TownerFan

I'll be there along with my brother and his wife. If someone will be there too, I'll be glad to meet up!

He's probably one of the hottest and most in-demand DVD producer/documentarian of the film industry. He worked mainly at Universal, where he produced all the extra features for the Hitchcock Collection and several De Palma titles. He became the preferred guy for Steven Spielberg as well and produced all the extra features for home video editions of Spielberg titles since the days of the LaserDisc. This relationship led him to produce and supervise the expanded sountrack albums of E.T., CE3K and Jaws. He also interviewed the Maestro for many DVD extra features. He's known to be quite a fan of John Williams and there was a rumor some years ago that he was preparing a full biography of the Maestro, even though the news was never confirmed. http://www.imdb.com/name/nm0100522/bio http://www.dvdfile.com/news/special_report...t_bouzereau.htm

Apparently, something leaked onto the usual channels. But it could be bogus. I suspect that will be part of the "British Relief" cue, which leads directly onto the Finale.

Over at maintitles.net, a gracious member posted a translation of a nice interview with John Williams that appeared on a Belgian magazine in occasion of the Ghent concert. Here it is for you: ----------------------------------------------------------------- This year the Film festival honours the world’s greatest film composer John Williams with a unique tribute concert – think ‘Star Wars’, ‘Indiana Jones’ and ‘E.T.’. An exclusive talk with the maestro of the symphonic score, fulltime composer of Steven Spielberg en 45 times Oscar nominee. ‘Regretfully I cannot be present, as such a concert in Gent is a true honour.’ Saying John Towner Williams – 76 years old – is one of the most influential film composers of all time, is a real understatement. Not only did he write the unforgettable music for Jaws, Star Wars, Superman, Indiana Jones, Schindler’s List and many more, he is also considered to be the godfather of the symphonic score, he has collaborated with Hitchcock, Altman, De Palma and has 45 Oscar nominations under his name, of which he turned 5 into gold statues. Furthermore Williams – who has studied for concert pianist at the famed Juilliard school – wrote several concerto’s, sonatas, a musical and two symphonies, while conducting the Boston Pops Orchestra for years, perhaps known as the most famous symphonic orchestra in the United States. While being more or less responsible on his own for the revival of the symphonic film score – with large orchestra and by expansive use of leitmotifs – Williams can hardly be called an ‘overnight sensation’. For years he had to content himself with jobs as session musician and arranger for various television- and film-studios. At the beginning of the 70s he was asked by producer Irwin Allen to score his disaster hits ‘The Poseidon Adventure’, ‘The Towering Inferno’ and ‘Earthquake’. And especially when a young, ambitious individual requested his services to compose the music for his debut ‘The Sugarland Express’. His name? Steven Spielberg. The result is one of the longest and most fruitful collaborations in Tinseltown. A conversation with a – excuse the muted expression – living legend. Are you in any way involved with the concert in Gent? John Williams: No, but I’m very much aware of it and have written the organisers and musicians a letter of thanks. At the end it’s a great honour, especially for a festival that continues to bring film music to the forefront, that is of high musical quality and has an excellent reputation in Hollywood. Do you want to thank them from me once again? With pleasure, they’ve been hoping to have you as a guest for years now. Williams: I know. And I would love to visit the city of Gent. Allegedly it’s a gorgeous city. The problem is that I’m always busy and we can never coordinate our agenda’s. Maybe next year. The festival focuses on the impact of music in film. Is it an art form that continues to be underestimated? Williams: For the latest 20 years, I’ve seen an improvement, also from the domain of traditional classical music. In the past, film composers were seen as professional workers who deliver assembly line work for Hollywood. Or worse: as failed classicists. When I was a student, not a single American university had film technique on their curriculum, let alone were you able to study film music at the academies. That has changed, fortunately. And not because it’s a means of earning a living for many composers. Finally the knowledge is growing that many innovations come from the film business. Plus: film has delivered classical music to millions of people that don’t visit concerts. You have called film music as one of the few authentic American art forms. Williams: I’d like to nuance that a bit. There has always been tremendous music for film in Europe en definitely during the starting years of Hollywood the impact of foreign composers such as Korngold en Steiner was huge. I mean that film music has influenced other musical genres these past decennia. The typical American aspect of that is that Hollywood – certainly the biggest film industry in the world – has played a major role in that growing process. What started out as a popular cultural product has evolved into an accomplished artistic medium thanks to Hollywood. That is something Americans – who have never depended on a rich cultural history compared to Europeans – always have done: unite high and low forms of art to give popular entertainment an artistic dimension. You are trained as a concert pianist and have composed several classical works. Doesn’t it bother you to always be associated with film hits and to be reduced to the master of the heroic score? Williams: I don’t have to complain about a lack of recognition. It’s true I have a passion for symphonic material, but if you listen closely, you can hear influences from the avant garde, jazz, musical en rock genres. Do you know the music from ‘Memoirs of a Geisha’? That one is based on traditional Japanese music. It’s definitely not true to feel I’m a victim of my own success, in the sense that people always expect from me a certain type of symphonic score or popular themes. I’ve always been able to explore the full musical spectrum. The thing is, the public really likes my symphonic works, which doesn’t frustrate me. At all. I’m very proud when my music becomes a hit en I always hope