Naïve Old Fart

JOHN WILLIAMS: ALL 200-ODD FIVE TONES DEMOED FOR CE3K, ADAPTED AND ORCHESTRATED BY WILLIAM ROSS

I'm just pulling your collective leg, @Naïve Old Fart.

@Brundlefly is right, @Jurassic Shark: ROSEWOOD is a great piece of work. SLEEPERS is no slouch, either. THE FOOTBALL GAME, THE TRIP TO WILKINSON, SAYING THE ROSARY, and HELL'S KITCHEN, are among the finest of JW's '90s compositions.

Fuck you, for bashing Rosewood!

Ah well, seeing as they wrote it in the first place I guess it's OK that Clement and Le Frenais recycled it for the NSNA screenplay. And at least it's a good one. 

I may never hear I Still Haven't Found ... in the same way again, Richard  . 

6 1/2 years, Sweep.
Yeah, the title song to NEVER SAY NEVER AGAIN isn't very good, but is it worse than the other Bond song, from '83?
The problem with NSNA the film, is that no-one takes it seriously...and it shows. They even recycle jokes from '70s British sitcoms, for cryin' out loud. Don't believe me? Watch PORRIDGE. 
As for THE EXPERIENCE OF LOVE; granted, it isn't the showstopper that the brilliant, and brilliantly sung, SURRENDER is, but it gets the job done. Seeing as they wrote the title song, perhaps Bono and the lads could have adapted the chorus of I STILL HAVEN'T FOUND WHAT I'M LOOKING FOR, to fit the lines "You're a sexist, misogynist dinosaur"? Try it: it fits 

Yes, I did, actually! Where is it?!
 
Fuck your parents! 
 
Fuck the new one! We want the tablecloth. NOW!!!!!

Yes, I did, actually! Where is it?!
 
Fuck your parents! 
 
Fuck the new one! We want the tablecloth. NOW!!!!!

Ahh, I see they've changed the concert programme again!
 

Do I understand it? What does it mean?
To the industry; a game-changer.
To the studios; a cash-cow.
To audiences; a beloved series of adventures, that take people away from the mundane, if only for a couple of hours.
To me; as I get older, my priorities and my attitudes change. I never "relied" upon the films, in my youth. They were enjoyable, but not essential. At this time, however, I'm of the opinion that the films are about one of the most important things in this world - family. The ability, and the need to, belong, are strong motivators, and the films illustrate this, well. "Good and evil"? Yeah, it's that, as well, but, IMO, that's secondary. It's about being accepted, belonging, and, yes, being loved, and in this jaded, selfish present society, that's not a bad message, at all.

Do I understand it? What does it mean?
To the industry; a game-changer.
To the studios; a cash-cow.
To audiences; a beloved series of adventures, that take people away from the mundane, if only for a couple of hours.
To me; as I get older, my priorities and my attitudes change. I never "relied" upon the films, in my youth. They were enjoyable, but not essential. At this time, however, I'm of the opinion that the films are about one of the most important things in this world - family. The ability, and the need to, belong, are strong motivators, and the films illustrate this, well. "Good and evil"? Yeah, it's that, as well, but, IMO, that's secondary. It's about being accepted, belonging, and, yes, being loved, and in this jaded, selfish present society, that's not a bad message, at all.

I do not have children, and, at my age, I am not likely to, and this is something I regret.
No matter.
A good film is a good film, no matter what it is. If I had children, I'd like to introduce them to cinema at as early an age, as possible. My earliest memory of cinema preceded my earliest memory of television.
What I would want to "bequeathe" my children, is that cinema is, at its best, a shared experience. While the movie theatre offers large-scale spectacle, the lounge offers the kind of intimacy, comfort, and sense of belonging, that a cinema cannot replicate.
Most of all, I'd like my children to truly discuss what they watch, and not just to accept it, blithely.
Film don't change. GONE WITH THE WIND is, in 2019, exactly the same, as it was in 1939, but times change, and so do people. To engage people actively, in watching and conversing about, films, as they grow from children to adults, is, IMO, and in this context, the best legacy that cinema - and, by extension, parents - can offer.

I've posted this, elsewhere, but...in 1975, the B.B.F.C., with a view to giving the film an "AA" certificate, asked a child psychiatrist to watch JAWS. The psychiatrist watched it, after which, the B.B.F.C. asked him if he thought that the film would cause children to have nightmares. His reply: "What's wrong with children having nightmares?".
The film was awarded an "A" certificate.

I've posted this, elsewhere, but...in 1975, the B.B.F.C., with a view to giving the film an "AA" certificate, asked a child psychiatrist to watch JAWS. The psychiatrist watched it, after which, the B.B.F.C. asked him if he thought that the film would cause children to have nightmares. His reply: "What's wrong with children having nightmares?".
The film was awarded an "A" certificate.

Ooh, matron!

(deleted, on grounds of taste)

I was lucky enough to receive this from Father Christmas yesterday and played it through for the first time this afternoon.  It is such a thrill to finally have the film score recording, but a few words on the remastered 1974 soundtrack album recording to start with; while I never had any problem with the sound on the Varese Sarabande CD (which was actually the first John Williams score CD I bought back in the day!), the remastered sound on this new CD is phenomenal.  I particularly noticed how much clearer the horns were on Love Theme, for example, but in every track I hear details I had not noticed before.
 
The separation of the album versions of Miles' Pool Hall and Sam's Rescue into individual tracks - as per Williams's original intention - is also great.  These two tracks could rightfully be asterisked with [* includes previously unreleased music], as both include significant amounts of music not heard in the Medley track, simply because it was faded in or faded out to create that Frankenstein's monster of an album track, much as I have always loved it.  When I heard the clean opening of Miles' Pool Hall I thought they had switched reels on me there for a few seconds!
 
The film score recording is fantastic to have.  I have wanted to hear this music in good quality ever since I first watched the film years ago and realised that the music in the film was a different recording than what was on the soundtrack CD.  I expected that if ever the music saw the light of day, it would at best be like one of those archival recordings Cloud 9 Records used to release with more pops and crackles than Edison singing Mary Had A Little Lamb, but not a bit of it - the sound on this is remarkably good.  Although I was familiar with most of the unreleased music, there is so much of it that can finally be heard properly outside the film.  Much of the cue Washed Away is pretty much inaudible in the film due to the sound effects, but now it can be heard in all its glory.  There are also cues that are partially or even mostly dialled out in the film but can now be heard in full (I'm looking at you, Something For Rosa).
 
I also love having the two versions of Aftermath, for a long time one of my most wanted unreleased Williams confections.  The fascinating unused cue does not sound quite sad enough somehow, almost as if the music is reflecting the awesomeness of the natural forces at work rather than the devastation wrought by the quake.  This is a great release and finally presents the music the way it deserves and in a way much more representative of the score as heard in the film.  I think it's beautiful!

Nice!

OHMSS
 
 

 

 

 

 
 
 

You're right, dude. The main theme, is used throughout THE TOWERING INFERNO.
It's all over WAKING UP, and there are some nifty variations, in PLANTING THE CHARGES.

HAHA, I just watched JFK (for the first time, sorry!) Saturday night, really good film, not too much JW score heard in the film though.

The best gif, ever  

Vienna.

Am I the only one who realises he's 87 and that 'a couple of scores' are therefore highly unlikely?
 
And do we really need Indy 5? Wasn't 4 bad enough?