Dole
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Posts posted by Dole
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I hope you enjoy the set as much as I have.
Yes, I love it. I also enjoy the Steiner spoof but I also like the variation on Tchaikovsky's (sp) "Dance of the Reed Flutes" from the Nutcracker in "To the Plaza, Presto." "Merry Christmas, Merry Christmas" is also a great piece of music and a very uplifting carol.
Dole
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I totally agree with you ocelot. I was just saying that the battle music tracks from TPM are many people's favorites and are standout highlights of the soundtrack album. We didn't get any new "end battle" music from AOTC and that's one of the reasons I think many people don't seem to appreciate that score. It's hard to evaluate ESB without the great Hoth battle music or ROTJ without the great Endor battle music, and yet we have to evaluate AOTC without any Geonosis battle music. I actually think that the AOTC soundtrack is more listenable than the TPM soundtrack, but that's just my opinion. They're both good scores though.
Dole
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If anyone has a time machine, bring Wagner to score the film.
Ummm...I don't think he'd be a very good choice. From what I know of Wagner, he was a raging anti-semite, so much so that a certain German dictator became very friendly with his widow. He'd probably compose a heroic theme for the Roman legions. Regardless of who does do the score though, no one can do a better job than Miklos Rozsa (King of Kings, Ben-Hur, Quo Vadis, etc). His work sets the standard for religious epics.
Dole
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Well...at least someone asked the question. After the whole TPM editing mess and now internet chat questions about AOTC, maybe people at Lucasland are beginning to understand that Star Wars fans don't appreciate the scores being treated like garbage.
Dole- who thinks that AOTC would be a much more popular score on this board if there was 15 minutes of original battle music on the album. Take away The Droid Battle", "The Droid Invasion", and "Panaka and the Queen's Protectors" and The Phantom Menace album isn't all that great either!
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I just received my copy of Home Alone 2 and in the notes it says something like "It's a good thing that Chris Columbus decided not to have Mr. Spielberg executive produce his film Home Alone because Williams would not have been able to do the score as working with Williams is a treat Spielberg reserves for himself." Can enyone elaborate on this? Does this mean that if Spielberg produces your movie you can't even ask Williams to do the score? Is this why Poltergeist, The Twilight Zone, and Gremlins were all scored by Goldsmith? Thanks.
Dole
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I agree that "Across the Stars" is one of the most beautiful SW themes but I disagree about "Han and the Princess." The concert version, at least on the Gerhardt(sp) version is absolutely beautiful, especially the infusion of Princess Leia's theme from ANH. Sadly, I think "Across the Stars" is a better, more tragic love theme than the story deserved, but Williams has said as much in the past saying that he had to capture a lot of the sensuality and sense of danger that wasn't shown onscreen. Anakin's theme is a great theme in my book as well.
Dole
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"There are two dead people out here!" "There are going to be two dead people in here if you don't hurry up!"
"Apology accepted, Captain Needa."
"I'm a bug!!"
"I am not a committee!"
"I brought you down here to defend me against these characters and the only one who's on my side is the bloodsucking lawyer!"
"Would you say this has been just another typical day for you?" "No, it's been better than most."
"Otisburg?!! Otisburg?!!"
And of course..."Snakes! Why did it have to be snakes?"
Dole
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Your point being???
My point simply being that it's just a stupid awards show that often focuses on popularity and successful marketing campaigns rather than true, deserving talent. When you don't win, you shouldn't get all pissy about it. Horner and everyone else who loses should just remember that it's an honor to be nominated and hundreds of people in the rest of the world would gladly sacrifice their children to have enough talent to be nominated for an Oscar. He should be thankful that his talents were recognized. Cary Grant, Alfred Hitchcock, Stanley Kubrick, Martin Scorcese, Kirk Douglas, and Howard Hawks never won oscars so if Horner lost for Braveheart it surely wasn't the end of the world.
My favorite "loser" story from the composer front comes from Maurice Jarre who says that a stranger named Alfred Newman was sitting in front of him at the Oscars and leaned back to tell Jarre that his granddaughter had told him before the ceremony that she liked his music but it didn't stand a chance against Dr. Zhivago because she liked it even better. When Jarre won, Newman laughed, winked at, and congratulated Jarre. I just think that it's a good story of people keeping life in perspective. This is kind of a moot point anyway since Horner has two Oscars now-- again 100% more than Bernard Herrmann ever received. Now make sense out of that if the Oscars are truly based on talent.
