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eitam

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    eitam reacted to Jay in New interview with John Williams in The Times   
    Amazing
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    eitam reacted to Lewya in New interview with John Williams in The Times   
    https://www.thetimes.co.uk/article/interview-john-williams-at-89-the-man-behind-the-best-and-most-hummable-film-scores-6z32zqz3h
     
    Interview: John Williams at 89, the man behind the best (and most hummable) film scores
    The composer tells Richard Morrison about his decades-long career — including the time he helped out a struggling LSO with ‘some sci‑fi film’
     
    He left it late, but in January this year John Williams added another achievement to a body of work that includes more than 100 film scores, dozens of symphonic works and 52 Academy award nominations. Just a few weeks shy of his 88th birthday he made his conducting debut with the Vienna Philharmonic in the ornately gilded Golden Hall of the Musikverein.
     
    The concert, filmed and recorded by Deutsche Grammophon and released next week, was remarkable for several reasons. According to Williams, this venerable orchestra had never played a note of his music before. It certainly made up for lost time, delivering extracts from more than a dozen of Williams’s greatest scores, including Star Wars, Close Encounters of the Third Kind, the Harry Potter films, Jurassic Park, ET, Jaws and Schindler’s List.
     
    And the Viennese musicians weren’t the only ones venturing into unfamiliar territory. “Although I’ve done a lot of concert work in America, I had never conducted publicly in Europe before,” Williams admits, speaking down the phone from his Los Angeles home. “And I never really intended to. It always seemed a long way from California. When this invitation came, however, I thought, ‘Well, if I’m ever to conduct a concert in Europe in this lifetime, I’d better get on with it.’ And there’s no greater honour than being invited to conduct in the Musikverein.”
     
    Was Williams aware of the history of the hall as he walked out on to that famous platform? After all, in his remarks from the conductor’s podium he referred to his soundtracks for the Star Wars films — all nine of them — as “a nice round number”, a remark clearly picked up by the Viennese audience as an allusion to the number of symphonies written by Beethoven, Schubert, Mahler and Bruckner.
     
    “Absolutely,” he replies. “For any composer, to visit Vienna is a spiritual journey. It’s as much of a Mecca as we musicians have. Especially if, like me, you revere Haydn, Mozart, Beethoven, Schubert, Brahms, Mahler. Just the chance to breathe the same air as Haydn — one of the purest, most instinctive talents in the history of music — was more than I could resist.”
     
    Which of those composers would Williams most liked to have met? “Oh, Beethoven of course,” Williams says. “I still read through his scores for the pleasure of what I hear in my head, and for the beauty I find in their craftsmanship. And I think he might have been interested in film if he’d lived 200 years later, though he probably would have been horrified by having his music drowned out by the noise of spaceships flying past.”
     
    And how did the Vienna Philharmonic take to Williams’s epic film scores? “They rose to the challenge brilliantly,” the composer says. “To be honest, I was a bit concerned before I got there. I know they have this fabulous romantic sound, and they can seem to turn on 19th-century style more genuinely than any other orchestra — but I had worries about the rotary valve trumpets [a more old-fashioned form of trumpet, still favoured in German and Austrian orchestras]. I was concerned about so much upper-register work being played by trumpets without the sort of pistons we use in Britain and America. I need not have worried, though: the trumpets were fabulous. Their pitching and power blew me away.”
     
    Hearing music from so many films and decades collected together on one recording makes one appreciate the protean nature of Williams’s genius. There is no single “Williams style”. Yes, the swaggering imperial marches of Star Wars and Raiders of the Lost Ark might be regarded as a hallmark, but so might the spooky, bitonal shifts of the Harry Potter score, or the relentless Prokofiev-like ostinatos of Jaws, or the uneasy Vaughan Williams-like pastoralism of War Horse, or the Yiddish melancholy of Schindler’s List. Does Williams recognise this aspect of his craft, the ability to use the past 200 years of orchestral composition in the way that a painter might use a palette, selecting the colours and textures appropriate to the mood of each movie?
     
    “Yes, that’s the essence of being a film composer,” he says. “We are asked to conjure all sorts of moods. I remember in my early days being asked to write burlesque and vaudeville-type music for comedies simultaneously with supplying big romantic scores for dramas. If you are going to write music for cinema, or at least for more than one or two films, you have to accept all varieties of challenge. It goes with the territory.”
     
    And although few people think of Williams as an avant-garde composer, there are many moments in his films when he displays a remarkable grasp of what were, at the time, very avant-garde techniques. The nebulous string clusters that open Close Encounters, for instance, could have come straight out of a score by Ligeti or Penderecki. “Yes, it’s true,” Williams acknowledges. “In film there’s often the need for a composer to change gear even in the space of a few minutes. So in Close Encounters, yes, you get those Penderecki-like clusters, but they are then combined with a romantic tune, all in the course of a six-minute sequence.”
     
