Jurassic Shark 12,030 Posted June 7, 2021 Author Share Posted June 7, 2021 Don't forget you also get JW's original liner notes. Chris ChrusherComix and Yavar Moradi 1 1 Link to comment Share on other sites More sharing options...
Popular Post Incanus 5,713 Posted June 7, 2021 Popular Post Share Posted June 7, 2021 12 minutes ago, Jurassic Shark said: Don't forget you also get JW's original liner notes. Interesting to read what Williams has to say about his music. And no @Jurassic Shark, he won't be saying "I could have done more". This is really such a brilliant score and such a compelling concept, the music playing both sanity and madness and blurring lines between them in the film. As I have said before I would have loved more collaborations between Altman and Williams as both this score and A Long Goodbye are marvellous. Miguel Andrade, Jurassic Shark and Jay 2 1 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,030 Posted June 7, 2021 Author Share Posted June 7, 2021 I'm sure he was thinking in the 70s that the album could have been released more. Smeltington 1 Link to comment Share on other sites More sharing options...
Bespin 8,480 Posted June 7, 2021 Share Posted June 7, 2021 The evolution of the artwork is better each time it seems... Raiders of the SoundtrArk 1 Link to comment Share on other sites More sharing options...
Jay 37,287 Posted June 7, 2021 Share Posted June 7, 2021 This new image of her face on the knives is pretty nifty. I assume it comes from a poster from 1972? aescalle 1 Link to comment Share on other sites More sharing options...
Bespin 8,480 Posted June 7, 2021 Share Posted June 7, 2021 Dr. Rick 1 Link to comment Share on other sites More sharing options...
Jay 37,287 Posted June 7, 2021 Share Posted June 7, 2021 nice! Link to comment Share on other sites More sharing options...
Thor 7,471 Posted June 7, 2021 Share Posted June 7, 2021 1 hour ago, Incanus said: This is really such a brilliant score and such a compelling concept, the music playing both sanity and madness and blurring lines between them in the film. As I have said before I would have loved more collaborations between Altman and Williams as both this score and A Long Goodbye are marvellous. Well, there's also a short film and a handful of TV episodes. But yes -- would have loved more feature film collaborations. 2 hours ago, Jay said: It is interesting to ponder that if they hadn't decided to do that - and instead did not promote the score for award consideration at all - today would be the first day we'd be hearing the OST album he assembled 49 years ago! Well, I'm glad he sent it in, at least. He got a nomination out of it. Link to comment Share on other sites More sharing options...
Jay 37,287 Posted June 7, 2021 Share Posted June 7, 2021 Out of all the feature films Altman directed after Images, which one would have led to the most interesting Williams score, do you think? Popeye and Gosford Park would be my answer I think Once 1 Link to comment Share on other sites More sharing options...
Thor 7,471 Posted June 7, 2021 Share Posted June 7, 2021 Hard to say. 3 WOMEN for more avantgarde stuff, THE PLAYER for possible "quirk" and GOSFORD PARK for something lyrical. Once 1 Link to comment Share on other sites More sharing options...
Chewy 2,379 Posted June 7, 2021 Share Posted June 7, 2021 Just re-read part of another Images thread and found this: On 12/15/2019 at 8:29 PM, Corellian2019 said: Out of curiosity I revisited the Blu-ray of Images today, and in the booklet it says that the mono soundtrack was remastered from the D/M/E (dialog/music/effects) reels. While it's obviously preferable to have the original master tapes, I wonder if any of the labels considered reissuing the long-OOP Prometheus album with the missing cues from the music stem of the film, similar to Quartet's release for The Long Goodbye @Jay Any idea if those "film stems" where once used by Mike for a complete presentation that ended up not being approved by Williams? Chris ChrusherComix 1 Link to comment Share on other sites More sharing options...
Kühni 485 Posted June 7, 2021 Share Posted June 7, 2021 . Link to comment Share on other sites More sharing options...
