TownerFan

I found particularly interesting the comment on Herrmann and how being stubborn can ruin your career (especially considering the friendship between them). I think one of Williams' true skills as a Hollywood craftsman is that miraculous balance of always being adaptable and versatile enough to satisfy his employers while keeping his integrity (both artistic and human) well intact. This is something that isn't usually recognized enough. Btw, the interview is now online too, but it's behind a paywall: https://www.welt.de/kultur/plus227230129/Komponist-John-Will

You had me for a minute, crumbs! Anyway, thanks so much for taking the chore of manually translating this! Much appreciated. Some nice comments from JW here.

A new interview with JW was published yesterdat on the Sunday edition of German newspaper Die Welt. Anyone able to provide even a rough translation in English? here's a better scan:

https://thelegacyofjohnwilliams.com/2021/03/05/legacy-video-conversations-brueggemann/

Absolutely. We're still through a very uncertain moment, in the sense that it's hard to make predictions and hence plan activities. I'm optimistic that the situation will be better by the end of this year, but live music will have to wait until 2022 to resume at full capacity in any context. I just read that the Boston Pops season this year will be only streaming events with no audience Let's hope for 2022 to see JW on the podium again.

Even though I'm confident that next autumn we'll finally have a grip on the virus in most countries, I fear that it will still be too early for a full reprisal of international travel and large-scale indoor events. If things will be favorable, there is hope some outdoor concerts may take place (but probablty with limited capacity, distanced seating etc), like the usual summer festivals, but again right now it's hard to make exact predictions. It's much more likely we'll see JW resuming concert activities in 2022.

On his website, Grubinger is listing the Berlin piece as "JOHN WILLIAMS: Suite Special Edition". If it was a new commission or a world premiere of sorts, it would have been surely noted. I still believe this is going to be an orchestral version of the medley he did a few years ago. What remains to be seen is if JW contributed something new for the piece.

It’s well known that Spielberg attended one Taxi Driver scoring session, and that famous conversation he had with ol’ Benny (which is amusing, but I wouldn’t be surprised if it’s one of those “print the legend” anecdotes). I’ll check Smith’s biography if there are any mention of Steven talking about CE3K with Herrmann, but from memory I don’t seem to remember any. Btw, in Mike Matessino’s liner notes for the 40th anniversary release, it’s stated that Spielberg and Williams started discussing CE3K in “late 1975” when Jaws was still in theaters. Of course it’s entirely possibl

Goldsmith and Spielberg collaborated very closely on Poltergeist, as Steven supervised the whole postproduction with Frank Marshall (Hooper wasn’t involved in postproduction). By contrast, Spielberg didn’t oversee the scoring process of Twilight Zone The Movie, which was left in the hands of Joe Dante. I wouldn’t dare to compare Spielberg’s use of music in The Color Purple with Scorsese’s in Silence—two radically different approaches. Quincy Jones et al. scored the film really in a very traditional Hollywood way, with lots of music from top to bottom and even a couple o

I don’t want to crush anyone’s dreams, but I wouldn’t hold my breath waiting to see all those NBC cues for the News and the Olympics released in any kind of format in the foreseeable future. That stuff is extremely complicated in terms of licensing and residuals that must be paid. We’re lucky enough that Williams re-recorded some of that stuff with the Pops back in the day.

https://thelegacyofjohnwilliams.com/2021/02/22/ann-hobson-pilot-podcast/ I hope you'll all enjoy this talk with a true pioneering woman in the music field.

Unreleased concert suite? Or something else?

Haab’s creative voice? He was briefed to imitate Williams’s Star Wars style as closely and faithfully possible since day 1, as the music he was writing had to seamlessly merge with Williams’s cues from the films. This isn’t to diminish Gordy’s work—he’s a gifted composer and he knows how to write for orchestra, as these scores show well. But his job here was to emulate Williams’s style and voice as faithfully as he could. Hence, it’s not out of this world that he, together with his team, learned every trope to sound as Williams-y as possible to the point of sounding “more regal than the King”.

Haab and his team of co-composers have studied Williams' SW tropes very well so they can certainly make it sound like the perfect imitation (that's the brief they were given by the producers). They have access to score and sketches, so they can make accurate sort of transcriptions.

Thank you very much for this truly touching thought, Ricard. Much appreciated. That’s the gist of what we were trying to do. His reps were informed of the event and I guess they told him. I honestly don’t know if the Maestro would sit down to watch it, however. I guess he has music to write first! 🙂 Btw, I do remember very well meeting you during the intermission of the Saturday concert in Vienna, Martinland! We had a brief but lovely chat together with Marian and a couple of other nice fellows. What a day that was.