MikeH

Wonderful time tonight! Love how he talked about how the fugue was for when they "build the cage to capture the shark." My highlight was definitely experiencing Jane Eyre, my favorite, live for the first time. Tempo was a bit lethargic, especially during the last movement, but I'm thrilled that more people were exposed to this gem of a score. There were definitely sparks coming off of the stage once JW took to the podium. Oh, and the striptease! People lost their sh** when Superman began. It was the biggest reaction of the night, for sure! ps. Before the encore of Marion’s Theme, JW mentioned that Spielberg is “threatening” to make a fifth Indy film. Nice laugh.

I kind of hope JW did a full-fledged arrangement of the Han Solo theme, but I'm guessing he just wrote a basic sketch. The change in style between Williams and Powell might be a bit jarring, plus I'd love to just hear the theme exclusively realized by Powell. We'll know soon!

1. Jane Eyre 2. Dracula 3. The Towering Inferno 4. Home Alone 5. Family Plot 6. ET 7. Angela's Ashes 8. Home Alone 2 9. Jaws 2 10. Eiger Sanction ......you can tell which decade I prefer!

I do like what everyone else seems to despise. Attack of the Clones is practically my desert island Williams score next to Jane Eyre. Maybe it just hit me at the right time in my life...I had just finished my sophomore year of high school (summer of '02) and was really getting into composing and conducting. I listened to it non-stop. And I think The Book Thief is a gorgeous, delicate score. I remember sitting in the theater watching War Horse and thinking, "man, this might be the last time I hear a new JW score in a theater since he's getting up there in age." What a fool, what a fool. 1. Attack of the Clones 2. Revenge of the Sith 3. The Force Awakens 4. The Book Thief 5. Prisoner of Azkaban 6. Lincoln 7. The Last Jedi 8. War Horse 9. Memoirs of a Geisha 10. Kingdom of the Chrystal Skull

That was amazing!

Interesting. I wonder why so much advanced protools work had to be done with Sith?

Actually Barry was initially offered Tomorrow Never Dies: https://perspectiveforum.net/2016/05/22/the-beyondness-of-things-my-bittersweet-relationship-with-barry-john-barry/ One of my personal goals was to reunite John Barry into the James Bond series. There was a lot of old history between Barry and the Bond folks and I felt I might be helpful in bringing a fresh approach into it without being burdened by all the prior baggage.After a lot of back and forth they ended up offering him TOMORROW NEVER DIES. I could not have been more thrilled. However, things got really wonky during the negotiations with neither side agreeing over his fee with the difference being relatively minor. Both sides dug in their heels. MGM said they were moving on without him. I felt like I was the worst agent in the history of show biz. I was fumbling having John Barry score another James Bond film. This was unacceptable. As John’s agent I couldn’t let that happen. As a Bond music fan, I would kill me if I didn’t find a way to pull this off. On Christmas Eve, with holiday music playing in the background (including Barry’s “Do You Know How Christmas Trees are Grown”) I decided something had to be done to fix it all and give it a perfect holiday ending. So, I left word with the producer saying how important it was to me, as a fan, to have John score the film. I realized that the amount separating John and MGM was exactly the same amount as my commission would have been on this film. In the spirit of Christmas and of wanting this to happen so badly, I offered to give my commission over to the studio so they could then use it to make John the offer he wanted. The only condition was that they could never tell him. I needed him to think the extra money had come from them.After leaving that message I sent to bed with dreams of The Great Barry/Bond Reunion dancing in my head. The day after Christmas I got the call from the studio’s music department.“Are you trying to bribe us with kickbacks?” I was stunned. I quickly explained my sincere intentions to do right by everyone. She said they refused to pay John any more under any conditions and they were moving on. I had clearly stepped into a vast quagmire of issues and people and history and personalities that predated me by decades. I had failed. Though he acted dismissive and a bit resigned to these setbacks, I couldn’t help but think how deeply they must have stung.

Pretty sure it's just the percussion/gong.

No no that’s just a reference to Rian’s second favorite Williams score

The Tony Orlando Pops

Is that...legal?

When I was a kid in the ’60s, I could not wait to get home to watch this TV show that started with this wonderful John Williams score: Lost in Space. I told him that, and he’s like, “Oh no, no. Oh…” He was so embarrassed. “But it’s wonderful, John! I mean, it held the promise of wonder and excitement and fun and quirky and scary and dangerous, and it was all in this one score. And John, the roots of your entire career are in that score.” He said, “Oh no, no…” I said, “Yeah! Can I play it?” “No, please don’t!” I said, “No, I really gotta play it for you.” [Laughs] Well now we know why he no longer wanted to update his theme 😄

Hull, who is he? Is he a passenger?

It surely must be the iconic A Toast!. Surely.

Hehe. When I was in college I got my music professor to put the kibosh on a proposed presentation by a fellow student that had that exact title. Good times.

I have the manuscript. It says "Orchestrated and Arranged by Henry Mancini" I like the segue note into JAWS:

Ah, a good book title: John Williams: The Man with the Round Face and Friendly Eyes

John Williams would not be where he is today without having strong opinions and particular points of view when it comes to music/his music. I'm sure he's just as opinionated as Goldsmith, Barry, Herrmann, and Horner were...he's probably just better at airing those opinions in the appropriate setting while being diplomatic and gracious in public. It has nothing to do with being nice or mean or positive or negative. As one member of the LSO put it: 'the iron fist in the velvet glove'. And I absolutely think JW can judge the quality of a score after viewing a movie once. He could also probably listen to one cue from Desplat, Powell, and Giacchino and make very astute judgements about compositional quality without needing to listen to their entire discography.

still not up

wtf

I wonder if this 'John Williams credit song-mashup' will also be butchered for the Blu Ray release...

Yes.

It will either be a) atrocious or b) unobtrusive.

We've all been fooled. The Post will be fanfares and fugues and TLJ will be subtle Americana.