Tom

We all evolve. 10 years ago, I never ate candy bars with a knife and fork. What a fool I was.

It hurts me the most when the strings are off this way. I would prefer waterboarding to listening to most high school string orchestras.

According to this guy, he would have needed a different jersey. Yes, I am scraping the bottom of the barrel.

Going that route, I would go to the other chronological extreme and mention the Overture to the Oscars as a light (but great) piece.

Cool, though, sadly on some level, I will probably enjoy it much more than I will the other upcoming biopic, the Fablemans.

Amazing Stories Ghost Train is a nice sentimental romp too.

I would add How to Steal a Million to the mix.

Indiana Jones and If I Keep Lifting Weights and Make Myself Big Will People Finally Accept and Love Me.

In terms of the end credits suite, I hate the slow tempo of Finn's theme (or whatever it is called) versus as used in the actual film.

X-Wings is not part of the End Credit suite. Do you mean his concert performances of the piece?

If his concert programming is any indication, I would say this is his favorite scherzo (from his own work), and Out to Sea/Shark Cage his favorite fugue.

Here is a video version (FSO)as well. I am not sold on the revisions either. However, it think they are lateral; they make the piece neither worse nor better.

I think Larry David could pull off a Copland role.

Interestingly, I find some of his concert works darker than his film scores, though admittedly, I associated atonal with dark, even though that is not always the case. I think of Nixon, but that is more tragic than dark. WotW is close, but I would go with intense more than dark, Images has its own thing going on--deranged more than dark. Even RotS "Dark Deeds" is operatic and elements of a lament more than dark. He has not scored a movie that is consistently dark (not that this is a bad thing). The Carousel in the Fury for cue, though.

One assumes by implication that Williams will be there, but the write up seems to go out its way not to say it.

Regarding AOH: Perhaps this has been noted, and it always takes me forever to hear such things, but I just noticed a cool thing with the 6-7 note motif that plays between the hero and searching theme. Williams uses it in counterpoint beneath the hero theme in the latter's first statement. Good stuff. edit: continuing the dialogue with myself. I suppose the motif is the ostinato driving the piece, but Williams gives it a much more nuanced role versus, say, Superman or DotF.

He may very well have composed it just for the LTP. When he performed the opening sequence at Tanglewood 12 or so year ago, he added new music to parts that are unscored in the movie for a better listening experience, so he is not averse to that approach. Edit: I didn't know I was responding to the same cue with my reply.

Yeah, I wonder with the delay if Williams did not start Fablemans first and then will begin Indy in late Feb. Of course, the former is not even confirmed, so who knows.

Has principal photography wrapped on this?

Imagine being these kids' other grandpa.

I hear that the bad guy's tagline is "Call me, if you have the time."

This has been in my top three concert pieces by Williams since I first heard it. Accessible, yet fresh and true to Williams's concert voice. I do not understand Williams or the concert world. Why is there not a signature edition and why isn't it programmed with any regularity?