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This thread resurrection together with the recent Tintin appreciation thread shows that the Williams scores from the 2010s have often been talked down too much after release.  The music is not always

We just wanted to celebrate Johnnys 88th birthday and decided to watch something he scored, ended up with BFG which was perfect for our youngest, 7 year old. The dubbed version was so great, Dahl's br

Thanks to a friend who has seen the sheet music, I can reveal how JW constructed this OST album   1 Overture (1:18) unknown rewrite of the opening of End Credits 2 The Witching Ho

They posted a similar photo....

.... in September when he was working on TFA. This photo is new, though (in fact, you can see that Williams has been moved to a new parking space). Also, TFA was recorded at Sony, and I believe The BFG is, too, so since these photos show Fox Studios it may indicate work on mixing and/or editing rather than the actual recording. 

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12 hours ago, Tom said:

they have posted it; it is their way of saying Williams is currently scoring. 

So he would have flown back from Philly to LA and then he's flying back east to Boston for next week's concerts? That can't be good for his back. I thought he would have preferred spending the week on the East Coast, maybe walking amongst the trees of Boston Common writing his next concerto.

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Both. According to the schedule, Saturday at 11:45am and 7pm and then Sunday at 5:30pm. 

 

I believe both of the Saturdays are invite-only gala premiere screenings, don't know if that will mean anything in terms of whether immediate reactions are allowed out or not but I'm guessing we'll see at least a few. 

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I've requested a ticket for the 11:45 screening on Saturday (I opted out of the 7 PM gala screening, as it's even harder to get tickets for that). Still haven't been able to obtain one, though. I think that even though I have market credentials, I'm way down on the list in terms of priority as a first-time Cannes attendee.

 

Allegedly, Spielberg is coming on Monday. Hoping to catch a glimpse of him, at least. Hopefully, there will also be a market rerun at the end of the festival.

 

Whether I get a ticket or not, though, I'm still not guaranteed entrance. I have to stand in line for hours, and at some point they fill up (they always give out more tickets than there are seats).

 

Otherwise, a fine first 24 hours in Cannes. Weather variable, but the buzz is felt.

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34 minutes ago, crumbs said:

The first screenings are Saturday but Spielberg's coming for the screening on Monday?

 

Yeah, it's a bit odd, but maybe the "reports" are incorrect and that he is -- indeed -- coming for the 7PM gala screening. Or he could be coming after the screenings for press conferences etc. There is no screening of THE BFG on Monday.

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Gosh, can't believe this thing premieres this weekend. Such an exciting time, the lead-up to the release of a Williams score*. Hopefully we get some good reports on it. We're counting on you, Thor! 

 

(also, I like Spielberg, so even aside from the score I am very interested in the film) 

 

*I know, us regular folk won't see the movie till July, but we should be getting reviews and such shortly, which is still pretty exciting. 

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6 hours ago, Lewya said:

Steven Spielberg mentioned the score - 

 

In terms of the movie's music, it's no surprise that Spielberg would turn to his longtime collaborator John Williams, a five-time Oscar winner who has scored most of Spielberg's films since 1974. "I will tell John my story by showing him my cut and he goes away and eight weeks later, he tells a story musically," Spielberg explains. "He has done this brilliantly with 'The BFG.' Every moment is accompanied by a little bit of a musical reminder that there is another layer of story being told."

http://www.moviefone.com/2016/05/11/steven-spielberg-the-bfg-d23/

 

So a wall to wall score. We'll probably get just over half of it on the album!

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1 minute ago, crumbs said:

I'm probably most excited to hear what he follows up The Peterson House and Finale, The Homecoming and The Jedi Steps and Finale with. His revivification of beautiful end credits arrangements is one of my favourite parts of each new Williams score.

I still for the life of me can't fathom why Tintin doesn't have an end credits suite.

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2 minutes ago, Not Mr. Big said:

I still for the life of me can't fathom why Tintin doesn't have an end credits suite.

 

What did it end up being in the film? The Adventure Continues / Snowy's Theme / Sir Francis and the Unicorn?

 

And was The Book Thief an arrangement or just the concert suites?

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I suspect we'll know for sure that the score is great once we start hearing critics calling it "schmaltzy" and "manipulative".  

 

1 hour ago, crumbs said:

 

What did it end up being in the film? The Adventure Continues / Snowy's Theme / Sir Francis and the Unicorn?

 

And was The Book Thief an arrangement or just the concert suites?

I believe it was Sir Francis/Snowy's Theme/The Adventure Continues.

 

The Book Thief's end credits was a fresh arrangement.  

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This has nothing to do with THE BFG, but I bumped into Mads Mikkelsen and George Miller after a screening today. Didn't have the guts to ask for a picture (with Miller). Maybe later. Donald Sutherland ran rather sourfaced past me as well. Sorry for the crappy photo quality:

 

13173673_10154033825456278_6436385882592

 

 

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20 hours ago, Not Mr. Big said:

I still for the life of me can't fathom why Tintin doesn't have an end credits suite.

 

I think multiple reasons. Tintin has too many themes. Like a dozen even. And most of them are rather short or motif like, difficult to perform any of them at length. None of the themes is a barn busting theme though could get a show-stopping multiple minute arrangement.

