Jump to content


  • Content Count

  • Joined

  • Last visited

  • Days Won


Everything posted by Trumpeteer

  1. The Oscar-winning score has also been a part of a film nominated for Best Picture for 14 of the past 15 years. The only exception was "Frida" in 2002, when "The Hours" was the only score among the nominees with a corresponding Best Picture nomination. This year, "Bridge of Spies" is the only nominated score that was featured in a Best Picture nominee. That said, this might be just the second time in 16 years that an Oscar-winning score has not been featured in a Best Picture nominee. I'm always rooting for John Williams to win an Oscar, but I'm predictin
  2. I saw "The Hateful Eight" yesterday. I was going only to hear the score. I was not disappointed. The main title music is an awesome crescendo into the action of the film, and the major theme (as well as its orchestration) was memorable from the start. I knew it would win an Oscar, if it were to get nominated. Even though the film is being criticized for being over the top and too bloody, the music Morricone wrote was the best of the year. After the film, I ducked into a "Star Wars" screening and watched the scene where Rey flies the Millenium Falcon for the first time. After the scene, I thoug
  3. I definitely agree with the connection to Sunday Night Football. While listening to the end credits, I found myself finishing the theme, and it took me a while to figure out what music was in my head. Not surprising, given that he's done this before (i.e. main theme from Nixon).
  4. I saw the movie about 12 hours ago, and after getting a good sleep and rethinking things, here is my comment on the score in the film. It ranks seventh among the seven Star Wars scores. There is no main theme that instantly gives you the chills that we got from the other six films, and that saddened me. Once the film was done, I might have thought the score had been written in the vein of "Chamber of Secrets," in that Williams wrote general themes and someone else filled in gaps with musical noise. Seeing JW get sole composing credit was kind of shocking to me, unless that was conractually req
  5. That was awesome! Loved the Williams button at the end of the piece! I think the cannons referred to in the press release were in the video played during the bridge. There certainly weren't any cannons fired on the National Mall. I am very glad to see how young and lively he looks at 82.
  6. I was going to write something very similar, so I'll just copy it. A very happy 82nd to you, Maestro. Your music inspired me to learn to play piano and see movies in an entirely new way.
  7. I was so busy with my annual John Williams Film Festival that I forgot to get online and wish him a happy birthday! Usually, the film festival consists of the original Star Wars trilogy, Fiddler on the Roof, Jaws, ET and Schindler's List (i.e. his Oscar-winning scores plus Empire and Jedi), but this year I mixed it up. I watched the trilogy, ET, Jaws, Sorcerer's Stone and Azkaban. And then when I thought I was done with the film festival, I discovered How To Steal a Million on Netflix. Fun movie, and amazing to hear the very early work of "Johnny Williams." You don't get a feeling that this ma
  8. Marvin Hamlisch was nominated in 1977 for his score to "The Spy Who Loved Me." I've never been a big Bond fan, but I suppose I'll have to see "Skyfall" to hear the score ... and to see that sexually ambiguous scene between Javier Bardem and Daniel Craig.
  9. Damn. As always, I'm a little late to the party. Nothing to see here.
  10. "Lincoln" is a shoo-in for a nomination. Though the score is likely the most subdued of any film in the Spielberg-Williams canon, it's going to be on the list of categories people check off for a nomination for the film. That said, the score in "Lincoln" is very much like the score for "Saving Private Ryan," and we all know what happened at the Oscars for Best Score that year. I wouldn't say the short amount of music in the film hurts Williams' chances, since "Brokeback Mountain" won for just as much music. But there are indeed more complex and interesting scores this year that enhance their f
  11. Turner Classic Movies yesterday aired a new episode of its "Master Class" episodes, featuring John Williams and Steven Spielberg talking about their collaboration over the years. There's not much new material divulged in the episode, at least not much new material for this longtime John Williams fan. For instance, Spielberg talks about what he told JW after JW saw "Schindler's List" for the first time. When Williams says Spielberg needs a better composer for "Schindler's List," Spielberg says, "Yes, but they're all dead." And we all know how much Williams adores Bernard Herrmman's music. The o
