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Alan Silvestri replaces John Williams for READY PLAYER ONE


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John Williams himself doesn't take these things for granted. But it's surely a good sign he expects to do as many projects as possible, so I too expect he will do all the Spielberg films in the pipeli

No reason why you should. The Last Jedi has finished recording.   But you do seem to have a tendency of blaming women.

Maybe Williams was keen to relinquish obligations in regards to Ready Player One due to the possibility of having to pay homage to BTTF's music - a theme he's sick to death of being associated with. 

9 minutes ago, king mark said:

I don;t really understand what this movie is about

 

Well we don't really know for sure, hence why I quoted what the book its based on about to start.

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2 minutes ago, crumbs said:

 

So Indy V will mark their 30th collaboration together

 

 

Only if that Jennifer Lawrence movie or that kidnapping movie actually gets made and comes out before Indy V, AND JW decides he wants to do it.  There's no guarantee he'll score any films after RP1 and SW8.

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5 hours ago, Jay said:

 

Only if that Jennifer Lawrence movie or that kidnapping movie actually gets made and comes out before Indy V, AND JW decides he wants to do it.  There's no guarantee he'll score any films after RP1 and SW8.

 

The Kidnapping of Edgardo Mortara is already officially announced and it'll be Spielberg's next film after Ready Player One (he also confirmed to Italian press that he will shoot in Italy sometimes next year, btw). Release date hasn't been set yet, but it's expected to come out in Fall 2017. 

 

The biopic on war photgrapher Lynsey Addario (It's What I'll Do) in which Jennifer Lawrence is attached to star is still in development, but Spielberg hasn't commited to it yet.

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5 hours ago, Jay said:

There's no guarantee he'll score any films after RP1 and SW8.

 

Although I'm an optimist, there is no guarantee he'll score those films either. Of course, no scoring job is a certainty until it's recorded and all, but with Bridge Of Spies still so fresh in my memory -to which Willams was initially officially attached (GSA website, etc.)- I'd say a Williams score is a guarantee when he's actually busy writing the score.

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Tyler's Now You See Me scores are pretty different / better than the same sounding stuff he composes for most of his other projects. Give it a whirl.

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48 minutes ago, publicist said:

Finally an assignment with a bit more promise beyond the grandfatherly glow made of pastoral americana and/or old Indy/SW stand by's. Call my curiosity piqued!

 

The premise of the whole thing sounds very try-hard and dopey though.  But that never stopped, say, Jerry....

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On the some the boards, people keep talking about Williams as if he has never utilized electronics in his scores and thus might be unsuitable.  Personally, I hope he does not use them extensively for this score as I find them annoying, but clearly these people have not heard Heartbeeps, the Fury, or even tracks of ESB. 

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1 hour ago, TheWhiteRider said:

I know nothing about the aesthetic of the book or what Spielberg might go for, but it's believable that ultimately a composer other than Williams would be more appropriate for it if it's truly something that cries out for a strong electronic presence.

Who knows, maybe Williams will write his first all-electronic score.

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8 hours ago, TheWhiteRider said:

I know nothing about the aesthetic of the book or what Spielberg might go for, but it's believable that ultimately a composer other than Williams would be more appropriate for it if it's truly something that cries out for a strong electronic presence.

 

Hmm, I think not necessarily. If anything I'd say electronica would be comfortably predictable in this instance rather than something like say, an off-beat fully orchestral sound. Is it too late for Spielberg and Williams to try out avant-garde again? :john:

 

(I love electro orchestral scoring btw) 

 

13 hours ago, Jay said:

Tyler's Now You See Me scores are pretty different / better than the same sounding stuff he composes for most of his other projects. Give it a whirl.

 

I heard a medley of his stuff at few weeks ago and it was dire. But I did quite like his Black Flag score, that was nice. 

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On 6/10/2016 at 10:26 PM, Muad'Dib said:

Apparently the novel has lots of references to popular 80's pop songs, so maybe Johnny will have to share some space with that.

 

Oh great... 

 

---------

 

This project sounds like it will make for some really unique stuff! 

On 6/11/2016 at 8:26 PM, Not Mr. Big said:

Who knows, maybe Williams will write his first all-electronic score.

 

On 6/11/2016 at 8:34 PM, TheWhiteRider said:

That would be very interesting!  With someone like Randy Kerber filling the usual Pope role as advisor and orchestrator, or in this case synthesist. Yeah, that'd be cool actually.  

 

Yeah, it would be cool to see Williams give himself a late-career challenge to go out of his "comfort zone." I'm not generally a fan of all-electronic music but I think John Williams could take any style and make something terrific out of it! 

 

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On 6/10/2016 at 0:45 AM, TheWhiteRider said:

I know nothing about the aesthetic of the book or what Spielberg might go for, but it's believable that ultimately a composer other than Williams would be more appropriate for it if it's truly something that cries out for a strong electronic presence.

 

This.

 

There are several films in Spielberg's canon that I think JW was the wrong composer for (to avoid derailing the thread, I won't name them), and as soon as I heard he SS was making this film, I was a bit mystified at how JW would tackle it.

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Spielberg loves having orchestral scores in his films, so I don't think he and JW will ever go all-electronic. It's likely there's gonna be a slightly larger electronic/synth presence than usual maybe (like in A.I. or Minority Report), but it's fairly safe to assume it's gonna be orchestral for the most part.

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I'm hoping for a score in the style of A.I., MINORITY REPORT or even WAR OF THE WORLDS here. Dark, pulsating, perhaps with some electronic ambiance. I actually prefer Williams' approach to synths over, say, Goldsmith's, because Williams at least knows his limitations. He usually uses it very discretely, as slight colorization.

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The book is a cross between dystopian sci-fi elements and 1980s-type adventure films (think of Wargames or The Last Starfighter and the likes), so it'll be interesting which angle Spielberg will let prevail. I guess the film will probably nod the stylings of those adventure films we all know well, so Williams' approach could also follow accordingly.

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