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John Williams has never worked with Martin Scorsese or Francis Ford Coppola.


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It's true ! On Wikipedia, it shows all of John's movies that he worked on, and not one of them invovles Martin Scorsese and Francis Ford Coppola.

 

It's a shame. I can think of many Scorsese movies that would have worked with John's Musical style. 

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If Williams had never worked with Oliver Stone, I’m sure the same people stating a collaboration with Scorsese would not work, would say the same about Williams working with Stone. 

What a wasted career.

I, for one, would have loved to hear what a Williams-Scorsese collaboration would have sounded like. I'm sure Marty would've pushed Johnny out of his comfort zone, with great results.

Williams on Hugo it's a no for me. Unless the movie would have come one year earlier or two years after. 2011 is one of Williams best year with War Horse and Tintin I wouldn't have bear for any of those to loose of their perfection to benefit Hugo score which is already by the way great.

6 hours ago, TheUlyssesian said:

Their loss.

Agree.

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Williams and Scorsese is not really a good match, even for the few films where Scorsese has used a considerable amount of original score. Maybe early 70s Williams, but not after that. Coppola has had a few more films with appropriate canvases for Williams (something like the much-despised JACK, for example), but not a lot. Of the other movie brats outside Spielberg, Williams obviously already worked with De Palma and Lucas. I don't picture post-1975 Williams being particularly suited for guys like Schrader and Bogdanovich either. So perhaps Milius is the only one where the two sentiments could meet, but I would never be without the fine collaborations with Poledouris etc. 

 

Wow, that was a very rambling post, but you got the idea.

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How come Spielberg never worked with Goldsmith?  CEOTK would have been perfect for him.  The reason is directors get aligned with collaborators they have long standing relationships with rather than project by project.  For Scorsese, that was Elmer Bernstein and Howard Shore.  Yes, there are exceptions like "Silence" which as far as I can remember had no/very minimal score that served a functional purpose (Spielberg's Color Purple) but in general they aren't shopping for collaborators but still with what worked for them.

 

I actually think Spielberg did work briefly with Goldsmith on Twilight Zone segment but that was an anthology movie so doesn't really count...it wasn't a Spielberg film.

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21 minutes ago, karelm said:

I actually think Spielberg did work briefly with Goldsmith on Twilight Zone segment but that was an anthology movie so doesn't really count...it wasn't a Spielberg film.

 

Well, it was a Spielberg SEGMENT, so I count it as a collab. I count POLTERGEIST too, even though I will get Tobe Hooper fans on my neck. And, I suppose, AMAZING STORIES.

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15 hours ago, jojoju2000 said:

Well there was the " Hugo " Movie in 2011 which Scorsese directed, and the topic is up Williams's Alley.

 

Hugo already has a fantastic score. 

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1 hour ago, TownerFan said:

False. Spielberg and Williams started working on CE3K immediately after Jaws.

Spielberg was present on the Taxi Driver recording sessions on the 22nd or 23rd of December 1975

Quote

Spielberg told the composer how greatly he admired his music, to which Herrmann snarled in mock anger, "Yeah? Well, if ya admire my music so much, why do ya always use Johnny Williams for your pictures?"  (Steven C. Smith, A Heart at Fire's Center... 1991)

 

I recall also a mention somewhere that "Spielberg approached Herrmann in late 1975 to ask him to work on "his next film", to which Herrmann agreed".

 

Since Herrmann arrived in California first on Dec 20th 1975 (Steven C. Smith, ibidem) it couldn't have taken place earlier, especially considering the exchange above, which suggests that the two have not met before. Spielberg's next film was CE3K.

 

And then I recall a following mention of the genesis of the CE3K SS-JW collaboration - that Spielberg came to Fox and specifically asked Williams whether he would be be so kind to write a score that Herrmann was supposed to do, and Williams replied that it would be an honour.

 

So... are these false now?

 

 

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It’s well known that Spielberg attended one Taxi Driver scoring session, and that famous conversation he had with ol’ Benny (which is amusing, but I wouldn’t be surprised if it’s one of those “print the legend” anecdotes). I’ll check Smith’s biography if there are any mention of Steven talking about CE3K with Herrmann, but from memory I don’t seem to remember any.
 

Btw, in Mike Matessino’s liner notes for the 40th anniversary release, it’s stated that Spielberg and Williams started discussing CE3K in “late 1975” when Jaws was still in theaters. 
 

Of course it’s entirely possible that Spielberg might have thought of asking Herrmann before offering the film to JW, but it seems extremely unlikely and there are no confirmed records anywhere besides some possibly apocryphal stories.

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Scorsese would have rejected his score and replaced it with Elmer Bernstein😉

8 hours ago, Bespin said:

You know, I never worked with Martin Scorsese or Francis Ford Coppola too. 

 

I got over it!

I visited American Zoetrope offices as a messenger in 1979. I picked up a package of complimentary tickets for the premiere of APOCALYPSE NOW- I took two for myself

😝

True story!

 

( thankfully LeBlanc wasn't around then😅)

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15 hours ago, karelm said:

I actually think Spielberg did work briefly with Goldsmith on Twilight Zone segment but that was an anthology movie so doesn't really count...it wasn't a Spielberg film.

 

During the early to mid-80's, Goldsmith and Spielberg were rather close. There are numerous stories not only of Goldsmith working on movies close to the SS fold, but also Spielberg spending a depressed Oscar night 1983 at JG's home after losing out on E. T. and Goldsmith pointing SS to Secret of NIMH, enabling the SS/Bluth collaboration (and, ironically, having to decline An American Tail due to schedule stress).

 

With the Bluth connection severed, there probably was not much common ground, i heavily doubt Spielberg ever considered to exchange JW for someone else and Goldsmith didn't harbor much interest in Amblin's line-up (he was attached to Goonies for a short while, it seems).

 

 

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6 minutes ago, ymenard said:

 

John has never had a rejected score in his career.

 

Except for that Ann-Margret film that Previn and Williams talked about in their conversation. But no one has been able to verify that piece of information.

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17 hours ago, Muad'Dib said:

Well, I recall Spielberg was suppossed to direct the remake of The Haunting which ended up scored by Goldsmith. I'm pretty sure Spielberg pushed for Jerry for the gig.

 

Spielberg *did* direct some reshoots for that, or so i recall. And made it worse - the whole Lily-Taylor-carried-by-angels rubbish was Spielberg's idea.

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On 3/1/2021 at 3:47 PM, Muad'Dib said:

On a related note, I would have loved for a Tarantino-Williams collaboration.

Imagine Quentin asking Johnny to go full 60's.... ahhh, could be delicious.

 

How much Tarantino adore Williams? Did he ever mention him?

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I remember reading something about his earlier scores, like Eiger Sanction? Seems right up Tarantino's alley, I'm awaiting an appearance of those older Williams works in a future Tarantino picture, like a random cue from Earthquake or something like that.

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On 3/1/2021 at 11:57 AM, Muad'Dib said:

Well, I recall Spielberg was supposed to direct the remake of The Haunting...

You might be mistaking this for an early "haunted house" concept for TLC.

 

 

 

On 3/1/2021 at 11:57 AM, Muad'Dib said:

I'm pretty sure Spielberg pushed for Jerry for the gig.

Bastard.

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I would love for Tarantino to use some Williams in one of his last films. As others have said, I can easily see stuff like THE FURY or EARTHQUAKE or whatever add to a Tarantino shoot-out or coolness scene. But it's not gonna happen.

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