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Alan Silvestri replaces John Williams for READY PLAYER ONE

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7 hours ago, mrbellamy said:

 

You forgot Memoirs, unless you count that as Spielberg which I don't necessarily.

 

Memoirs absolutely counts.  It's a Dreamworks/Amblin movie produced by Spielberg.  Spielberg had planned to direct it himself for years and only gave it to Marshall when the scheduling just wasn't going to work.

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I wouldn't be surprised if Williams had done some sketches and handed them to Silvestri to use as he pleases.

 

This strikes me as a recent decision, brought about by Spielberg abandoning Mortara (which would've been ready for scoring around about now).

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I have a feeling that even if Williams had done a little work, Silvestri will want a clean slate and Spielberg will oblige. 

 

But that is not to say I'm not praying I'm wrong! :)

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I too thought at least some of RPO was in the bag already but not disappointed that Silvestri will score it.  It would have been nice to see what Goldsmith would have done on at least one Spielberg movie.  Then again, we do have the kick the can episode from TTZ movie which I think is the only time the worked together.  Well maybe Poltergeist too but that gets in to the debate of how involved was Spielberg in that film.

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6 hours ago, Miguel Andrade said:

While I accept this as a inevitability, and I'm not even bothered at the choice Williams did in regard to which project to work on, I'm far from excited with the chosen composer. I can't remember the last time I really enjoyed a Silvestri score.

While Newman's Bridge of Spies was for m e a great surprise, in the best possible sense, the name that I would pick to replace Williams would be Bruce Broughton... such a wonderful composer.

Broughton would have been a cool choice.

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http://variety.com/2016/film/spotlight/john-williams-afi-1201792072-1201792072/

 

It was this article I believe that got us thinking that Williams had already started last year:

 

Quote

He plans to begin work on Spielberg’s next film, “Ready Player One,” in November, and then next year expects to do the next “Star Wars” film. 

 

But I think we all assumed the schedule had changed when he mentioned starting TLJ last fall, and, IIRC, didn't say anything about RPO. 

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36 minutes ago, ocelot said:

With Williams doing the Stars Wars movies, it makes sense that he wants a change of pace for his other composing duties in between. Ready Player One might take too much out of him being in the same genre as SW. I'm happy with the replacement. Silvestri really hasn't been getting enough lately. As for Williams handing sketches to Silvestri? Why? It's not as if Silvestri is a bad composer who cannot come up with his own music and frankly, it would be a slap in the face. If Silvestri asks for them, then fine, but otherwise, give the man the respect to compose his own score. We aren't talking about some Hans Zimmer hack here. This guy has the chops!

 

If Williams wrote something, I want to hear it -- even if it disrespects Silvestri. ;)

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Do we know when exactly the sessions for TLJ began? I seem to remember being pleasantly surprised when reading that they had started because the Variety article from June 2016 seemed to reveal that he would begin work on RPO first... It's a shame that Spielberg had to make The Papers so abruptly as it seems to have made the schedule unworkable for Williams, understandably. Though if The Papers was filmed and scheduled for release one year forward from now then it would probably clash with the episode 9 sessions so I suppose there's just not very much luck with Williams' schedule at the moment! 

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My guess is that, similar to Tintin, the whole cut of RPO changed drastically compared to what Williams (probably) saw last year. So when Spielberg brought in the new cut, they both probably agreed that there wasn't going to be enough time for Williams to re-do what was already written, so they decided to go with someone else for the gig.

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22 minutes ago, Muad'Dib said:

My guess is that, similar to Tintin, the whole cut of RPO changed drastically compared to what Williams (probably) saw last year. So when Spielberg brought in the new cut, they both probably agreed that there wasn't going to be enough time for Williams to re-do what was already written, so they decided to go with someone else for the gig.

 

I hopes that's not the case. Because if it is, it probably means there's a massive amount of music already written by Williams which we'll never hear. Unless, of course, Silvestri just adapted it for the score, which would be awesome, since it would basically be a Williams score! 