my music – even the experimental – will be embraced by the audience. A composer who states he writes music to content his soul and is insensitive to success is a liar. Nevertheless you only had your breakthrough during the mid-70s, while already composing for twenty years. Was that because your style of symphonic writing was considerated dated, because at that time people were experimenting a lot with rock and atonal music? Williams: Hard to say. You have to be lucky as well. Musical trends depend on the success of a film. If Jaws and Star Wars hadn’t become the hits they are, I doubt we would’ve been hearing so many symphonic scores. Remarkable: You never read the script when composing a score. Williams: I prefer to watch the film in a more or less finished state, to be able to have an honest opinion and to react spontaneously just like a regular member of the audience. This way you can feel the rhythm of the whole much better. So you never enter a screening room full of musical ideas in your head? Williams: That happens, but I like to let the ideas flow out of the film. The most important thing about a film score is that the tempo is dependent on the editing. Music can change the tone of a scene fundamentally. Put slightly faster or slower violins during the action scenes in Jaws and out goes the suspense, no matter how good the film is. The problem is that some films – especially those with a lot of special effects – don’t allow having an idea of the general rhythm. Some cuts are shortened, others lengthened. And you have to play on that aspect. I compare it to horse riding. A jockey who moves along with the horse’s running doesn’t feel it, but moves on forward. An audience shouldn’t feel the music, but must be propelled by the action, where music and editing together determine the rhythm. What would you call a good score? Williams: It has to be complimentary and be supportive, but not insistent or intellectually overbearing. Ideally it has to exist as a musical piece on its own. I do not agree with the notion that good film music should not be heard. You have to find a balance between underlying discretion and artistic originality. Did the digital revolution change you way of working? Williams: Not really. I still use pen and paper and I still work with flesh and blood musicians. I’m a dinosaur in that way. In a studio everything happens digitally and frames and tempos are monitored by the computer. That’s a job for the engineers. Nothing has changed about working with the director. He still expresses his ideas and together we try to make the most organic score. At times I can determine how long a frame lasts, but I have nothing to say about choice of shots. I don’t mean to. A film composer must respect the integrity of the director at all times, regardless of his own opinion of the film. You have scored nearly all the films of Steven Spielberg. Did you know when you started out this would lead to a special partnership? Williams: Something like that grows naturally. But when I saw ‘The Sugerland Express’, I knew immediately he would become somebody special. Concerning my relation with Steven, I’m just a very lucky guy. When he first asked me, I wasn’t well known, but he did like my score for ‘The Reivers’ so much he wanted to work with me no matter what. That appreciation – both musically and personally – has always existed fortunately and is still mutual. As long as my health remains, I hope to keep on working with Steven. On top of that you’ve worked with such established personalities as Hitchcock, De Palma and Altman. Has it always been hassle-free? Williams: I’ve never felt restrained artistically, even with the most demanding directors. If the result wasn’t all that, it was mainly because I failed. I’ll never put the fault with the director. Most stories about so called difficult directors are exaggerated. When I wrote Hitchcock’s final film ‘Family Plot’, I got to know the man as a pleasant individual from whom I’ve learned much. You want to hear juicy stories about the time he tried to tyrannise me, you won’t hear a word from me. (laughs) So far you’ve gathered 45 Oscar nominations. Do you ever get used to the success? Williams: No. Try to compare it to being a fan of your favourite football team. If your team has won for the 45th time, you want them to win a 46th time. I’m still every bit as ambitious and insecure as when I started. You’ve influenced numerous composers, but who has actually inspired you? Williams: The older I get, the further I go back in time. Lately I find my self spending time with Haydn and Bach, but I used to be crazy about the modern Russian and English composers. Stravinsky, Prokofiev and Sjostakovich. And Elgar and Vaugh-Williams. You don’t appear much on premieres and rarely give interviews. Are you the prototype of the somewhat media-shy artist? Williams: (puzzled) What makes you think that? When I was conducting the Boston Pops Orchestra, I was all around the place giving interviews and when Steven asks me to do something for a DVD, I mostly say ‘yes’. I just don’t feel the urge to be in the spotlights always and everywhere I go. I’m no movie star, just a hardworking professional with only a little bit of talent. Glamour performances I leave to the more handsome men such as Sean Connery. (laughs) ----------------------- He also graciously posted scans from the magazine: Part 1: http://img128.imageshack.us/my.php?image=w...terview1ju6.jpg Part 2: http://img58.imageshack.us/my.php?image=wi...terview2iw0.jpg Part 3: http://img353.imageshack.us/my.php?image=w...terview3iu0.jpg

It's got the soft coda (from what on previous releases was "The Raiders March") tacked on. I may edit my better sounding DCC tracks to reflect this "full" version of the end credits. That's what I figured. The original album had the coda at the end of the end credits if my memory is correct. The original album had the End Credits (labeled as "Raiders of the Lost Ark") as the first track and it included the 1941-styled soft coda of the Raiders March. The edited-down "Raiders March" (which was the final track on the album) instead finished with the usual ending. For the DCC release it was decided to switch back the coda onto the shorter version (which is used as the opener for the album) and use it as a lead-in for the actual main title cue. Personally, I like the choice to put the short "Raiders March" at the beginning of the disc, it gives the feeling of a concert ouverture.

