a noticeable reaction, although I wasn't sure if it was due to a fondness/nostalgia for it, or that some didn't realize that was one of Williams many iconic works. When Steven Spielberg spoke, he didn't go into the usual anecdotes, i.e., thinking the two-note motif to Jaws was a gag, or how Williams felt he wasn't worthy enough to score Schindler's List. Instead, he gave a simple, but a loving reflection of how he and Williams first started working together and that this collaboration and friendship continues fifty years later. Spielberg and Denève gave Williams a couple of shutouts, which then the audience cheered and gave him a standing ovation. People were filming and taking pictures, but I couldn't tell where was until seeing a later video. Anne-Sophie Mutter on "Markings" was both a work of art in performance and composition. For me, when Williams writes a concert work, he seems to have not only color and texture in mind, but ambiance as well when performed in a formal, classical hall setting. I could pick out more details from the orchestra that isn't as noticeable on the album recording. Her later duet with Yo-Yo Ma was also a nice touch, in a "Dueling Banjos" kind of way, and how they playfully dared the other to outdo the last bit of playing. Denève did an excellent job with Jurassic Park, as thx99 mentioned, as this rendition was closer to the tempo of the original film recording. The revision that Williams did, which I believe began in 1995 with the Williams on Williams: The Classic Spielberg Scores album (and carried through subsequent performances/recordings), took away a lot of the grandeur and majesty with the faster pace. Slightly disappointing was the Superman March, as it was truncated and had a quite a few jarring transitions. However, the montage of Williams over the years made up for that, which included some rarely seen ones, such one photo where it looked like he was napping on the couch after a difficult recording session. When 90 years old you reach, conduct as much you will not, but Williams's much anticipated appearance just for the sole encore of "The Imperial March" was worth it. Earlier Denève made this comment about Williams, which really summed up not just the event, but his career: "John's music is timeless, but he is ageless."
    9 points
  33. Before we get the expansion, let's have a trip down memory lane, shall we? Very classy design, but they did crop quite a bit of the artwork with that square. What a cool design Willow's Darth Vader General Kael had. For the life of me, I can't remember him doing anything interesting in the film though. Ron Howard doing an awesome Indiana Jones cosplay. This one's for Jay. All SONGS.... All of them. Yep, James Horner wrote ALL of the SONGS you will hear on this album. Love those SONGS. Honestly though, what a oddly phrased credit. Did anyone else's CD come with the Lucasfilm merchandise booklet? I remember getting this and feeling depressed how Lucasfilm was putting Star Wars and Indy to the side. And I'm sorry, but those "army men" are NOT Action Figures! $2.50 seems expensive for those. My CD still plays fine, but ever since college, there's been a peeling of film from the top surface. I seem to remember it came back from one of my roommates like that, and I sort of blamed them. Maybe their player did it? "Mastered by Nimbus" ... cool.
    9 points
  34. This sums up my thoughts on Obi-Wan Kenobi's music. I won't rehash too much of what's already been said, but I was overall disappointed in the music. I really enjoyed Ludwig's Mando music, and Shirley's work with Ludwig's themes in BoBF...I don't really have a problem with deviating from the 'star warsy sound' necessarily. As others have mentioned, because this is such an extension of the prequels, it didn't feel 'right' to not hear certain themes during certain key moments...and I really don't think Natalie's comments on needing to 'seed' the themes makes sense since we chronologically already have Vader's, Leia's and the force theme from before this series takes place. I'm not saying every theme that could show up, should show up... but at least some key moments should have had themes. Examples: -bit of Luke's theme when we first see him -force theme for at least that one moment where Ben uses the force for the first time in a while to catch Leia -Leia's theme could play in a number of spots -Vader's theme for at the very least his first appearance in the show, and would make sense in a number of other scenes I don't mind Qui-Gon's theme not appearing. Battle of the Heroe's quote could have been cool, but would be fine for me for their duel to have other music, although I didn't really like their duel music in the finale (I should listen again though, only watched it once). I did like some of Natalie's music...the things that come to mind were in that planet in Episode 2, and the midwest-United-States-looking-planet in Episode 3. I was not a fan of her Inquisitor theme(?) that plays when Reva arrives at the Fortress Inquisitorious. I really enjoy Williams' new theme, but I do think it's overused in the series. I enjoyed a lot of William Ross's work for the most part and I really hope this shows those who make decisions that Ross should really be considered for a Star Wars project in the future, and certainly if we do get 'Obi-Wan - Season 2: Ben gets a house', then I hope they give it to Ross completely.
    9 points
  35. Apparently black-female antagonist = woke nowadays? Idk. Whenever someone says the word 'woke' unironically I just assume they didn't graduate high school.
