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THE POST - SCORE Thread


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So we're officially getting 2 Williams scores this year (and the Kobe short).  Awesome!

Just read this on the FSM board:     I always spring a smile when I read comments like these, mostly for two reasons:    1) When average critics/audience members uses words

I think it will still come out in December but just hasn't been announced yet.

 

What I am wondering is, will the OST come out on Sony like most JW OSTs have for the past 20 years regardless of the film studio?  BFG and TFA were of course on Disney Records.

 

The Book Thief was a Fox film, with a Sony OST, so will this be a Sony OST too?

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I just looked and apparently the BoS soundtrack (although not Williams) wasn't announced until a little over two weeks before the film's release. If this one follows that schedule we can expect an announcement around the end of this month or beginning of December. 

 

So looks like we don't have to worry ... yet. 

 

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If you can pay to see it in a public movie theater in 2017, its a 2017 film.

 

With any luck, it'll be in Boston that first week, and not just Los Angeles and New York!

IIRC, I was the first JWFanner to see Lincoln, cause it did play in Boston right away, technically Cambridge, in their arthouse theater there.  I went with Marcy, it was fun!

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I think I was the first JWFanner to see Tintin. Unusually, it opened in UK / Ireland quite a bit before the US. I caught an early morning screening before going directly from the cinema to the airport for my trip to New York to see JW at the Lincoln Center. Spent the flight over listening to Tintin's OST. The timing worked out very well. 

 

I remember being able to report that the missing track Picking Pockets wasn't the holy grail people thought it would be. 

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Aw shucks...

 

In some ways this is good, as it will allow me to focus more on TLJ without feeling like I'm missing anything - but it also means that if the film runs where I am in late December (which I hope is the case!) I will have to wait for several agonizing weeks to hear the score again. Then again, maybe I should just wait to see it until January anyway. 

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Good release date.  This way there should at least be a little bit of time for TLJ to settle.  

56 minutes ago, BloodBoal said:

 

It is, actually.

It's a great little source track.  I prefer it to the source tracks that made the album ("The Milanese Nightingdale" and the opera song)

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The music branch choose the nominees, thank fuck. He'll be nominated for one minimum. It depends how strongly they feel about the other candidates as to whether they reward him with two.

 

Heck, if both scores are incredible they might have no choice but to reward him twice.

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Munich was the other one that year. Nah, I don't think anybody has or could reject a nomination for themselves....a few people have turned down Oscars before in which case I believe the trophy just goes to the Academy's archives, but they wouldn't give it to somebody else. The Academy has rescinded nominations themselves a couple times (like Bruce Broughton a couple years ago) but in that case it just went from 5 nominees to 4. 

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It had something to do with him being like the former president of the music branch and so he was able to send his song directly to a bunch of Academy members' e-mails asking them to consider nominating it. Didn't really seem like a big deal but I guess they thought it set a weird precedent. 

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45 minutes ago, Tom said:

As yes, Munich.  I am convinced he would have won for Memoirs if not for that. 

 

I think Williams has resigned to never winning another Oscar (maybe barring Episode IX), so he'd just happily take the double nomination at this point. That's even more celebratory, given the consistent quality of his writing despite his age.

 

I think Memoirs was the closest he's come since Schindler's List, but if he couldn't even win for Lincoln without the double nom...?

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9 hours ago, Not Mr. Big said:

fixed

 

Williams was actually the favorite going into the evening and lost to Santolalla in an upset. For memoirs.

 

There are 3 big televised awards before the Oscars - bfca, globes and baftas and Williams won all 3 for memoirs.

 

9 hours ago, crumbs said:

 

I think Williams has resigned to never winning another Oscar (maybe barring Episode IX), so he'd just happily take the double nomination at this point. That's even more celebratory, given the consistent quality of his writing despite his age.

 

I think Memoirs was the closest he's come since Schindler's List, but if he couldn't even win for Lincoln without the double nom...?

 

Lincoln's score in the film is very muted and sparse. So it never had a chance. Typically scores which pop in the film have a chance to win.

(That's why Williams should have beat Shore with Harry Potter 1).

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HP1 and AI, probably two of the best scores Williams has ever written... and they just had to coincide with Shore's magnum opus. I can't begrudge him for that.

 

Still, what are the bloody odds? Probably the same as Brokeback Mountain being the sympathy vote flavour of the month in 2006.

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5 minutes ago, Richard Penna said:

I love how the discussion is all about which JW score will be nominated, not whether he will be nominated at all.

 

For political reasons, for two scores that no one has heard yet.

Not really that complicated.  If Michael Jordan in his prime plays one on one with a given person, you assume Jordan is likely to win.  

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8 hours ago, Tom said:

As a Cavs fan, I have I heard a lot of insults directed toward Lebron, but none so brutal.   

 

A lot of Hans Zimmer's music is very in your face and loud. It's like a freight train coming at you. This is comparable to Lebron's style of play. He relies heavily on athleticism and strength. His post moves can be graceful at times, but not as graceful as MJ or Kobe's post moves and footwork. Very similar to Zimmer's music. Sometimes he can write very elegant passages for strings, but he's just not on par with JW's string writing. That's how I see it. I'm not trying to insult anyone Lmao. 

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I don't really have much knowledge about the make up of the music branch of the Academy that nominates composers.  Obviously we know that composers who are nominated are usually invited, but otherwise I'm not sure.  Does a more behind-the-scenes person like, say, Conrad Pope get invited into that branch?  It can't be very many people because the Academy isn't very big in the first place and we know that the Actors branch is by far the biggest.

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8 hours ago, Disco Stu said:

I don't really have much knowledge about the make up of the music branch of the Academy that nominates composers.  Obviously we know that composers who are nominated are usually invited, but otherwise I'm not sure.  Does a more behind-the-scenes person like, say, Conrad Pope get invited into that branch?  It can't be very many people because the Academy isn't very big in the first place and we know that the Actors branch is by far the biggest.

 

I last read that there are between 300 to 400 people in the music branch.

 

What worries me is that a lot of these pop artists of late are getting invited for their song work and they might be insufficiently qualified to judge orchestral scores. Just a personal opinion though. I am pretty sure many will disagree.

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First and only mention of the score I can find, after the film's embargoed screening today. Sigh.

 

Quote

The occasionally canny dialogue and obvious directorial decisions (looking at you, Boring John Williams Score) notwithstanding, this is a good, lean picture about process, and the sometimes intersections, sometimes conflicts between loyalty, responsibility, and accountability—both in work, and in life. If not every performance is of equal quality (while he certainly isn’t terrible, Tom Hanks does strike me as trying terribly hard), it is a rare a delight these days to see Meryl Streep contribute to—color—a film, rather have to hold the thing together with her bare hands. Her performance and Bruce Greenwood’s are favorites.

 

https://letterboxd.com/film/the-post-2017/

 

Well, film and score seem as predicted. Can't imagine many people coming out of other politically charged films like JFK or Nixon and thinking the score was "boring." :( Understandable Spielberg wanted to avoid melodramatic scoring but it sounds like unobtrusive wallpaper.

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7 hours ago, TheUlyssesian said:

What worries me is that a lot of these pop artists of late are getting invited for their song work and they might be insufficiently qualified to judge orchestral scores. Just a personal opinion though. I am pretty sure many will disagree.

 

Everyone is qualified to judge how successful/effective a score is (being orchestral is not a quality in itself and also not a necessary tool). 

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