Ollie 1,059 Posted June 7, 2021 Share Posted June 7, 2021 2 hours ago, Incanus said: Interesting to read what Williams has to say about his music. And no @Jurassic Shark, he won't be saying "I could have done more". “After viewing a rough cut, I proceeded to call Robert and tell him he needed a better composer for the job. He replied, I know but they are all dead.” Jurassic Shark 1 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,030 Posted June 7, 2021 Author Share Posted June 7, 2021 Are you implying Goldsmith wasn't a great composer? Link to comment Share on other sites More sharing options...
Luke Skywalker 1,792 Posted June 7, 2021 Share Posted June 7, 2021 Just now, Jurassic Shark said: Are you implying Goldsmith wasn't a great composer? You tell Spielberg, as he was living and kicking in 1993... Link to comment Share on other sites More sharing options...
Jurassic Shark 12,030 Posted June 7, 2021 Author Share Posted June 7, 2021 1 hour ago, Bespin said: Damn, the artist was shaky the day he did the letters for the title! Link to comment Share on other sites More sharing options...
Luke Skywalker 1,792 Posted June 7, 2021 Share Posted June 7, 2021 Ok i'm buying this....but I won't a third time (i hope). Link to comment Share on other sites More sharing options...
Jurassic Shark 12,030 Posted June 7, 2021 Author Share Posted June 7, 2021 Just now, Luke Skywalker said: i hope You wish! Link to comment Share on other sites More sharing options...
Luke Skywalker 1,792 Posted June 7, 2021 Share Posted June 7, 2021 OOOK, I was going to buy it at quartet, i tried several times to sort out my password... and i'm blocked now after sevaral failed attempts. I hope it is temporary. Look out guys, as it doesn't let me access and create a new account... Link to comment Share on other sites More sharing options...
Jurassic Shark 12,030 Posted June 7, 2021 Author Share Posted June 7, 2021 How can you make this post if you're blocked? Link to comment Share on other sites More sharing options...
Jay 37,287 Posted June 7, 2021 Share Posted June 7, 2021 1 hour ago, Chewy said: Just re-read part of another Images thread and found this: @Jay Any idea if those "film stems" where once used by Mike for a complete presentation that ended up not being approved by Williams? No idea Chewy 1 Link to comment Share on other sites More sharing options...
Luke Skywalker 1,792 Posted June 7, 2021 Share Posted June 7, 2021 12 minutes ago, Jurassic Shark said: How can you make this post if you're blocked? I forgot to mention it was in the Quartet site, sorry Jurassic Shark 1 Link to comment Share on other sites More sharing options...
Jay 37,287 Posted June 7, 2021 Share Posted June 7, 2021 I guess I need to finally see this film! Looks like it's free on Kanopy https://www.justwatch.com/us/movie/images Woah! The poster that site uses is neat Link to comment Share on other sites More sharing options...
Dr. Rick 1,155 Posted June 7, 2021 Share Posted June 7, 2021 I like that poster! Would've been a good choice for the cover as well! Link to comment Share on other sites More sharing options...
Marian Schedenig 8,174 Posted June 7, 2021 Share Posted June 7, 2021 Ordered, along with The Silence of the Lambs. Link to comment Share on other sites More sharing options...
Tom Guernsey 2,280 Posted June 7, 2021 Share Posted June 7, 2021 I don't know who to credit but someone had clearly turned that poster in to cover art which graces my iTunes library... If you posted this here (or maybe on FSM custom art thread) do shout. It's splendid! Think I'll probably pick up this new version, even if it's not a JW score I listen to often, it's still an interesting other side to his compositional personality that almost never got an airing elsewhere. Yavar Moradi and Chris ChrusherComix 2 Link to comment Share on other sites More sharing options...