    9 points
  36. I can’t even begin… I’m going to sound like a “get off my lawn” a-hole here but it’s really disheartening to see Star Wars start to take on the RCP aesthetic. I guess it started in Mando. But in Mando is kinda works since the show is a new thing and not tied too much to the past. But this series? This series and it’s music was just a huge let down, so off the mark, so…wrong, it baffles me. It felt cheap. It felt generic. This score is just emblematic of scores in general these days. God I sound like a “back in my day…” old fart. But damn it! It’s kinda true. We no longer hear strong memorable themes. Why is that? It seems mood and tone rule the day. Instead of “Where have all the cowboys gone?” The song should now be “Where have all the memorable themes gone?” The MCU is 20+ films deep and I couldn’t hum a note of it. Now of course there’s more to film scoring than that but… is there a single “new” composer getting major opportunities that hasn’t come out of the Hans Zimmer factory or utilizes his general approach to music? Where are all the composers to get excited about? The John Williams & Howard Shores of the world aren’t getting any younger. I remember when Michael Giacchino once held so much promise when he bust on to the scene. LOST & Incredibles in the same year! Now it’s as if he works on auto pilot. He had a great 4-5 run and then it turned to meh. Everyone flipped for his Batman score but for me it was just a huge letdown. His theme was far too similar in its idea to Zimmer’s rising two note theme. Yay! More pounding Dun, Dun, Dun music! And by Merlin’s beard why oh why have composers abandoned “the March”? Anyone remember “the March”? It’s dead now. I think Alan Silvestri attempted a Captain America March, didn’t he? But it just didn’t quite get there. As for this Obi Wan show…It’s pretty amazing that 90 year old John Williams can write a 5 minute theme for a TV show & it blows every cue written in the last 12 months out of the water. And then the show doesn’t even adapt the theme properly and use it in it’s entirety. I’ve watched the CGI animated Star Wars shows and they did a pretty good job adapting JW’s work. Kevin Kliner. Why not give him a shot? Alas..I should say, the Hans Zimmer’s of the world have their place and sometimes those score produce brilliant work. But my god. It’s just taken over everything. it’s as if producers and composers are terrified of coming off as “old fashioned” & “corny”. I still remember the disconnect I felt when everyone seemed to be raving about Zimmer’s “Man of Steel” score. All I heard was unstructured noise and percussion with the occasional bland piano motif. I mean here is a character known for his awesome memorable themes from John Williams and then Shirley Walker yet in 2013 we get rising and descending tones and lots of drums. Then again. Maybe it’s just me. I can’t even remember the last film score that totally blew me away. kinda sad.
    9 points
  37. I have a lot of thoughts, most of them negative. I will say, I thought the Force Theme was very effective, and one of the few times--maybe the only time!--this series sounded like Star Wars to me. I kind of got what they (Holt? Ross?) were going for during the rematch, a twist on the Obi Wan Theme that sort of evoked Battle of the Heroes. But man did that thin and inexpressive choir take me out of it, especially its intro. Was that synth? Same goes for the Imperial March; a fine little rendition, I guess, but something about the recording and/or performance just made it sound anemic.
    9 points
  38. Jay

    The Official Intrada Thread

    Intrada's next title is coming Tuesday June 28th (so, up for sale Monday evening June 27th) and Roger has posted this about it: " For our title that comes out next week, choose your response now and see if you nail it...or you need to chose another option after it's announced. There is no penalty for changing your answer later. 1. Ordered! 2. I have no interest in this title, but happy for those that are. 3. Release of the year! 4. The original album was long enough. Pass 5. I never liked this composer and/or score but I'm coming into this thread to remind everyone I don't like the composer or this score because I like to stir things up and I need attention. 6. This is great, but is there a chance of [insert entirely unrelated score] getting released? 7. If this got released, then we must be getting [insert vaguely related score] next. 8. Another expansion? Why couldn't they release something entirely new that if it was easy to release would have been released already? 9. No original album program? Pass 10. I'm glad they didn't include the original album program. 11. Thanks for saving me money Intrada! 12. This was my holy grail! Thank you Intrada! " http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=8935
    9 points
  39. Trying to get this straight. Deborah Chow told Holt to compose as though they're not allowed to use JW themes, because they are looking into it. JW is brought in to compose Obi Theme, and William Ross is given the okay to use themes, but only in the last episode. Doug Adams implies yesterday on Twitter that withholding his themes in the Obi Score is consistent with JW being unhappy with Giacchino using his themes on Rogue One, which was then quickly rescored. Doug also implies that that's why Williams took greater interest in Solo, after not being asked to score Rogue One himself. James Southall tweets that the above is false, that John Williams indeed does NOT get possessive about how and where his themes are used in LFL projects.
    8 points
  40. What? She looks the same she always does? Unless you're referring to how the faces of people change over time because time moves in a linear fashion? Regardless, it seems weird to zero in on that unfounded accusation of vanity when there were far more egregious offenders on display at that event. Williams spent nearly the entire time wearing perhaps the worst disguised toupee I've ever seen and not a single person in attendance had the guts to call him out on it, presumably because they didn't want to embarrass him at a huge event held in his honor.
    8 points
  41. Geez, Deborah, what about doing a little bit more research before setting the wheels in motion?
    8 points
  42. Okay, which one of you put this together?
    8 points
  43. Sorry to hear about your nightmare, Bes!
    8 points
×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.