 

In any case something tells me Williams never even started work. He never mentioned it in any interviews in the fall, and I don't really see how the cut could change so much that Williams would have to drop out after writing a ton of music. I'd think Spielberg would try to accommodate him. 

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5 minutes ago, Will said:

I don't really see how the cut could change so much that Williams would have to drop out after writing a ton of music. I'd think Spielberg would try to accommodate him. 

 

Tintin, apparently, changed a gigantic deal between what Williams first scored and what the movie ended up being.

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At his age, I'll take any new Williams score we can get, so in that regard I'm disappointed we're not getting this one. On the other hand, Silvestri has potential, though his scores haven't often been exciting enough to fully wow me, and I haven't heard anything from him in years except for Cosmos. A collaboration with a musically versed director like Spielberg might bring out the best in him, so that's promising.

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2 hours ago, BloodBoal said:

 

If it was just a matter of adapting Williams' material, I doubt they would have gotten Silvestri for this. William Ross could have done it!

 

Yeah, definitely, that's what I thought too. So I doubt that will happen, although I will keep hoping for it. 

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8 hours ago, Will said:

 

If Williams wrote something, I want to hear it -- even if it disrespects Silvestri. ;)

Don't we all.... However, on a separate CD :)

8 hours ago, Hedwig said:

Do we know when exactly the sessions for TLJ began? I seem to remember being pleasantly surprised when reading that they had started because the Variety article from June 2016 seemed to reveal that he would begin work on RPO first... It's a shame that Spielberg had to make The Papers so abruptly as it seems to have made the schedule unworkable for Williams, understandably. Though if The Papers was filmed and scheduled for release one year forward from now then it would probably clash with the episode 9 sessions so I suppose there's just not very much luck with Williams' schedule at the moment! 

Yes and if I had to choose, I would prefer he step down from RPO than Star Wars 9! Also, TLJ scoring sessions are completely done. The last one was 2 weeks ago.

You know speaking of Silvestri taking over from Williams on RPO. Why did they not get him for the Star Wars stand alone? Perfect choice!

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What has not been mentioned is the fact of Re Writes for Star Wars....and the concert series, and Spielberg decided to, because of the political climate now..to direct The Papers...now!!   Plus The Papers has Oscar Bait written all over it.  The conflict is truly Star Wars, and The Papers and Concert work including Boston Pops and others and No time to write RPO.  Now cue in Alan Silvestri. lol  But since Spielberg has changed his own schedule with Filming The Papers...This move makes a ton of sense.  

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Sigh, I wish this stupid movie was a summer release, Williams could have scored it with an extra month up his sleeve. But hey, can't begrudge the man for devoting his recent free time to concerts and performances, rather than film scores.

 

But seriously, enough with the conflicting releases, Spielberg!

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It's a bummer but hopefully Silvestri will make us forget about it. Once it's out it'll just be whatever it is and I doubt I'll spend much time lamenting the  "What ifs". Just would have been nice to have Williams doing something contemporary/futuristic again since that seemed like possibly the last chance for it amid all this period stuff. Star Wars is close enough but still more traditional adventure music than not. Hopefully Johnson's movie inspires some new colors though. And RPO kinda seems like it would have been a throwback in a lot of ways too, anyway.

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In the 2000s and 2010s, nothing beats THE MUMMY RETURNS. It was really his last, truly great score. But there have been some other good ones -- CAST AWAY, THE POLAR EXPRESS, A CHRISTMAS CAROL, BEOWULF, THE CROODS, FLIGHT and bits and pieces from other scores. Especially the COSMOS series has a few smokin' great tracks. I would love it if Silvestri would use electronics in READY PLAYER ONE. He mastered the craft in the 80s, and was then surprisingly fluent and up-to-date in the COSMOS series. More, please!

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I don't like Beowulf at all, not even a bit.   I put the Polar Express suite on at Christmastime but I wouldn't call it a favorite Silvestri by any stretch.

 

Yes, Cosmos was great and the Avengers theme was cool even if the overall score was a bit generic.

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