Dole

I don't think so. I think it's a TCM original production by the guy who did the "Men who Make the Movies" series. The same guy also did a feature on Woody Allen a couple of years ago for TCM that was good. Allen sat down and basically discussed each (or most) of the films he'd made.

Save the comments. It's not anything erotic in nature. It is however the title of a new 90 minute documentary that will be airing in July on Turner Classic Movies about the director's films. I'm assuming that there's bound to be something about John Williams in there. Anyway, I know it's still a long ways off but I thought I'd give everybody a heads up if you didn't already know. TCM is fantastic and so I expect this will be slightly better than something you might find about Spielberg on some other channel. Dole

I thought I read something once about how Williams wrote a symphony back in the 60's or 70's and Herrmann didn't like it all that much saying something like "The opening melody was nice but what the hell was with all the other notes?" I don't think Williams has written another symphony. Maybe Herrmann's opinion had something to do with that.

You guys are too critical. I, like most people, immediately sensed the chemistry and passionate love between Padme and Anakin when Anakin said he liked her better than sand. Why the Academy ignored AOTC in the screenplay category is a mystery. :roll:

Hook is my second favorite Williams score next to The Empire Strikes Back. A true masterpiece. There's so much not on the official release.

Amen to those two.

'Quite adept at adpating novels'? I've only seen three of his films...Don't get me started on The English Patient. What's wrong with The English Patient other than the fact that it's incredibly boring and...oh...right...nevermind. Dole- Who thinks a Minghella version of "The Hobbit" would run about 9 hours and consist of lenghty soliloquies about the types of plants in Middle Earth (in other words..too faithful to the book!).

I guess these would be my top picks: Bernard Herrmann: 1. Vertigo 2. North by Northwest 3. The Three Worlds of Gulliver 4. Citizen Kane 5. Psycho Erich Wolfgang Korngold: 1. The Adventures of Robin Hood 2. King's Row 3. Captain Blood 4. The Sea Hawk 5. Anthony Adverse Alfred Newman: 1. Wuthering Heights 2. Captain from Castille 3. How the West Was Won 4. The Robe Miklos Rozsa: 1. Ben-Hur 2. King of Kings 3. Spellbound 4. Lust for Life Jerry Goldsmith: 1. Patton 2. Star Trek 3. Poltergeist 4. Basic Instinct 5. The Omen Franz Waxman: 1. Bride of Frankenstein 2. Sunset Blvd. 3. Rebecca 4. A Place in the Sun Max Steiner: 1. King Kong 2. Gone With the Wind 3. Now, Voyager Elmer Bernstein: 1. To Kill a Mockingbird 2. The Ten Commandments 3. The Magnificent Seven 4. The Great Escape 5. Far From Heaven

Thomas Newman is underrated. The fact that he hasn't won an Oscar yet is criminal. I don't find his scores to be great listening experiences but most of them work superbly in the films they're composed for.

I forgot about Ripley. Good movie.

I think part of the problem is that Williams isn't scoring the same kind of films he was in the mid-70's through mid-90's. Jaws, Radiers, the orginial Star Wars Trilogy, E.T., Close Encounters, Jurassic Park, etc. were all groundbreaking films that were incredibly successful at the box office and with critics alike. I mean Star Wars, Jaws, E.T., Raiders, and COT3K all made the American Film Institute's list of the 100 best films ever. Do you think Catch Me if You Can or War of the Worlds or Attack of the Clones or Memoirs of a Geisha or Angela's Ashes are ever going to be on such a list. I doubt it. Spielberg isn't making the same kind of films he once did and Williams isn't writing the same as he once did. Not a bad thing neccessarily...people change and their styles mature. I don't think Spielberg could never have made a film like Munich back in the 80's and Williams could have never written a score like A.I. back in the 70's. When Williams scored a new blockbuster hit that captures people's imagination (Harry Potter and the SS) he came up with a pretty memorable theme that a lot of people would recognize (Hedwig's Theme) I think. As memorable as some of the themes he wrote decades ago...no...but then again the movie isn't quite as memorable either I think. I don't know if any of this makes sense...I just woke up. Anyway, just my 2 cents.

And I forgot the 1930's German film "M' which is one of the greatest films of all time in my opinion.

The Silence of the Lambs and Hitchcock's Frenzy are both excellent.