Popular Post Ricard 2,242 Posted June 7, 2021 Popular Post Share Posted June 7, 2021 And while we wait for Williams' original liner notes for the album, here's an excerpt from an interview in which the Maestro discusses his work on the score, published on the 1975 book Knowing the Score, by Irwin Bazelon. (Also available here: https://www.jwfan.com/?p=4583): Quote John Williams on Images – Irwin Bazelon (published on the book Knowing the Score) – 1975 Excerpt from original interview by Irwin Bazelon Transcript by Ricard L. Befan Irwin Bazelon The credits on the screen say music by John Williams and sound by Stomu Yamashta. I don’t know whether he improvised these sounds or whether he composed them, but you get the feeling that there were two composers involved in this score. Who wrote what? John Williams Well, there’s a long and interesting history to this music. It was a Robert Altman film -script by him. Altman had been talking to me about this script for years. It was one of those rare things where he said, “Write a piece of music first, and I’ll film the score.” That didn’t happen. I didn’t have time to write the music, and he went off on another picture, and the whole thing matured a couple of years later. But I’d been thinking about it and thinking about the schizophrenic quality of this film and this character. Here was a girl who one moment was in touch with reality and the next moment went out of touch altogether. And it seemed to me that the music should be done in two parts and it should have a duality for those reasons. So two or three years went by, and I went to see another of Altman’s films in London last February. And when I looked at the film I instantly remembered the sculptures of Baschet. He had his sculptures here at UCLA about six years ago, and he had his associates and his family with him, and they performed on the sculptures. He played things like Viennese waltzes and “Flight of the Bumblebee” -it wasn’t very interesting musically, but the noises these instruments made. Irwin Bazelon Were they metallic? John Williams Well, most of his sculptures (Baschet is a serious sculptor, not a musician) are made to look at, they’re made to see. And the noises they make are kind of adjunct to them. They’re stainless-steel surfaces sculpted like floral petals. Some of them are sixteen feet high; they’re prominent visual works, and he has attachments of sawed-off glass rods that vibrate, and the vibrations go through a wire and activate these planes of steel, making the most unearthly sounds, wonderful noises. Dissolve. Two or three years later at the Museum of Modern Art in New York, I walked in one day and there was the whole ground floor covered with Baschet, and if one put a dime in the little machine, he could pick up a headset and hear these noises created by Baschet. I forgot all about this, but when I saw in Altman’s film exactly this thing, I thought now is my chance to put the music and his sculpture into a musical thing like a score. So I called André Previn and asked him about Baschet -he said, “Oh yes. Yamashta (the Japanese percussionist) plays them.” And I knew Yamashta because he’d done a film for Ken Russell, “The Devils”, and he’s a very great percussionist -American trained. So I rang up Yamashta, who lives in Paris, and he said, “Come over; we’ll talk.” So I went to Paris and asked him if he’d like to perform the percussion in this score. And he said yes, he would. And he showed me his percussions, his Japanese bells, etc., and there’s kind of this zanylike quality in this film anyway, and the whole thing began to take shape. For the other side of it, I knew I wanted to do a kind of pastoral, bucolic -something or other with lutes and strings. Irwin Bazelon There’s also a piano background in the opening. Are you playing that? John Williams That’s right. Yes, I played all the keyboard, and Yamashta played all the percussion. He agreed to play, and we went to Baschet’s studio; Yamashta was tremendously skilled even on conventional instruments, but he gave the most wonderful demonstration on these Baschet things, and I thought, “Aha, that’s terrific.” So I picked out two large instruments and one or two smaller ones to rent from Baschet, and that was the end of it. We shook hands, and Stomu showed up the session, so to speak, as a playing musician, and he brought his gear with him. When I was in Paris, I made little notes for myself about the instruments: what they would do; what we would call them; a little, simple method of graph notation to time out these percussion effects with either the conventional music of the film action it was to correspond with. Where the credit business comes in -I was so pleased to have Stomu; he’s such a well known percussionist. I wanted to give him credit, to say, “Percussion played by Stomu Yamashta,” and he said, “I’m trying to get away from the percussion; I want to expand my activities; I’d rather it be ‘Sounds produced by…’ ” So I think, perhaps, it was a kind of contractual agreement with him. He wanted that