Skelly

He got almost no offers to work after winning the award; producers assume your fee has become too high (ironically he worked on Frida for cheap). But I've never gotten the impression that he misses doing movies like Demolition Man or Batman at all, the latter almost putting him in the hospital. He says he prefers what he did for Butcher Boy or Heat, not the big orchestral stuff his fans go wild over.

"Yes Mr. Williams, it's a website dedicated to you!" "Look, your music inspires so much discussion! Just click on this button that says 'Forums'!" "Oh,no... don't click 'Recently Bumped Threads'... oh, no..." "No, I don't think they're discussing your hair, Mr. Williams..."

People often say they prefer B&R to batman forever and I don't get it. Upwards of 60% of B&R is lifted from Batman Forever or Demolition Man, and the remaining stuff isn't out of this world either. What are we missing out on by not having it on CD?

If you aren't making your own edits of scores you like, then what are you doing with your life?

Looks like a good tracklist. He has always been very proud of that Titus finale so that must be why it has its own cut. I'm most curious to see how Alien 3 and Sphere were arranged. Incidentally, does anyone know what the choir is singing in the Titus opening? Ecce Tite, Romane fortis, cum... and then I get lost.

I hope this is good. Goldenthal has spoken in recent years of these concert suites being the 'final word' on his '90s scores, the presentations of the music which he would like to preserve for posterity. But I wasn't very impressed by how he arranged "Michael Collins" and I think his albums also are no good. But I am very interested to see how he arranged "Alien 3", which is so textural.

@bollemanneke I looked at your edits and a lot of them work really well. "The Werewolf Scene" going into "Knight Bus" for instance is a very clever one. Almost all of them are seamless and make instrumental sense, so I am impressed! Your "Reading the Map / Befriending the Hippogriff" is a great combination which should have been on the OST. I sometimes make my own edits like that, though my personal preference is closer to 30-40 minute runtimes as opposed to your 80 min.

Can you share details about what types of edits you made? I've always thought the ost was pretty good.

I'm bumping this thread to see if anyone has any of these. Particularly the seminars: https://web.archive.org/web/20051103063556/http://www.theindustrystore.com:80/doause.html I'm interested especially in the Elliot Goldenthal one. Film Music Mag seems dead and I don't know if there's a successor site, or any way to contact someone involved in these old things. Would really like to get my hands on them.

They have $40,000 extra dollars at their disposal so I think they will be fine.

For some reason Williams didn't do any press interviews for the movie.. Maybe he talked on radio but I don't have anything in print. The main dramatic thrust of the movie is internal (which is why the big theme of the movie is about Harry's parents) not external, and so a lot of the "extra" scenes -- the bus, the aunt blowing up, the monster book -- come as is, with special sounds disconnected from each other. Harry's perception of them isn't as important. And even Hogwarts has an almost diegetic medieval sound (one scene even has a boy playing the music in the background). In the first movie it was all about discovering this new world, and they even took the Great Hall music and pasted it over Diagon Alley so that they could keep emphasizing this sense of magical novelty. Azkaban was different because the music is deliberately meant to be disparate except in scenes of Harry's parentage.

This story came from the film's re-recording mixer, Richard Beggs. http://web.archive.org/web/20160805013817/http://www.soundsonline-forums.com/showthread.php?t=30499 On the last point he mentions something about harp glissandos. I don't know what he's talking about. A long time ago I took a good look at the written score and I didn't notice any big harp things which were cut out of the movie. Perhaps the poster misheard harpsichord as harp, since I remember there were some harpsichord parts in the written score that are either missing or mixed very low in the final score. Beggs also did "Sleepers" and JW did him a big favor by respecting the sound effects. In 2020 Beggs said: "I did a Barry Levinson picture, Sleepers, where I put a tonal sound in a temp mix--a dramatic sound--that had no basis in reality. It worked well. I got a call from John Williams's music editor. John wanted the original sound so he could listen to it and score against it. But not everyone will do that."

I already know you and Once are exceptions. I'm just saying -- four years later and the same conversations are being had, usually by the same people who have already had them several times. Get some new material, JWFan!

Man, all you guys do is complain. Often they're about things you already have (like the Shawm track and Double Trouble transition) but for some reason want an even more arcane version of. In fact, I'm beginning to think that you guys don't listen to music or watch movies either. I think you just complain about them on JWFan all day. That's why some of you have thousands and thousands of posts.

No fun allowed!