 

It is actually a very functional score, that is why I think its a masterpiece. It has some moments of grandstanding but mostly it is Williams servicing what is on the screen.

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So... this premiered a couple hours ago, I believe. I'll look online to see if I can find any early reactions to the film or score.

 

UPDATE:

 

Review of the film!

 

https://www.thewrap.com/the-bfg-cannes-review-steven-spielberg-roald-dahl-have-a-great-character-not-a-great-movie/

 

Information about the dedication to Melissa Mathison included in the film:

 

http://www.usatoday.com/story/life/movies/2016/05/14/pielbergs-bfg-dedicated-to-screenwriter-melissa-mathison/84367484/

 

Another film review!

 

http://variety.com/2016/film/reviews/the-bfg-review-steven-spielberg-1201774476/

 

Unfortunately, this is literally the only thing I could find about the score:

 

UPDATE #2:

 

Another review: http://www.indiewire.com/article/the-bfg-review-cannes-2016-steven-spielberg-mark-rylance?utm_source=Facebook&utm_medium=Social&utm_campaign=IW_post

 

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Here's another review with a very nice comment about the score:

 

http://www.screendaily.com/reviews/the-bfg-cannes-review/5103901.article?blocktitle=REVIEWS&contentID=40296

 

Quote

Benefiting from one of longtime composer John Williams’ most moving scores in recent years, the director seeks to create a magical realm in which the plucky Sophie and the good-hearted, lumbering BFG find in each other a fellow outcast craving a connection.

 

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Another review (doesn't mention the score): 

 

http://www.irishtimes.com/culture/film/the-bfg-review-undeniably-warm-hearted-but-lacks-sparkle-1.2648477

7 minutes ago, Mari said:

Here's another review with a very nice comment about the score:

 

http://www.screendaily.com/reviews/the-bfg-cannes-review/5103901.article?blocktitle=REVIEWS&contentID=40296

 

 

 

Ooooooh! 

 

UPDATE:

 

Huh. https://thefilmstage.com/reviews/cannes-review-the-bfg/

 

Quote

Meanwhile, John Williams’ score sounds like a pale imitation of his best work.

 

I do recall that TFA's score was greeted similarly by many. And that was an absolute masterpiece. 

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Any review that goes out of its way to say "not as good as ET" probably shouldn't be taken too seriously.  If this was a legitimate criticism, it would have to be included in the review of just about every Pixar movie and every other kid movie of the last 30 years. 

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Another review

 

http://www.latimes.com/entertainment/movies/la-et-mn-cannes-film-festival-live-updates-htmlstory.html

 

Quote

Certainly the actors are more of a pleasure to listen to than the miles of melodic whimsy concocted by John Williams, playing relentlessly over scenes that might have benefited from more of the eerie silence of what both book and movie refer to as “the witching hour.”

 

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"A pale imitation of his best work".

The man is 84 years old and his "best work" came arguably 30 years ago. He's become a victim of his own success. It'll still be one of the strongest scores this year.

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I realize Spielberg brings this upon himself by premiering a movie like this at Cannes, but do these critics realize who the intended audience for this movie is?  It is primarily for kids and, to a lesser extent, non-cynical adults. 

 

Edit: this reviewer gets it: http://www.telegraph.co.uk/films/2016/05/14/the-bfg-review-steven-spielberg-and-mark-rylance-create-a-landsc/

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1 hour ago, TheUlyssesian said:

Another review

 

http://www.latimes.com/entertainment/movies/la-et-mn-cannes-film-festival-live-updates-htmlstory.html

Quote

Certainly the actors are more of a pleasure to listen to than the miles of melodic whimsy concocted by John Williams, playing relentlessly over scenes that might have benefited from more of the eerie silence of what both book and movie refer to as “the witching hour.”

 

"Eerie silence" may well be better for a particular scene, but that doesn't mean Williams' music isn't terrific. Of course, there's always a chance that Williams' score actually isn't very good, but I remember lots of people were saying that for TFA and look what we got there... I don't really trust most film critics to give accurate takes on Williams scores these days. 

1 hour ago, alextrombone94 said:

"A pale imitation of his best work".

The man is 84 years old and his "best work" came arguably 30 years ago. He's become a victim of his own success. It'll still be one of the strongest scores this year.

 

I even think much (although not all) of what he's doing nowadays is as good as what he did 30 years ago. Not better, but just as good. 

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Variety updated their review

 

http://variety.com/2016/film/reviews/the-bfg-review-steven-spielberg-1201774476/

 

Quote

At Sophie’s insistence, the BFG takes the girl along on a dream-gathering expedition, hopping through a magical pool to Dream Country, an upside-down world where “phizzwizards” — literally, the stuff that dreams are made of — circle the branches of a giant tree like Apple’s mesmerizing “Flurry” screensaver. Together, girl and giant chase these phosphorescent blurs around like so many elusive butterflies. Aesthetically speaking, it’s a downright hypnotic sequence, giving longtime Spielberg collaborator John Williams the richest moment to heighten via a fully orchestral score that manages to enchant without relying so heavily as usual on a simple recurring musical theme.

 

Sounds like maybe, like TFA, the score is very good but the themes may not be considered very memorable by the general public. 

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