screen credit, and I wanted to give it to him -in the same way as if you wrote a violin concerto for somebody in a film, you would say, “Violin by so-and-so.” I felt in this case, in a sense, that I was writing a percussion concerto with strings. So as Stomu’s request, the idea of “sounds” was put on the film, and when you’re doing things people don’t usually think all that much about, who’s going to take notice? It just seemed natural; that’s what he wanted; we agreed. Stomu functioned as a percussionist; if it would be a concerto for percussion, this is how it would be described and perhaps should have been. Irwin Bazelon But there were other percussion instruments. I heard chimes, wind chimes, bells, also blowing air through the flute. John Williams That’s right. It wasn’t all on the Baschets. We had the Inca flute and Kabuki percussion instruments. Then there were the Baschets -principally the four larger pieces of sculpture and a few smaller pieces- plus all the conventional gear, which included timpani, hand drums, blocks, bells, marimbas -all these things, as well as a few tricks of his own- little shaking things, little sticklike Kabuki noises. Irwin Bazelon But he did not improvise anything to the visuals? John Williams There are a few sections that are improvised within the context of a prepared timing -almost if one would do an aleatory bit of music. I might hit a chord with the orchestra and the score might indicate dashes for ten seconds on such and such an instrument -crescendo into double forte- that sort of thing. Irwin Bazelon I never thought it was improvised. I always thought it was very well organized. John Williams Now, the way it was accomplished is of interest. I wanted to use all textures and strings and nothing else -the only thing added would be Stomu’s voice. He does it in his concerts of some of Henze’s pieces. So it was the Japanese style of the percussion, the resonance of the instruments, and his chest -he might even say “ouch” in Japanese. What I have on the score is just an aural noise, so his voice is a contribution. So there is, in fact, an immense creative contribution, because his performance is outstanding, I think, and deserving of every credit he has. I don’t want to detract from Stomu’s participation, but I felt very strongly that we have the discipline of the written symbol, timed to the film in its dramatic application, and that, I think, is what gives it its unique sense, rather than haphazardness, of taut discipline. So I reckoned percussion, keyboards -which I wanted to play all myself- and string orchestra. We began by recording -I wrote the score in the normal way- the string orchestra here, the keyboards here, and the percussion here. And the keyboards -I might play a particular section piano or piano twice, banging here, improvising something here, or playing something written here. The keyboard might be on three lines, which would require -since I was going to play it all- three overdubs on the piano; the percussion is almost always four or five lines. You would hear Japanese woodblocks, you would hear Baschet-sculpture percussion, you might hear timpani, etc., in one sequence. My idea was to make the most personal, idiosyncratic thing, have one man play everything, rather than have four percussionists, which I could have done -let Stomu play everything. So the first thing I did was recording the string orchestra for a whole day -all the traditional music, all of this material, and to time it exactly when the legitimate orchestra stopped and Stomu and I started with either our written notes or whatever we were going to do. And then we would select one, i.e., the woodblocks and the piano first. It was done on sixteen-track tapes, so we put the string orchestra left, center, and right; that left me thirteen tracks of tape to play around with. And we proceeded in that way. Stomu would take line one and play that, then line two, putting on the earphones to hear what he just recording on line one. Then on line three he heard lines one and two back. And I drew on the score -where, if you play pa pa, I play ta tee; I’m taking my notes from your cue. In this case he would just follow the arrows, which are indicated on the percussion production notes. And he followed himself with his own timings and made a wonderful effect. Irwin Bazelon Also, the instruments have tremendous presence, as though they’re amplified and reverbed and echoed all over the place. John Williams Yes, some of these Baschet instruments -I wish you could see them- instantly make wonderful noises. A lot of these noises Stomu pointed out of me; if you out your ear on the right place of the plane, the buildup would be most beautiful or the sonority would be the most attractive. © 1975 by Irwin Bazelon Datameister, Holko, crlbrg and 9 others 8 4 Link to comment Share on other sites More sharing options...
rough cut 1,714 Posted June 7, 2021 Share Posted June 7, 2021 Where is Quartet Records shipping from? Link to comment Share on other sites More sharing options...