Dole
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Horner should have won that year for either his brilliant Braveheart or the almost as brilliant Apollo 13.
Agreed. But keep in mind that Williams lost three times that night (twice for score Nixon and Sabrina and once for song) and somehow managed to remain a gentleman about it. If John Williams can stomach Fame beating out The Empire Strikes Back then Horner can surely hold his temper as Braveheart goes down in flames. I mean, the Academy hardly ever gets it right when it comes to who wins. After all, Bernard Herrmann only ever won one bloody Oscar and none of his Hitchcock scores were ever even nominated!
Dole
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1. Over the Moon (ET) and Cadillac of the Skies (Empire of the Sun)
2. Eye Dentiscan (Min. Report) and March of Villains (Superman)
3. Prologue Theme (Hook) and Across the Stars (AOTC)
4. The Flying Theme (ET) and Luke's Theme (SW) (same 1st 5 notes)
5. Dobby's Theme (HP COS) and Star of Bethlehem (Home Alone)
6. The "falling music" in Journey to Earth (Superman) and the "I am your Father" scene (ESB)
7. The Colonial Theme (The Patriot) and Dry Your Tears Africa (Amistad)
I don't really mind Williams sounding like Williams. It's when he so blantantly quotes a theme from another movie almost note for note that bothers me. For instance, that lovely quote of Shmi's Theme in "Sean, by Agatha" in Minority Report or the quote of the Grail Knight's Theme from TLC in the "Journey Through the Planet Core" from TPM.
Dole
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That doesn't mean i'm always satisfied with his melodical compositions (HP2, Always, BOT3OJ...)
Is that Born on the 3rd of July?
Dole- who thinks A.I. is one of the most beautiful scores Williams has ever composed.
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So the cues from Sugarland Express on the JW Greatest Hits and The Classic Spielberg Scores don't actually contain music from the film?
By the way, I saw Sugarland for the first time a couple of months ago on Turner Classic Movies. The guy who introduces the film said that Spielberg thought the ending was two depressing and not very good for the potential box office and wanted to change it to a happy ending but the producers said "no." Early signs of the guns into walkie-talkies syndrome perhaps??
Dole- who's lost
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The concert version "The Face of Pan" appears on the Boston Pops "Williams on Williams" CD (I believe that's the one). It also has several other concert suites from Hook including concert versions of Hook's Theme (or Smee's Plan), the Never-banquet, and the Lost Boys Ballet. Also has a concert version of "The Basket Chase" from Raiders and "The Barrel Chase" from Jaws. Great CD.
Dole
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If you're talking about the concert version on the Boston Pops album then I prefer the concert version. It is one of the most beautiful and moving pieces Williams has written. The film version just seems too short once you've heard the concert version.
Dole
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The online poll at Film Score Monthly says that Williams was supposed to score Chris Columbus's Bicentennial Man but backed out. Does anyone know why? (Not that I mind really. The film was awful.)
Dole
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Many times a screenwriter will write all or many of the pans and angles etc. in the screenplay to help the director undertand the writer's vision or because the writer just wants more control over the final product but it is ultimately up to the director to make a final decision on all of that. Angles can also be chosen by the editor after filming is completed. A scene may be shot from several different angles and it is sometimes the editor's responsibility to choose which shots to use when, although again the director almost always has the final say. Really depends on the director though. Hitchcock used to storyboard every last shot of his film before the cameras rolled so he knew precisely what angles to shoot, when to zoom, etc. His Directors of Photo. and writers had almost zero say in those things.
Dole
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Can anyone tell me about this score? I was thinking about purchasing the soundtrack but I've never seen the film or heard much about the quality of JW's score. Is it worth buying? Thanks.
Dole
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I can't for the life of me seem to find out how to purchase tickets online to the November concerts Williams is doing with the Chicago Symphony. Can anyone help me? I get to the page with the program on it but I can't find out where to go to order the stinking tickets. Thanks.
