Jump to content


  • Content Count

  • Joined

  • Last visited

About TownerFan

  • Rank

Profile Information

  • Gender

Recent Profile Visitors

19972 profile views
  1. I've been distraught for most of the day. Cannot listen to any of his music without feeling overwhelmed at the moment. I jotted down a personal homage on The Legacy of John Williams website, I hope it makes some sense: https://thelegacyofjohnwilliams.com/2020/07/06/rip-ennio-morricone/ Btw, here in Italy is basically a mourning day. He was loved by literally everyone.
  2. I hate to be the one breaking this very sad news. Maestro Ennio Morricone passed away last night: https://www.ansa.it/sito/notizie/cultura/2020/07/06/addio-a-ennio-morricone_13319023-9654-4ba1-a7f2-c3f53dbd7f60.html It seems he fell in his home the other day and broke a leg. Will report later when I have more news.
  3. It's a wonderful closure of the circle, it makes such perfect sense.
  4. What Karim meant, I guess, is when JW goes more heavily abstract-like to create a sort of suspended atmosphere through the usage of colours and textures produced by light instruments (like celeste, piano, harp, high-pitched strings), usually enhanced by electronic timbres of the synthesizer. I think this could be totally defined as one of JW's own trope. Several examples come to mind: Listening to these, I realize that despite they're heavily textural in character, they're also very pianistic at their core. It's sort of JW's own take on impressionist-like writing. It would be interesting to investigate his process when writing these kind of cues.
  5. Don't assume too much. JW is the consummate professional. He survived 60 years of Hollywood craziness, so it's more than likely he's well above these kind of things. As someone apt once said, "It's called show business, not show show."
  6. Sorry, I was misremebering. Byrd's interview was printed in the book The Hollywood Film Music Reader, but it was actually published in 2010. The interview appeared originally on Film Score Monthly Vol.2 N.1 (January 1997).
  7. The only interview FSM did with JW was the one by Jeff Bond from 2003 where he talked about AOTC, Minority Report and Catch Me If You Can, plus a little bit about A.I. The 1997 interview on the Star Wars trilogy by Craig Byrd was originally made as part of a book and reproduced under authorization from the author, AFAIK. It's the first time I see those quotes from JW about Jurassic Park. Perhaps they were pulled from the Making Of book by Jody Duncan published in 1993? I'll try to investigate.
  8. Glad you enjoyed it! It's the version as heard in the Spielberg/Williams Collaboration Vol.3 album from 2017 as conducted by JW. I didn't know there was a recording conducted by Ben himself otherwise I would have used that in the show!
  9. https://thelegacyofjohnwilliams.com/2020/06/24/ben-palmer-podcast/ Hope you'll like it, guys. It's quite a long and insightful conversation.
  10. The old Soundtrack! magazine published an article with photos back then. Here's a few scans from the magazine (courtesy of @Miguel Andrade, linked from MArkus Hable's website) As it's been already noted, this concert isn't the one he performed with the LSO at the Barbican a few days later (btw, I have the program of that one, I'll try to have it scanned)
  11. https://thelegacyofjohnwilliams.com/2020/06/09/marcus-paus-podcast/ Marcus is a true genius and his music is brilliant, I recommend everyone to check out his opus if you don't know it already. It was a joy talking with him. I hope you all enjoy.
  12. I believe the cue "Blood Moon" was originally recorded for the planned album because it doesn't appear anywhere in the film and it truly sounds like a concert-ized version of the main thematic subject of the score.
  13. As far as I remember, the track named “Hell’s Kitchen” on the OST is actually the end credits cue. It was performed live as a concert piece first at Tanglewood in 1996 and then in London in 1998. Reel 6 got heavily re-edited several times. The version Williams wrote his music to was already different than the one he had during the recording, so he had to do several podium changes. However, Lucas and Burtt continued to change and re-edit that reel well after scoring was done, so it’s likely that what JW recorded didn’t fit the film anymore.
  • Create New...