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The Legacy of John Williams - New Blog on JW


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Hello,   Some of you are already aware of this, but I want to spread the news to every JWFan here:   After a few months working on it on and off, I'm now ready to launch this side

https://thelegacyofjohnwilliams.com/2020/05/25/star-wars-roundtable-podcast/   Hope you'll like this one, guys.

New audio interview with Conrad Pope, talking about the music and the legacy of John Williams, the art form of film music and his life and career in the Hollywood film music community. It’s a fun one!

5 hours ago, bollemanneke said:

Same, but that means no July releases I'm guessing...

 

I don't think that would be a factor for future upcoming releases in the near future.  If anything, it will allow more time to be spent discussing just two releases vs 3-4 on the interview.  Quality vs quantity! :)

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9 hours ago, bollemanneke said:

I meant that releasing this interview now might mean we won't be getting any other JW expansions soon.


I don’t think so. The year is not over yet. ;)

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48 minutes ago, crumbs said:

Didn't Intrada have Williams on their list? I think basically every other composer who was on that list is accounted for.

Watch it be Solo deluxe on CD ;) (yes I know its more Powell than Williams, its a joke)

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2 hours ago, TownerFan said:

You guys are now faster than me :)

 

Hope you will enjoy this long-awaited episode!

Yes! Thank you.

By the way, when you were talking about the sound and the mood of the score and the way electronics are used I was wondering why noone mentioned Stepmom. Because that is for me the score where I see the most similarities to Always. 

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2 hours ago, TownerFan said:

You guys are now faster than me :)

 

Hope you will enjoy this long-awaited episode!

Another great episode Maurizio! Very interesting discussion and it's nice to hear Williams fans just exchanging views and opinions on his music as well as offering great insights.

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6 hours ago, Chewy said:

Great conversation indeed!

 

Tim Burden saying at the end "before we move away from Always..." makes me think you guys then talked about a third thing that isn't announced yet. Exciting!

 

Yeah I thought it was curious there wasn't the regular goodbye at the end. Seems like the conversation continued but wasn't included...

 

Great podcast though! Nice to hear Titus getting some love for his amazing artwork.

 

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I loved the discussion on Williams' use of electronics. Although he is considered this big writer of orchestral music, his film scores contain quite a bit of electronic enhancement. Very rarely it becomes the "gimmick" though or the dominating sound in his scores and Williams never went the Goldsmith route of actually taking time to learn to use these "electronic sound sources" as he likes to put it.

 

I remember in one 1999 interview regarding the Phantom Menace score Williams makes mention, how he usually uses the electronics to enhance the actual orchestral sound, augmenting the woodwinds or strings or other sections of the orchestra. In this case he was making a point that the Star Wars scores are 99 % pure orchestra but there are some electronic elements here and there.  If you listen to his music this does apply to a lot of the electronic elements in it. And as he isn't proficient to create these pads, using samples etc. himself, he relies on his close collaborators to achieve what he wants and he trusts them to come up with the required sound. It would be interesting to know, how closely he works with e.g. Randy Kerber, Ralph Grierson and others to create these sounds and does he have a hands on approach where he listens to their creations and either accepts or rejects them or does he really give them entirely free reign to come up what he describes in broad terms. I can't on the top of my head remember if Grierson made mention of this in his interview with you Maurizio.

 

Sometimes of course Williams wants to achieve a colour or the effect he can't get from the orchestral instruments and then the synthesizers come into play but again they do not often blatantly call attention to themselves. A good example is The Lost World where Williams used descriptors like animal sounds which translates into hollow synthetic moans that very well blend into the orchestral writing and enhance e.g. the appearance of the raptors and the demise of Ludlow. They are there but are not necessarily showcased on top of the writing. Some exceptions do exist, with a few examples off the top of my head, the music for heaven in Always, parts of Presumed Innocent and large portions of Heartbeeps (perhaps the most blatant use of synths in any Williams score) and something like the heartbeat assassination motif from Munich.

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Fantastic conversation as usual! Never heard the bit about Images being used in the temp track for Jaws. Makes perfect sense though.

 

 I feel like if the score for Images was attached to some “prestige” or art house thriller drama today (like “Girl with the Dragon Tattoo” or something), it would sound just as contemporary and effective. Im sure it would be lauded and get heeps of awards I bet.

 

It’s a shame studios/filmmakers/powers-at-be today just brand Williams as a “traditional romantic score” composer guy. 

 

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