Dole
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The kiss in ESB is the same but the music is louder.
I agree. I never understood why people didn't like the way that scene in AOTC was scored because Williams has used the same technique in other movies including ESB and Raiders.
even if EP III manages to be as good as Star Wars, TESB and ROTJ put together it will not chance the fact that 2 out of 3 films of the new trilogy are substandard.Agreed. A 33.3% success rate is still a failing grade. Moreover, the first two prequels have damaged the franchise beyond repair in pop culture. It used to be cool to like Star Wars. Now, even ardent hard-core fans of the original trilogy are turning away. Seriously, I think it's pretty bad when I find myself celebrating the fact that Lucas has chosen to do the screenplay for Episode III on his own, especially after TPM. Episode III will not be good because Lucas doesn't care and there aren't any Harrison Fords or Alec Guinesses or Gary Kurtzes onset to tell Lucas "no" once in awhile. I get mad when I see Ewan McGregor complaining about how bad the prequels are in interviews after the fact. Why doesn't he get the other actors to join with him in telling Lucas how bad the script is before it's put on film instead of whining about it when it's too late?
There are MANY moments in the Prequels that have some horrible edits, with a shot being held too long or a character just standing there, looking like a moron for a few seconds.My all-time favorite horrible edit is the end of the meadow picnic scene in AOTC. Just awful.
Dole
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I read recently in a film scoring book that composers usually make about $1 for every soundtrack album sold and the album producer gets about another $1. So Williams then gets about $2 per album sold since he produces most of his oundtrack albums. From what I understand this is automatic. The recording industry or union or whatever sends out the checks once a month or once a year. Composers also get paid an enormous amount when their music is heard on TV. There are fixed rates. So say for example Jaws is airing for the umpteenth time on TNT. Williams would get a check the size of which depends on the number and length of the cues in the movie. Horner probably made more from Titanic airing on NBC than he actually did for scoring the film. It's an amazing amount of money. Although it's illegal in the US, I think that overseas theatrical airings are treated like TV airings so that the composer gets some money everytime the movie plays at the cinema. At any rate, the point I'm trying to make is that JW's base scoring fee is most likely trivial compared to the money he rakes in for royalties for TV airings, concert performances, publishing, and soundtrack sales.
Dole
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Just came across this...did you know that the man and woman kissing on the bridge in Hook are George Lucas and Carrie Fisher? Just thought that was strange and wanted to share. There seem to be a lot of hidden cameos in Hook.
Dole
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I think I'll start lobbying from now for Angelica Houston to play madame Maxime!!!!!!!!!!
Not sure, but I don't think she's British. She's the granddaughter of Oscar-winning actor Walter Huston and the daughter of Oscar-winning director John Huston who both, as far as I know, lived in California. Too bad though, she's a great actress. But there are still so many great British actors to choose from...Julie Andrews, Judi Dench, Malcolm McDowell, Ian McKellan, Elizabeth Taylor, Sean Connery, Michael Caine, etc.
Dole
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I've always wondered about him and Rock....
As far as I know, Dean and Hudson actually hated each other. They both liked Liz Taylor quite a bit and were always trying to impress her by showing the other person up while filming Giant, and neither one liked the other's acting style so I doubt that any romantic sparks flew between the two men.
He seems to have good taste in music, as he suggested they use Leonard Rosenman for 2 of his films.I think I read that Rosenman was actually Dean's roommate in New York City before he moved to Hollywood. Dean remembered to suggest his old roomie from NYC when it came time to find someone to score his films.
East of Eden is my favorite of Dean's films. He was an amazing actor but it's hard to guess at what he might have accomplished had he lived. He had such an unhappy personal life that his run-ins with alcohol, sex, and drugs might have quickly destroyed his career, not unlike many other fine actors.
Dole
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I always hoped that Angela Lansbury would be cast as Trelawney. She's such a great character actress. I hope she does some more memorable film roles before she retires/passes away so that audiences won't just remember her as "that lady from Murder She Wrote." She's so much better than that.
Dole
Anyone planning on attending any upcoming concerts??
in General Discussion
Posted
I'm planning on going to one of the Chicago concerts. Has anyone been there before who might be able to reccommend a good seating section?
Dole