    Does his inspiration ever dry up? Down the phone there is a sardonic chuckle. “There can be no such thing as writer’s block in film composition,” he says. “You are closer to being a journalist than a novelist. You have a certain number of days to write a certain number of minutes of music, and you have to get on with it. It’s a job of carpentry, of manufacturing musical things.”
     
    So he never hits a blank? “Oh sometimes, but if there’s a section of a scene I can’t think how to treat I will just move on to another bit, then come back to it. It usually solves itself.”
     
    How much do film directors help or hinder the process? Another knowing chuckle down the line. “Directors will always talk about what they think they want musically,” Williams replies. “And I always listen to them. But usually when I get to the piano and start to work, those ideas are pretty much gone. It’s always better for me to respond to the visual material — the film that’s actually being shot — than to verbal instructions.
     
    “And of course there’s huge variety in that species of humanity called film directors. Some are very musical. Others are suspicious of using music at all.”
     
    Where does Steven Spielberg, the director with whom Williams has collaborated for 46 years, sit in that spectrum? “Oh, with Steven there can’t be enough music,” Williams exclaims. “He always wants more and more. It’s rather touching in its way. He will come to a recording session that ends at a certain hour, the musicians will be packing up, and Steven will say, ‘Where are they going? Why are you stopping? Haven’t you got anything else you can play?’ He just loves the process so much.”
     
    Williams admits to being a “child of Hollywood” — his father, a jazz drummer, moved the family there in 1948, and Williams began his career playing piano in Hollywood orchestras throughout the 1950s. Yet some of his most famous scores for Spielberg were recorded not in Hollywood, but in Britain, with the London Symphony Orchestra at Denham or Shepperton studios.
     
    “I was introduced to the LSO by my dear friend André Previn, when he was the orchestra’s principal conductor, and of course the LSO players were whizz kids at sight-reading, so we made many recordings together,” Williams recalls.
     
    In fact, the story is more dramatic than that. In 1976 the LSO — in desperate financial difficulties — asked Previn if he could write another film score so the orchestra could make some money by recording it. Previn said he was too busy, but offered to phone a friend who was writing a score for “some sci-fi film”.
     
    The friend was Williams, who said he would hire the LSO as long as the orchestra could squeeze in 18 sessions in the next month. The orchestra agreed, as long as some sessions could begin at 11pm, after its regular concerts were over. And thus was the soundtrack to Star Wars recorded.
     
    Even more extraordinary, the LSO had just recruited a new principal trumpet — the soon-to-be-legendary Maurice Murphy. So on his first day in his new job Murphy’s first task was to blast the opening notes of one of the 20th century’s greatest movie melodies.
     
    “Yes, Maurice came out to Denham and we started with the fanfare from Star Wars,” Williams recalls. “And of course he shocked the world by hitting that top C with that extrovert, heroic, raw timbre he had — the perfect sound for the kind of action film that Star Wars was. I loved him from that moment! We always said that we would have a round of golf together, but of course we never found the time, and then he died way too soon.”
     
    With most work in Hollywood suspended during the pandemic, Williams might be forgiven for taking a well-earned break from composition. Not a bit of it. He’s spending his time finishing a violin concerto for Anne-Sophie Mutter, who also features in the Vienna concert playing virtuoso arrangements of his soundtracks (“Harry Potter meets Paganini,” Williams quips). Astonishingly, it will be the 19th concerto or quasi-concerto he has written for the concert hall.
     
    “I think of my work outside film as being part of my own musical self-education,” he says. “And believe me, the road to being harp-savvy enough to write a harp concerto is a long one. But it’s also nice to write something that doesn’t require the approval of a studio boss. And, you know, even if I wasn’t being paid I would always want to write music. The greatest thrill of my life has been hearing my music played, almost immediately, by wonderful orchestras. It’s something I wish every composer could experience.”
     
    He’s not so far away from his tenth decade. Does he ever contemplate hanging up his quill? “Never,” he says. “I will press on. Music isn’t a profession. It’s my oxygen. Take that away and I’d really be in trouble.”
  3. Like
    eitam got a reaction from Naïve Old Fart in GAME OF THRONES   
    The little Mormont is fun, but Alia is on a whole other level.

  4. Sad
    eitam reacted to Luke Skywalker in The Official La-La Land Records Thread   
    I hope the business remains afloat
  5. Like
    eitam reacted to PuhgreÞiviÞm in RIP Olivia de Havilland   
  6. Haha
    eitam reacted to Ludwig in "Approaching the Throne" from Ep. 9 Appreciation   
    That's because it's hidden in the main title too if you take the first note, the 2nd note of the B section, and the last note of the theme all together.
     
    Just kidding. It was just a mistake - I've fixed it now. Thanks, @crumbs!
  7. Like
    eitam got a reaction from Jurassic Shark in Has Hans Zimmer aged well?   
    If the question is whether Zimmer's music is aging well, I answer Yes. I've often read people saying that the use of synth gives his scores a dated sound, but there is no problem to my ears. 
     