I think if you narrowed your focus a little bit, we'd be of more help. What's the purpose of the compilation? Do you want music from the 1930's to today or just from a certain period or genre? Themes or actual cues from the films?

Forgive the ignorance here, but what exactly is a promo (promotional score)? What's their purpose? Do all movies have them? Who are they made available to? Aren't promos the expanded CDs that are sometimes made for members of the Academy when a studio wants a score to get an Oscar nomination/win?

What's wrong with the way Munich ended?

And Grace Kelly was supposed to play Marnie. But her royal husband wouldn't let her do it.

No that's the introduction to Anything Goes and isn't in TOD. In the film, the song begins with the "In olden days..." part.

I found this on the internet at hollywoodlostandfound.net concerning Fox's logo and music. Don't know how accurate it is: "In 1981, a matte artist hired by Pacific Title did a new version of the logo as part of a gag opening for "The Cannonball Run." Fox subsequently adopted this version, accompanied by a new recording of the fanfare by Lionel Newman. John Williams had hoped to do a re-recording of the fanfare for "Star Wars, Episode IV: A New Hope" (1977) but didn’t have time; he later did new recordings of it for "The Empire Strikes Back" (1980) and "Return Of The Jedi" (1983) though the studio continued to use the above mentioned Lionel Newman version on its other films. The above mentioned CGI version initially had a re-recording conducted by Bruce Broughton and in 1997, after the Fox Scoring stage was restored and named after Alfred Newman, another version was done by his son David. That’s the one currently used."

Are they still using Williams' 1980 version? I thought that I read once that Goldenthal or someone had re-recorded it back in the mid-late 90's for the studio's 40 or 50th anniversary and that's the recording used now.

Yeah, Williams has more Oscars than all of those people put together I think! I don't think it's going to be a TV special. I think they only did the top 25 scores with the Hollywood Bowl Orchestra. The same goes for their Top Musicals list they just put out. Could be wrong though. I'd love to see them do something on TV.

Yeah, if I had to choose a year and argue that JW should absolutely have won the Oscar, I wouldn't pick last year. Fame? FAME!?!

But...uhhh...that's a pretty essential element of the story. That's like saying, if Schindler's List wasn't about the Holocaust it wouldn't have won all of the Oscars it did.

Certain scores have elements that are inseparable from the film (Jaws, Star Wars, Psycho, Raiders of the Lost Ark, Close Encounters, The Third Man, Gone With the Wind, etc.). While we here at jwfan know Sayuri's Theme and the music from Munich, I doubt the lay person or academy member thinks about Memoirs and immediately starts humming Sayuri's Theme. It's not the same. Brokeback was more simple and more accessible and more memorable for the non-film-music-obsessed person. If I remember right, a lot of Hollywood insiders including Roger Ebert and the folks at Variety were saying about two weeks before the Oscars that the buzz in Hollywood was that Crash was on its way to an upset over Brokeback. I don't think it was as big a surprise as when Shakespeare in Love took down Saving Private Ryan. And it only matters what the voters are doing. If a person is voting for Crash for best pic, he's the one who votes for Brokeback for the consolation prize in best score. If enough people do that, both votes go on to be the winners. I think it happens enough and I think last year was one of those years. Other examples: 1939: The Wizard of Oz over Gone with the Wind 1950: Sunset Blvd. over All About Eve (not that Blvd. didn't deserve it, but it won in part b/c Eve won best pic and Born Yesterday took best actress) 1972: Limelight (let's give unappreciated, blacklisted Charlie Chaplin an Oscar for a score he wrote 20 years ago to make up for years of mistreatment) 1984: A Passage to India (thanks for "unretiring" & making another movie David Lean even if it's not as good as Dr. Zhivago/Lawrence of Arabia/Kwai) 1989: The Little Mermaid (Disney movies are good again! And they have good music again!) 1995: Il Postino (Well Miramax dumped about a billion dollars on Oscar ads for this film but we can't give it any major awards...) 1997: The Full Monty (We love this little critical darling comedy...we just can't give it best pic/director/etc.) 2000: Crouching Tiger, Hidden Dragon (Sorry Ang Lee, I know you were supposed to win best director but how about this category instead) 2002: Frida (And we rigged the makeup category too by excluding Lord of the Rings so your film would win there too Salma Hayek!) 2004: Finding Neverland (We can't give you any major awards...how about best score?) 2005: Brokeback Mountain