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  1. Speaking of eye opening, in Minority Report John Anderton has to open his eyes in a certain suspenseful and effective scene in the bathtub.
  2. That doesn’t necessarily make him right. It sounds as though he had some bad experiences with directors that made him bitter about film music. If Spielberg asked him to write the score for his film and gave him a big paycheck, he might be praising Spielberg’s good taste right now.
  3. I don't see where John Adams criticizes John Williams. He talks about film composers in general and he criticizes the taste of directors like Steven Spielberg. I understand that John Williams has a friendly relationship with John Adams, I think he has said in an interview that he enjoys the music of Mr. Adams. With that said I don't agree with Mr. Adams' take at all. What he says: "I think that film composers market themselves and basically give directors what they want." is basically what a film composer is required to do, it's their job, to do what the director wants, because it's the director's film that the composer has to serve.
  4. It’s a fantastic score overall. The action music is exceptionally good and shares *some* similarities with Attack of the Clones that was released the same year. It’s a great score. “Everybody Runs!” and “Anderton’s Great Escape” are just two of the many highlights. And LLL+Mike, as always, did an outstanding job with the expanded edition.
  5. Fantastic video! I was moved to tears while watching it. What a beautiful and special professional relationship that's also a lifelong friendship between Steven Spielberg and John Williams. I wish they would forever make movies together...
  6. You’re talking about Beethoven and Tchaikovsky and Classical Music that have been around for centuries. And who gets to decide how many of those cycles are needed…? I would LOVE to have the Milan concert recorded and released on every format, but I know this is contemporary Film Music that DG has released twice already with similar programs and even John Williams has his limits, in terms of how many of his concerts with somewhat similar programs people will purchase. Again, I’m among those who would definitely purchase it both on Blu-ray and on CD. But I’m in the minority of DG’s general audience consisting mainly of classical music listeners.
  7. As much as I would love to have this concert on Blu-ray, there can be good reason why Deutsche Grammophon isn’t making a recording of it. The program of this concert is quite similar to the Berlin and Vienna concerts which are (still) available on multiple formats. And don’t forget that most people aren’t as die hard (it’s euphemism for fanatic) as us. DG might’ve thought that a concert so similar to the two previous ones wouldn’t sell (as well), because it would be a John Williams-DG overkill. And let’s be honest, it does make sense to a point. The other, more prosaic reason could be simple rights issues that couldn’t be figured out between DG and the Teatro alla Scala. Who knows… With all that said I’m just as disappointed as anyone else on this forum that this concert isn’t going to be recorded, because this will undoubtedly be a very special event both for John Williams and his fans around the world, that deserves to be preserved for future generations of Film Music fans to enjoy. C’est la vie.
  8. Well the Maestro certainly doesn't waste any time, already at work as always. Let him do what he went there to do and let him go back safely to L.A. as soon as possible to continue writing his new work.
  9. I really hope all the fans, especially the most obsessed ones understand that the Maestro will be 91 years old in two months and that he's going to Milan to conduct his music at the Scala and to enjoy his short and valuable time in the city, not to be forced to take photos with people who can't accept that John Williams is not their own personal friend, regardless of how much they love him.
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