    If the question is whether Zimmer is aging well as a composer... Well he hasn't impressed me since Interstellar, though I don't dislike Chappie and Dark Phoenix (and I haven't heard everything he has done). We'll see how his next batch of movies goes... if they ever get released 
  8. Haha
    eitam reacted to The Illustrious Jerry in Has Hans Zimmer aged well?   
    I mean, you guys don't actually get a laugh out of this, do you? 
     
    I'd appreciate if the mods were so kind as to reprimand troll-like behavior such as this. And who the heck is this bruce marshall fellow, with 400 something posts in the last month and all of them read something like this:
     
     
  9. Like
    eitam got a reaction from Edmilson in RIP Olivia de Havilland   
    I spent the last few years in awe of the simple fact that a movie star from the 1930s (and incidently the star from 1938's Robin Hood which I watched a lot in my childhood) was still living among us. So now it is over. 
    RIP madame de Havilland
  10. Like
    eitam got a reaction from PuhgreÞiviÞm in RIP Olivia de Havilland   
    I spent the last few years in awe of the simple fact that a movie star from the 1930s (and incidently the star from 1938's Robin Hood which I watched a lot in my childhood) was still living among us. So now it is over. 
    RIP madame de Havilland
  11. Like
  12. Like
    eitam got a reaction from The Illustrious Jerry in John Williams (and Ennio Morricone) bestowed with the 2020 Princess of Asturias Award for the Arts   
    The statement by Morricone has class and grace as well, and is a little more personal:
     
     
    https://www.fpa.es/en/princess-of-asturias-awards/laureates/2020-ennio-morricone-and-john-williams.html?texto=declaracion&especifica=0
     
    "solitude", work "ethic", "constant dedication" are indeed also words that we have seen applied to Williams. 
  13. Haha
    eitam reacted to Jurassic Shark in John Williams & the Vienna Philharmonic: January 18/19 2020 w/ CD & Blu-ray coming August 14 2020   
    No, Anne Sophie, it seems your PR people handled that incident rather well.
  14. Haha
    eitam reacted to Fabulin in John Williams (and Ennio Morricone) bestowed with the 2020 Princess of Asturias Award for the Arts   
    sorry to interrupt the solemnity, but I must say that the way March of the Resistance enters after the other nominees is absolutely savage 
     
    It borders on the Family Guy level...
     
  15. Haha
    eitam reacted to Score in R. I. P. Ennio Morricone   
    Indeed, there must be something wrong. The bassoon is not a serious instrument.
  16. Like
    eitam got a reaction from Jay in John Williams (and Ennio Morricone) bestowed with the 2020 Princess of Asturias Award for the Arts   
    The statement by Morricone has class and grace as well, and is a little more personal:
     
     
    https://www.fpa.es/en/princess-of-asturias-awards/laureates/2020-ennio-morricone-and-john-williams.html?texto=declaracion&especifica=0
     
    "solitude", work "ethic", "constant dedication" are indeed also words that we have seen applied to Williams. 
  17. Like
    eitam got a reaction from crocodile in John Williams (and Ennio Morricone) bestowed with the 2020 Princess of Asturias Award for the Arts   
    The statement by Morricone has class and grace as well, and is a little more personal:
     
     
    https://www.fpa.es/en/princess-of-asturias-awards/laureates/2020-ennio-morricone-and-john-williams.html?texto=declaracion&especifica=0
     
    "solitude", work "ethic", "constant dedication" are indeed also words that we have seen applied to Williams. 
  18. Like
    eitam got a reaction from Remco in John Williams (and Ennio Morricone) bestowed with the 2020 Princess of Asturias Award for the Arts   
    The statement by Morricone has class and grace as well, and is a little more personal:
     
     
    https://www.fpa.es/en/princess-of-asturias-awards/laureates/2020-ennio-morricone-and-john-williams.html?texto=declaracion&especifica=0
     
    "solitude", work "ethic", "constant dedication" are indeed also words that we have seen applied to Williams. 
  19. Like
    eitam reacted to Pando in The Rise of Skywalker - COMPLETE SCORE Discussion - SPOILERS ALLOWED!   
    Being 87 years old at the time (now 88), I'm just glad Williams was there at all to finish the SW saga, in any capacity, and this got done before the virus outbreak.
  20. Like
  21. Like
    eitam reacted to Jay in John Williams Plagiarizing Himself   
    I am sure Hergé cares.
  22. Like
    eitam reacted to Jay in John Williams Plagiarizing Himself   
    The character's name is Tintin, not Tin Tin
  23. Haha
    eitam reacted to bollemanneke in What score do you prefer: Hook or The Philosopher Stone?   
    We need more votes. We can't let Hook win. The song at the start is simply unforgivable.
  24. Like
    eitam reacted to Nick1066 in R.I.P. Ian Holm   
    Rest in Peace Ian Holm, our dear friend.  88 years was far too short a time to spend with such an admirable soul.
     
    I do believe you are quite ready for another adventure...
  25. Like
    eitam reacted to KingPin in Schindler’s List on Theremin   
    Found this fascinating arrangement of the Schindler’s List theme for theremin and piano.
     
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