mrbellamy

Scores, I go back and forth all the time but I've been more fond of War Horse lately. Both hold a special place with me, being my first releases on the forum and coming after that 3.5 year wait; really loved at the time that they were both so episodic since it allowed for so many different Williams styles at once.
 
Film, I guess I'd also give the edge to War Horse. Hard to say since I think it has both higher highs and lower lows than Tintin.

Ebert was a wonderful, intelligent, and sensitive writer who had an open, curious mind that never gave into easy cynicism.

I'M SO PUMPED

I wouldn't be too surprised, or if something similar shows up in RPO or The Post. These things do tend to bleed into each other when he's working on projects in such close proximity.

This is obviously becoming more and more of an issue these days...a discussion worth having, but I can't be in the business of evaluating the decisions of people I don't know on whether or not they should enter artistic collaborations or personal friendships with felons, accused felons, everyday assholes etc. Whether JW knew about this case and decided to associate himself with Kobe Bryant anyway or he's just ignorant of it, who knows. His call. 
 
It does make the project a little extra squeamish just because it is Bryant basically portraying himself in this wondrously positive and inspiring light through these great artists...not the best look for John Williams but his reputation will survive. As for me, I'm here for the music and not always the meaning behind it. I don't really see it as much different from my ability to appreciate a score without seeing or knowing anything about the film.

Very cool!
 
I keep thinking back not too long ago to 2015 when we had so much concern for his health. He was cancelling things left and right, looking and sounding a little frailer than usual. I was definitely coming to terms with the idea that he may be about ready to quit conducting by 2016, and keeping my fingers crossed that the same wouldn't be true about composing.
 
Two years later, look at him. Not just physically, but mentally he continues to have the endurance and enthusiasm to multitask that has always inspired me. What are the odds that somebody with that much talent would ALSO have pretty much unlimited monster success leading to the greatest musical resources at his fingertips AND a variety of opportunities and projects to utilize them AND blessed with longevity in life AND a passionate work ethic that has kept him even wanting to give music to the world in his "retirement years" AND an amiably grounded and humble attitude throughout it all?
 
Seriously, what the fuck? I can't help but think about Jerry, James, Basil, Kamen, and too many others who died too soon. Elliot Goldenthal, Don Davis, Bruce Broughton et al who should be working more with better film opportunities and aren't. Thank god Ennio's still going strong, of course it'd be nice if he were a little more high-profile but who's complaining?
 
And then there's John Williams. Every year he's looking more and more like some miracle man. A superhuman! But in a way that cheapens the remarkable career achievements and life's blessings on this sweet, unassuming man, and the struggles that he's had like anyone else. At any rate, he is rather special and I've been feeling grateful to call myself a fan lately. When I was 10 years old, one of my favorite things to daydream about on the bus and in school was the new John Williams CD coming out. Now I'm 26 and it's one of my favorite things to daydream about in the car and at work. 
 
Man I just love this guy! John Williams is awesome.
 
Anyway
 

Google Drive link in case it gets pulled from YouTube
 
https://drive.google.com/file/d/0B8FxJx3MRQO-eC1uWlVyU3pYN00/view?usp=sharing

Feels like it's been awhile since he was quite that over-the-top. I love it!
 
Also like the vibes for the X-ray at 2:26, nice touch.

EDIT: 
 
The bulk of the Williams talk starts around 11:55 and continues to around 16:50
 
 
I don't think it was during an actual session, but yeah, it sounded like it was pretty much the same group for Episode 8. 
 
Some other things I remember, Kobe said he asked Williams to do the film and Williams said he doesn't do short films, but then agreed after watching it.
 
They did refer to the score as having a "Kobe theme" and it seemed like during the sessions he revised some of it a bit, Williams thought it was "too big" and made it more understated. Keane referred to a delicate, emotional opening. 
 
