Tom
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Posts posted by Tom
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Bring me up to speed, is this yet another Nazi movie?
Are there Nazis in it? Yes. Are Nazis bad guys in the story? Yes. Is it "yet another Nazi movie?" No; it is about a girl and foster parents and books--unless any movie that takes a negative stance on the Nazi's is your criterion for "yet another Nazi movie."
My point is that you can only make so many movies in the environment until it becomes tedious.
My problem with your "question" is this: you clearly know it is a movie set in Nazi Germany. Are you really asking a question about the movie's plot or are you simply expressing your tiredness of the genre in question form?
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Bring me up to speed, is this yet another Nazi movie?
Are there Nazis in it? Yes. Are Nazis bad guys in the story? Yes. Is it "yet another Nazi movie?" No; it is about a girl and foster parents and books--unless any movie that takes a negative stance on the Nazi's is your criterion for "yet another Nazi movie."
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Another comment about the score found in a review of the film (which again curiously seems more a ponder about the film's potential award strength than an actual film review. Go figure):
As the emotional anchor for the story, Geoffrey Rush is perhaps the best shot at major awards attention, though young Sophie Nélisse is a sensation to keep an eye on as she progresses in her career. Emily Watson carves a fun character full of piss and vinegar, and John Williams' score is appropriately delicate (though, for a legend like him, curiously unmemorable).
(Thanks to Mari for pointing it out)
Williams just cannot win the battle of critical comments--too overbearing, too unmemorable. In the words of Han Solo "Well, what would you like?"
Anyway, my money is still on the themes being very memorable to those willing to listen ala Memoirs, AA, or Lincoln.
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When parts of Tintin were screened, it was noted that the score had just been recorded and looped a couple days before. they do not need that much time between recording and premiering, given current technology.
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My dislike of Sabrina is more of a personal taste thing. I really hope The Book Thief is more like Angela's Ashes than Lincoln.
Didn't we hear Williams say that appalachian music would be perfect for a movie set in Nazi Germany.
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Perhaps not fully original, but deeply engaging and satisfying is the 6 movement suite for cello and orchestra from Memoirs of a Geisha.
To your original question, can your friend give example of what she considers to be original in a positive way? That might help with your list.
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If this indeed is an all-Williams concerts, are the suites at the beginning of his music; are they new?
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Williams worked up a concert piece of the clash of the lightsabers for the Star Wars in concert program. I wonder if it was that version.
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Just listened to the broadcast. The Scherzo was fun. I liked the new beginning better than the original. Overall, it is not an extraordinary improvement, but it takes its time a bit more, which I always enjoy.
While I would have preferred a more Williams-heavy lineup, the concert was wonderful.
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given that the book author has read the script and seems to approve, I think the actual movie will be much better than the trailer. It is hard to convey dramatic weight in two minutes. This will not be a feel good movie, even though the trailer makes it out to be. I did not care for the first trailer for Lincoln, but loved the movie. It had the same problem as a dramatic film. Either way, there is no real value in pre-judging; if the movie is good, great, if not, then we can complain.
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I would virtually guarantee that the Scherzo for Motorcycle will be the new arrangement.
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There is no interview, it was just a joke. The thought of those two instruments together for an hour is beyond unpleasant.
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Expecting lots of strings & solo woodwinds on this one!
In the film source interview, there was mention that the score is only for accordion and harpsichord. It should be interesting.
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Why?
How involved is he with the film?
Well, since Williams was in negotiations for the production prior to filming and probably committed by the time the author visited the set, one would think he would have been told. Then again, I have no idea how such things go with an author who is not formally attached to the production. Either way, it is cool that the author reacted as one of us would.
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Evidently, the author of the book discovered the news of Williams' involvement the same basic way we did, which, quite frankly, is a little weird.
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Just crossed my mind:
Do you know what would be entirely ORIGINAL for Williams?
To write a score for a string quartet with maybe 2-3 instruments more.
He has written for orchestra, we all know he can write, but such a score would be someting NEW! And totally UNEXPECTED!
I'm even surprised that he hasn't written any concert music too for sting quartet.
Stanley and Iris comes very close to a chamber score, and it is quite delightful as well.
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this site mentions that Williams was in talks to do the film last November, which is probably the normal production timeline for such things.
http://filmmusicreporter.com/2013/08/06/john-williams-to-score-the-book-thief/
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I have always liked the three movement concert suite from Born of the Fourth of July, though the middle movement can be challenging. Anyway, I recently listened to it and then the three movement suite from Lincoln to better compare them. They are both instances of Americana and both feature solo trumpet. My conclusions at the moment are that the trumpet writing is a bit more original and haunting in BotF, but more poignant in Lincoln. Moreover, the middle movement of Lincoln is so much more fun than the corresponding movement of the other. The last movements are both really good, though the cello elevates the Lincoln piece, as well as thematically connects well to the same theme in the first movement. Overall, I give the edge to Lincoln over BotF in terms of the suites.
Incidentally, is the getting out the vote theme a variation of the American process theme?
Here is the Lincoln suite; I cannot find the other on youtube.
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5:10 to the end is rushed pretty badly.
It is a tiny bit rushed, but the OT soundtracks tended to move through the coda quickly. For later recordings, Williams seems to draw it out much longer. I prefer the former. Either way, excellent performance overall and good recording, all things considered.
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I know that this was posted awhile back in a different thread, but it bears a repost. What an amazing performance of the Star Wars main title (and imperial march and leia's theme). for whatever reasons, it sounds more epic than even the LSO.
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Is John Williams still at the top of his game?
One could make the argument that Williams isn't on top of his game.
No films other than Spielberg, no major awards, his style if scoring is gone in favor of a more bland sound wallpaper approach favored by directors these days. He's more famous for stuff he did years ago.
I would imagine most 80 year old people are enjoying their retirement and not worrying about working. I know I will if I'm fortunate to reach that age.
He has received multiple major awards in the last couple of years, from the president on down. He has received an Emmy, some Grammys, BAFTA, etc. the only awards he has not received are the Oscars. Is that the only category of award you consider major?
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I think Lucas has always let Williams do his thing for the most part. It is Lucas's last minute editing and tinkering that has caused so many problems in terms of the score. Abrams does not seem to have that problem, so we could be in for more of a OT musical experience.
The Book Thief (2013) - New Williams film score!
in JOHN WILLIAMS
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In that case, I will go back to my original post. It is not yet another Nazi movie; it is about a girl and her foster parents and how a love of learning shapes her childhood.