Jurassic Shark 12,030 Posted June 7, 2021 Author Share Posted June 7, 2021 5 hours ago, Incanus said: A Long Goodbye are marvellous. Is it though, is it? Link to comment Share on other sites More sharing options...
Jay 37,287 Posted June 7, 2021 Share Posted June 7, 2021 7 minutes ago, rough cut said: Where is Quartet Records shipping from? They are based in Spain https://quartetrecords.com/shipping-costs/ rough cut 1 Link to comment Share on other sites More sharing options...
Edmilson 7,393 Posted June 7, 2021 Share Posted June 7, 2021 2 hours ago, Jay said: This poster looks like it was made for a movie made in the 90s, not the 70s. Link to comment Share on other sites More sharing options...
Jay 37,287 Posted June 7, 2021 Share Posted June 7, 2021 I like the knife poster they went with for this release, more than that poster. I don't know why Prometheus made up their own weird cover for their 2007 edition. They should have used that poster! Yavar Moradi 1 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,030 Posted June 7, 2021 Author Share Posted June 7, 2021 5 minutes ago, rough cut said: Where is Quartet Records shipping from? Quartet Records is a record company based in Madrid, Spain which specializes in limited edition film and television scores. http://store.intrada.com/s.nl/sc.16/category.23550/.f rough cut 1 Link to comment Share on other sites More sharing options...
rough cut 1,714 Posted June 7, 2021 Share Posted June 7, 2021 Ordered, naturally. Link to comment Share on other sites More sharing options...
Dr. Rick 1,155 Posted June 7, 2021 Share Posted June 7, 2021 Just pre-ordered mine from Intrada! Chris ChrusherComix 1 Link to comment Share on other sites More sharing options...
JohnnyD 1,220 Posted June 7, 2021 Share Posted June 7, 2021 Sweet! Ordered! Link to comment Share on other sites More sharing options...
Popular Post Chris ChrusherComix 46 Posted June 7, 2021 Popular Post Share Posted June 7, 2021 A few days ago, I was pondering abut the lack of John Williams releases of late... then this and expanded Always drop back to back, nice! One of my favorite creepy Williams scores. Wished it was expanded (if I recall, the film had some different material? Been years since I watched it, tho...), but I imagine that the new source materials being higher quality than the LP transfers anyway, so I'll gladly take it. That and I always support any and of the limited/remastered/expanded JW releases to support the work in order that they keep coming. -Chris PS - Wow, I was gonna' buy it on Quartet's website, but yikes the shipping was sky high for me, so Intrada gets my business. Much more reasonable. Yavar Moradi, Dr. Rick and That_Bloke 2 1 Link to comment Share on other sites More sharing options...
Popular Post GlastoEls 556 Posted June 7, 2021 Popular Post Share Posted June 7, 2021 3 minutes ago, Chris ChrusherComix said: A few days ago, I was pondering abut the lack of John Williams releases of late... then this and expanded Always drop back to back, nice! Exactly this! Now Hook for the hat trick! (one dreams!) Chris ChrusherComix, crlbrg and Dr. Rick 3 Link to comment Share on other sites More sharing options...
Quppa 117 Posted June 8, 2021 Share Posted June 8, 2021 It really pains me to pay more for shipping (€18.40) than the product itself (€16.95) when my goal is to support these specialty labels. I wonder if a digital release could happen. Link to comment Share on other sites More sharing options...
Dr. Rick 1,155 Posted June 8, 2021 Share Posted June 8, 2021 You can still support them by purchasing it through Intrada (like I did) or SAE. $24.49 shipped is easier to stomach than what Quartet wanted to charge to order from them. Quppa and Chris ChrusherComix 2 Link to comment Share on other sites More sharing options...
