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Posts posted by filmmusic
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I hope this doesn't have a RCM style of music but a score analogous of Frankenstein and such..
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ok, I'll try but i doubt it..
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I emailed the Houston Symphony orchestra that had premiered the symphony, in case they had a recording in their archives.
I got their reply today, that even if they had it, their archives were flooded in 2001 by a tropical storm and thus destroyed.
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Yes, congratulations!
Will it be sold only from this site, or from amazon too?
Also, how many pages is it?
And it would be great also if you could put a couple of preview pages..
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Those are alreay taken out in the Bluray! ;-)
it's the theatrical edition.
@joey
yes, still i wasn't sure, and i had to compare it side by side with the 2002 edition i found in youtube.
yeah, i see it now.
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watch the scene, it's quite clear.
Right before the "I'll be right here" moment?
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have you not ever watched the movie? when E.T. goes to touch Elliott at the end, the arm is backwards. it was corrected in the 2002 release.
hmmm... No! i haven't noticed. I'm so emotional in the end crying..
what do you mean "backwards"?
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it's even got the arm wrong at the end like when it was released.
Sorry?
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About Williams' reasons for not allowing a release of the score, no one knows for sure, but I think a lot of composers look back at their early works and feel a kind of embarrassment because they have found more of their artistic voice since their early works. So even if those works aren't bad, I think composers themselves can feel that they are because they are often their own harshest critics. I would guess that Williams falls into this category given the things I've heard him say, like one thing he would change about his career is that he wishes he could have done some scores better (!).
Yes, i understand but many much earlier works of his have been released:
Bachelor Flat
Diamond Head
None but the Brave
John Goldfarb pelase Come Home
Not with my Wife you Don't
Penelope
etc.
That means that he considers those scores better than his Sugarland Express?
Or maybe he doesn't even know that they're released?
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After waiting it out I finally just bought E.T. on Blu. £5.77 on Amazon was reasonable for a movie I've already seen a million times. Can't wait to watch this and Jaws with my kids. My life will be complete.
E.T. it's one of the most gorgeous Blurays!!!
I have a digibook which is very beautiful too.
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Less than 80 copies for anyone that hasn't got it yet and wants it!
http://www.filmscoremonthly.com/board/posts.cfm?threadID=97040&forumID=1&archive=0
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He knows his popularity though, and even thought he doesn't understand the world's desire for C&C, he must still be aware that people would like some representation of the score, so I'm thinking he must feel really insecure about it, to only allow the main theme.
Yes, i also assume it's insecurity but I don't understand what is it that he fears of?
That people will listen to this music and change their whole opinion about the rest of his rich work?
He is John Williams!
I would understand this kind of attitude by someone who is just starting in the business, and so he would like to show his best work out there and hide ahything that he feels it's not very good.
But when you have secured your place in history, I don't understand it.
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Interview with Roger Feigelson:
http://www.underscores.fr/index.php/2009/04/interviews-roger-feigelson-vo/
Did you ever release scores in order to please the composer, even if you would not do it without him asking for it? Did the contrary ever happen, a composer asking you not to release a score?
Yes to both. We’ve done things for composers and studios as a favor because we like to support their efforts. And yes, John Williams was adamant about there not being a release of Sugarland Express.
thanks.
The thing that is strange is, why did they ask him about Sugarland Express in particular and they didn't ask him abou John Goldfarb, Penelope, Bachelor Flat, Nightwatch etc. etc.?
Or they did ask him and he didn't have any problem with them being released but only with Sugarland?
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I have never seen an official statement about Williams boycotting this, but let's just say it's true -- I wonder what his reasons are? Someone should put the question to him.
I would assume he doesn't believe his music is too good for an album release.
Although there have been so many releases from his earlier scores, that I wouldn't regards them as better.
and yes, as stefancos says, i remember too, one of the labels said it.
By the way, if the master tapes don't exist, what is the source of the bootleg then?
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I agree, Richard Robbins' score is beautiful. The film is great too but it doesn't blow me away on an intellectual level as Howards End does. Either way, both films represent the zenith of Ivory/Merchant.
Alex
Well, I like Maurice (both film and score), even better than the 2 of them , and I hope someone releases it soon in BLuray.
Vincent Price's House of Wax is coming to Blu on 10-01-13. It's going to be in it's native 3D. Love me some old horror films.
then i assume you'll like this too.
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One of my favourite films from my teens comes in Bluray in UK (by the way, exceptional music score by Richard Robbins):
http://www.youtube.com/watch?v=o1_5yToFwxY
http://www.blu-ray.com/news/?id=11459#comments
I don't know if I have to wait in case Criterion releases one. (although I understand there was some legal conflict with Ivory).
I would love to couple it with Criterion's Howards End.
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Have any of you read the endless list of 5 star reviews on iTunes of the CD? I find it amazing how different the opinions on their are to here, I'm guessing most of them don't really listen to film scores much. Some great quotes are 'zimmer is in my opinion the best movie score composer of all time' and that man of steel is 'arguably his best score'.
I guess those are reviews of 10-18 years old kids?
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I never though found any enjoyment in the POTA score, great film score, not so great outside listening experience.
And this is what i meant by my previous post.
You must be into this stuff, to like it outside of the film.. (well, that's what i think)
20 years ago, I wouldn't be able to sit through it as a standalone listening experience.
But not that I feel more mature, i find it great and extremely interesting.
(and I believe I would even more if I started studying it bar by bar to see its construction exactly)
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yeah, prometheus, we have discussed this before.
I meant it doesn't have the memorable themes that the average moviegoer perceives (aka tonal themes)
(eg a 12-tone theme may be memorable to you who are analysing this stuff, but it's not to most people)
All here aren't composers or musicologists, so I'm trying as much as I can not to speak as one in such threads.
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I listened to Batman Forever this morning...sigh
in 20 years this sentence, written by someone else, will be like this:
I listened to Man of Steel this morning...sigh
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I am not sure if anyone is interested here (i had started a thread at FSM) but as it turns out, Rachel Portman will be scoring the upcoming biopic about princess Diana, called "DIANA".
Looking forward to it, escpecially if it's along the lines of "Never let me Go".
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Battleship was Transformers 4
Speaking Michael Bay: Teenage Mutant Ninja Turtles reboot poster
TMNT was the first movie I saw alone with friends at 4th grade.
I fear what this might turn out!!
(well, we already know how the score is gonna be)
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Your English is pretty good. By serviceable we tend to mean 'adequate', or 'workmanlike'. Competent, but not much else.
oh ok. Now I understand.
Then, I didn't mean that!
I meant that it serves the picture. Not that it's just competent or adequate.
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I think both scores are much more than just "serviceable"
well, english is not my native language, so I may not understand quite what do you mean by "serviceable".
They do serve the film alright, don't they? (this is what I mean by "serviceable")
And they can stand on their own too.
The Official Abel Korzeniowski thread
in General Discussion
Posted
Does anyone know what is the new score that the composer said in his facebook page he would be recording today?