They had some nice anecdotes about watching Williams prepare at the sessions, as Stu said they mentioned that he was full of excitement and energy "like a kid" getting ready. Keane was impressed by Williams asking the violinists to move a bit so that he could see everyone's eyes. And at the end Williams in his characteristic modesty said "Well, I just hope this helps the piece" to which Kobe playfully scoffed and said "I told him it'd probably be fine."
 
Kobe kept impersonating Johnny's soft-spoken way of speaking when talking about him, pretty funny. 
 
Keane just said they made a rough demo of the film with storyboards early on and scored that with Empire of the Sun (I would assume "Cadillac of the Skies")

I'm in a terrible movie too!
 

The way he shot "This Must Be the Place" in Stop Making Sense is so magical. One of the strongest musical moments in film history IMO.
 
 
In my younger days, there were many occasions where I "partook" and watched that movie.  Beautiful memories.

Absolutely loved Demme
 
Something Wild is probably my favorite, brilliantly rides that line between absurdist comedy and action thriller. Jeff Daniels, Melanie Griffith, and Ray Liotta are all amazing in that, I think that was Liotta's first movie? Agree that Rachel Getting Married is a great one too, hysterically funny and heartbreaking. Everyone always talks about Anne Hathaway but I remember Bill Irwin also making a huge impression on me.
 
Definitely on the Silence of the Lambs hype train any day. Some of the greatest uses of closeups ever??
 

 

 
His docs are great too, watched Neil Young: Journeys recently, wonderfully bittersweet. 
 
And Stop Making Sense, the greatest goddamn concert film ever made.
 
 
 
My favorite. Great shot at 4:55!

Absolutely loved Demme
 
Something Wild is probably my favorite, brilliantly rides that line between absurdist comedy and action thriller. Jeff Daniels, Melanie Griffith, and Ray Liotta are all amazing in that, I think that was Liotta's first movie? Agree that Rachel Getting Married is a great one too, hysterically funny and heartbreaking. Everyone always talks about Anne Hathaway but I remember Bill Irwin also making a huge impression on me.
 
Definitely on the Silence of the Lambs hype train any day. Some of the greatest uses of closeups ever??
 

 

 
His docs are great too, watched Neil Young: Journeys recently, wonderfully bittersweet. 
 
And Stop Making Sense, the greatest goddamn concert film ever made.
 
 
 
My favorite. Great shot at 4:55!

David Byrne's tribute to Demme.
 
 
http://www.stereogum.com/1937607/david-byrne-eulogizes-stop-making-sense-director-jonathan-demme/news/?utm_source=facebook&utm_medium=social&utm_campaign=timeline

Just watched the short and some of the interview material concerning Williams.  I dislike Bryant as a person, so it's hard getting past that, but taken on its own it's a very nice little piece of animation with lovely music.

12 Angry Men has a very impressive and effective visual style actually.

So now that there's an extra year, I wonder if Spielberg is gonna try and squeeze in another movie for 2019. Like go back to Edgardo Mortara, or whatever else.

So now that there's an extra year, I wonder if Spielberg is gonna try and squeeze in another movie for 2019. Like go back to Edgardo Mortara, or whatever else.

It's off YouTube now, so here's the Google Drive link again for anyone who missed it or wants another listen: https://drive.google.com/file/d/0B8FxJx3MRQO-eC1uWlVyU3pYN00/view?usp=sharing
 

Someone re-uploaded it earlier today:
 
 

These demands by the usual offenders for the immediate release of this score are typical detached from reality JWFan entitlement. I hope it never gets released, just to punish these people. 

I think the theme itself is okay. If I had to rank it with all the melodies he's ever written, it'd probably get lost somewhere right in the middle with most of them. I mean, if it was the main theme to a feature length score, I might get a little sick of it after like an hour, but it works swell for this and he sure makes the most of it in a few minutes.
 
I wasn't too sure what level he was gonna pitch this thing....I was basically expecting the sentimental Americana style, but I thought it might be a little more mellow overall since that's what he's been doing lately. I'm glad he basically went for the throat, though, it's fun to hear him just indulging himself at the end there.