Quppa 117 Posted June 8, 2021 Share Posted June 8, 2021 Thanks for the tip - even for shipping to Australia, Intrada ends up being about $7 cheaper. (Update: in fact, Screen Archives is cheaper again.) Yavar Moradi, Dr. Rick and crumbs 2 1 Link to comment Share on other sites More sharing options...
Faleel 5,340 Posted June 8, 2021 Share Posted June 8, 2021 Ordered from SAE! Link to comment Share on other sites More sharing options...
bruce marshall 1,315 Posted June 8, 2021 Share Posted June 8, 2021 17 hours ago, Jurassic Shark said: I reckon Jay now regrets not selling his copy of the old release! I think he regrets YOU, of all people, beating him to the announcement!😅 Link to comment Share on other sites More sharing options...
GerateWohl 4,339 Posted June 8, 2021 Share Posted June 8, 2021 That release is really a nice surprise for me. Especially since I neither have the score of "Always" nor the "Images" score. Of Images I simply was not aware and Always... I listened through it once in a record store and it didn't give me much. And I did not like the version of "Smoke Gets in Your Eyes" on the OST. And also the suite did not excite me so far. But meanwhile I am happy any time when there is new Williams music for me to get into. The times when he wrote four scores per year and you pick the two or three most interesting ones are over. So, now I am happy to dig into the stuff that I missed in the past. Jurassic Shark and Smeltington 2 Link to comment Share on other sites More sharing options...
bruce marshall 1,315 Posted June 8, 2021 Share Posted June 8, 2021 I should probably check the samples. Maybe this time I'll like it better😊 Link to comment Share on other sites More sharing options...
Popular Post TownerFan 4,983 Posted June 8, 2021 Popular Post Share Posted June 8, 2021 11 hours ago, Ricard said: And while we wait for Williams' original liner notes for the album, here's an excerpt from an interview in which the Maestro discusses his work on the score, published on the 1975 book Knowing the Score, by Irwin Bazelon. (Also available here: https://www.jwfan.com/?p=4583) I remember reading this many years ago and it was great to read it again. It was a strange yet creative period for American cinema, with studios producing adult dramas made by "auteur" directors like Altman, Arthur Penn, Mike Nichols etc. and leaving them alone to do whatever they wanted. I think this also reflected on composers, who were probably left quite free to experiment and write music without too much control and dictation from producers. It was an interesting period for Williams too, as he was finally leaving the comedy typecasting behind and started to explore a more modern side of his musical persona, akin to the one that showed up in his early concert works like the Flute Concerto and the Essay for Strings. It's fun to speculate what his career might have been if he continued in this direction in his film works too. Jurassic Shark, Jay, Incanus and 7 others 10 Link to comment Share on other sites More sharing options...
Holko 9,499 Posted June 8, 2021 Share Posted June 8, 2021 The samples are pretty interesting, ranging from general Williamsyness to a Morriconey track to dementors. I'm intrigued enough to buy this practically blind! That interview is great. Yavar Moradi 1 Link to comment Share on other sites More sharing options...
Popular Post Jurassic Shark 12,030 Posted June 8, 2021 Author Popular Post Share Posted June 8, 2021 I found it funny that when JW asked the percussion guy if he would play on the soundtrack, he replied come over and we'll talk, as if they weren't located on different continents. Yavar Moradi, Jay and crlbrg 1 2 Link to comment Share on other sites More sharing options...
Incanus 5,713 Posted June 8, 2021 Share Posted June 8, 2021 Yay my copy already shipped! Chewy 1 Link to comment Share on other sites More sharing options...
King Mark 3,625 Posted June 8, 2021 Share Posted June 8, 2021 So this isn't just a recording of a LP playing with cracks and pops like the old c.d.? Music wise I find this score unlistenable except for 2 tracks , I might order it with Always at SAE Link to comment Share on other sites More sharing options...
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