The only difference between this and the album is "Marion's Theme." On the original album it was jarringly combined with "To Cairo." "The Well of the Souls" track on the original LP was also a combo of two cues: the first part of "The Floor That Moves" and an edit of "Into the Idol's Temple". I don't think 8M3 Fix is an alternate, but, as the log indicates, it's just a fix (usually, cue re-writes are indexed as "REV" on the log sheets). The original 8M3 ("Escape from the Pit" aka "The Mummy Cave") is Williams' original take, but it was probably written on a different and longer edit of the sequence, as the music itself seems to indicate. It's likely the scene was re-edited and tightened, so Williams had to write new parts to accomodate the changes.

What is strange and a little bit bizarre is: why bothering to revert back to the original album edits just for those two tracks? It would have made more sense if they'd have presented the original Raiders LP program and then expand that with the other tracks (à là James Bond expanded CDs).

Well, it this is the case, it appears Bouzereau worked with the original album masters of all the three scores and then used the session master tapes for the new unreleased tracks. A very strange decision, however.

Yep, it's not a tragedy, even though I would prefer a properly assembled product and not have to worry in doing my own edits.

I'll count every day until this is released...

I was thinking about the cue "To the Blimp" (aka "First Flight to Germany" aka "Berlin Air Terminal"): it is of course the cue when Indy and Henry board on the Zeppelin, but on the boot it is preceded by an ominous passage which I believe is Williams' original take of the sequence when Hitler signs Henry's diary, while in the film that moment is underscored just with timpani and snare, seguing perfectly in and out the "Koniggrazter" march.

Temple of Doom is virtually complete, it appears only "A True Believer" aka "Blood of Khali" is missing and maybe a few of the starving village cues. Last Crusade is missing "Secret Entrance", "Into the Catacombs", "Keeping Up with the Joneses" film version and "Papa Jones is Shot" (plus alternates and source music). Well, I think no one can really complain.

It would appear (unless the interviews are 20+ minutes, which is unlikely imho) that the CD is not maxed out at 77-80 minutes. However, the choice of the tracks is great, they indeed left out only some minor incidental cues (I hope the cue "Indy and the Villagers" will include also "They Stole the Children"). I never expected to see unreleased stuff from KOTCS here, so I will not complain about that. This project is now identical to the Star Wars Anthology boxset, so it's likely we'll see 2-CD sets of all four scores in the not too distant future. However, I'll enjoy this one a lot now.

In case someone missed the post in the previous page, you can find the track listing of Disc 5 HERE.

Or maybe King Mark secretly worked as JWFan consultant for the release... p.s.: we're now sure that "On the Tank" is actually "The Pen is Mightier than Sword"

Maybe Bouzereau read this thread

Temple of Doom End Credits film version... YES!

THis appeared over at the FSM board: If this is the case, I'm very happy!

Whoa, sounds like a huge and promising program... Can't wait to hear it! By the way, a member of that forum posted an interesting (albeit discomforting) tidbit about the possibility to see JW in concert outside the US:

I agree with Previn

Apparently, some bits of unreleased music are heard on the DVD menus too: http://it.youtube.com/watch?v=gA6lWfNuYZg (check around 1:30 mark)

Star Wars Main Titles done in the Saul Bass style: http://it.youtube.com/watch?v=z25t-PQDn5A Nice!

I remember when I saw Deep Impact in theater I constantly noticed how shamelessly overwrought and sentimental James Horner's music was. It constantly emphasize every sentimental aspect of the story in such a schmaltzy way that's irritating. Before I get assaulted, I'll say the music of course is well-written and competently orchestrated (Horner is a real composer), but it's just too sentimental for me.

I agree, it's a very organic piece, full of rhythmic energy and aptly orchestrated. It's great how Williams intertwined almost all the thematic material (Raiders March, Marion's Theme, Irina's Theme, Adventures of Mutt's Theme, the Indy/Mutt variation, Russian motif) during the piece. Too bad they presented a severely mutilated version on the OST album. Also, did you notice how different is the film mix of the music than it is on CD? It sounds much more dry and "in your face", it's closer to the way music was mixed in the older films.

Thanks for the clarification John. It's more or less what I imagined too (but you said it a lot better than me <_<)