  12. The movie is excellent, Day-Lewis is incredible and Spielberg's direction is quite interesting. The lighting in the film is questionable. Too many shots of Lincoln in shadows mixed in with shots of bright light streaming in through the windows (a Kaminski trademark). As for the music, it's very sparse. I think one or two reels went by with no music, or about one minute of transition cues. Of course, there is little action to score, and I commend Spielberg and Williams for not wanting to write music for the sake of underscoring any of the "secret" White House meetings to keep the audience aural
  13. I'll reply to this thread with my response to a similar thread in 2007: I get chills equally from "Star Wars" and "The Empire Strikes Back." "Star Wars" for its opening blast and the way the tempo seems to pick up slightly as the main theme churns away, and for the French horn near the end. (I've always wished there was footage of those first takes. There had to be a lot of electricity in the air, knowing that they were doing something amazing.) "The Empire Strikes Back" for the bridge between the string section and the second rendition of the theme, and the trumpet crescendo near the end. I g
  14. This was just posted today: I'm so excited to have finally seen this! (They don't allow this to be embedded.)
  15. You obviously haven't seen The Tree Of Life. I haven't seen The Tree Of Life yet, but I definitely want to. I'm only speaking of the films I *have* seen, and out of the two I mentioned, I preferred Hugo's cinematography to War Horse's. But both were very good. You DO NOT want to see "The Tree of Life." Trust me. You have been warned. If you thought a movie like "Mullholland Drive" was disjointed and "out there," this one will be a true head-scratcher, especially when you get to the 30-minute mark. The cinematography was nice, but I wasn't sure why half the shots on screen were being shown.
  16. Clip, clop... Of course, they confuse "score" with "song," but still, it was funny.
  17. It's all John Williams music today! Happy birthday!
  18. I'm surprised by the "Tintin" nomination, but maybe I shouldn't be. This was a very weak year for film scores. Congratulations to John Williams! The first two truly original scores in six years, and you're nominated for both of them! As an FYI, these nominations mark numbers 46 and 47, breaking his tie with Alfred Newman and bringing him closer to Walt Disney's record of 59.
  19. I agree wholeheartedly. I think that's why the music didn't feel right most of the time. This is the same feeling I get when I am watching "Azkaban" and watching the Aunt Marge scene. The action music was pretty good, but some others felt like they weren't written necessarily for the visuals. This is why I wait to hear the music until I see the film. I want to hear it in the place it was intended to be heard, in conjunction with the visuals. Unfortunately, many Oscar-winning scores are picked based on how they sound on CD.
  20. The last time I listened to a score before the movie was "The Phantom Menace." Not only was I upset that the CD gave away plot points, but I wasn't focused on the film because I kept antcipating music I remembered from the CD ... and it detracted from my experience. And since every other aspect of the film I am watching is new to me, why not have the music be new as well? Since then, I have never regretted my decision to wait until seeing the movie to hear a score. After seeing the film and then listening to the score again on CD/iPod, sometimes my opinion changes, but rarely is it for the bet
  21. Now that I have seen "War Horse," I can comment on the score. Like "Tintin," John Williams missed several great opportunities here. I was expecting more thematic material for Joey that would weave through the film. Maybe I felt Spielberg and Williams remembered how successful their last theme was for an animal, and would have attempted to replicate that. Am I expecting too much? Maybe. But the thing I enjoy most about Williams is his masterful use of letimotifs. It's what drew me to him about 20 years ago and sets him apart from others when you hear him introduce a theme and weave it through a
  22. I don't hear new scores until I see the film, and I wasn't thrilled by what I heard in the movie proper, but the stuff in the credits was great. I was disappointed that there was so much music. It didn't need to be wall-to-wall, but most animated adventure movies are scored in this way. The movie was OK, the score didn't blow my skirt up, but I suppose I will have to watch the film again. That said, there have been many John Williams scores I have enjoyed thoroughly after hearing it the first time (i.e. seeing the film). The last one was Memoirs of a Geisha, which happened to be his last fully
  23. This thread has been around since 2002, and I've never posted anything! This is the first Williams album I bought... It featured the Boston Pops playing concert versions of all the biggies: Star Wars, Asteroid Field, ET, Indiana Jones, Jaws, plus renditions of Over the Rainbow and the Pink Panther theme. It was also the first CD I bought, in 1993. After the first listen, I scooped up the Star Wars anthology and built from there.
  • Create New...