Edmilson

Zimmer: "Williams' music is okay, pretty good actually. But I feel it doesn't have enough BWAAAAAHHHMS from the horns and Johnny Marr guitars.

Do... make it good
 
Don't... fuck it up.

IIRC, there's a fourth Holland Spiderman movie scheduled for July 2024.

As boring as it would be the world, I would love a full, quality recording of a three-hour recording session instead of a documentary.  
 
And his father before him.  

I'm still annoyed The Fabelmans and Rings of Power are just the OST tracks, Pinocchio is incomplete, and Avatar 2 has nothing at all

The success of this movie finally explained.

Well, first, Williams wrote a cue called 6M1 The Armies Face-Off:
 

 
This got recorded as 6M1N The Armies Face-Off.  Here's that entire cue:
 
 
 
Later, he wrote an Insert to replace 0:27-1:03 of the original cue that for some reason got recorded as 6M1 Pt. 2; Here is that entire Insert:
 
 
Later, he recorded an OVERLAY (music meant to mixed over an already-recorded cue) titled 6M1X Randy's Forest Mist:
 

 
Here's that entire overlay:
 
 
As you can see in the sketch, it was meant to overlay 0:28-0:45 of the original version of the cue, though I can't find a video on youtube where someone did this
 
 
 
For the OST album, he opened track 14 with the full 6M1 Pt. 2 Insert, segueing directly into 1:03- of 6M1N, and then includings 6M1X all by itself later in the track, even though it was originally meant to be used as an overlay.
 
The film version uses the 6M1 Pt. 2 Insert as intended, and also mixes in digeridoos:
 
 

Do: show JW working on Schindler's List, writing it and recording it with Itzhak Pearlman and the orchestra.
 
Don't: the same tired "but they're all dead" anecdote from Schindler's List for the upteenth time.

Honestly, I think I'd have no issue in watching JW working for hours and saying stuff like "Ok people, that was good but let's do 4M1 one more time, this time only bars 23 to the end!" for the nth time.

Do: show JW working on Schindler's List, writing it and recording it with Itzhak Pearlman and the orchestra.
 
Don't: the same tired "but they're all dead" anecdote from Schindler's List for the upteenth time.

So it was mostly unreleased until today. Still, these are two essential cues for the movie. Had they been in their entirety on the original OST, they'd be known today as classic fan-favorite John Williams cues.

Twitter has made mankind regress to "angry medieval mob" state of mind anyway. It's the same behavior but now using a smartphone and gifs instead of forks.
 
Anyway, let's get back to Amistad before Jay "cancels" this discussion, lol. I can't listen to Cinque's Theme without remembering Revenge of the Sith.

I wanna see JW working through a theme or piece that quite isn't there yet. Seeing some sort of rough version of a theme we may already know and love.  I want to see that down and dirty creative process of getting something right. How he deals with it.  His creative process.
 
I also want footage of the scoring session of Temple of Doom.

I want to see a diverse portfolio of footage covering JW's entire career with some emphasise on the breakthrough in the 70s, not just the recent stuff circling around repetitive anecdotes and Spielberg's coming-of-age ego trip. 

Dos:
As I said before, I would like the documentary to focus on Williams' professional life and his music. I want to see much footage from his recording sessions and stories from himself.
My dream would be a mini-seires and each one hour episode covering one decade of his life since the 1950s.
 
Don'ts:
I don't necessarily need stories about pencil and paper at the piano, cookies from ASM and better dead composers for Schindler's List. But that's probably inevitable.

I don't care one way or the other about the soundtrack producing bit. For me, it's rather the superficial treatment in the various Williams-related featurettes.

So the film could be good but the soundtrack will be edited all wrong and somehow at the wrong speed.
 
 
He produced the expanded Indy soundtracks box and... it has many, many problems  

Dread it. Run from it. Laurent Bouzerau arrives all the same.

IIRC, A Goofy Movie (which I loved growing up) was just one of the very numerous times that Burwell had a score rejected or re-worked by others composers. I think he is just too "different" for Hollywood's tastes?

Apologies if this has been posted before, but I thought it was an interesting story.
 
John Williams Consulted NASA When He Had Doubts About the Science of ‘E.T.’
The legendary composer found out that kids would have to pedal their bikes at 17,500 miles per hour in order to fly past the moon.
 
 
Source: https://www.indiewire.com/2023/01/john-williams-et-science-questions-nasa-1234800095/

Honestly, I think I'd have no issue in watching JW working for hours and saying stuff like "Ok people, that was good but let's do 4M1 one more time, this time only bars 23 to the end!" for the nth time.

Possibly unpopular opinion, but if it's Spielberg making it, I don't want him to do a documentary about Williams' life or entire career, I'd want it to be just a portrait of their collaboration specifically

I’ve watched this a few times and… I don’t know, something about the way Spielberg pivots quickly to change the subject about how eclectic his films are is weird.   Like he doesn’t want to fully commit to what he said about making a Williams doc. 
 
I don’t want to say I’ll believe it when I see it, but it is… odd the way he quickly gets away from talking about Williams. 

No!  Gamers must hide in the shadows!