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Posted: |
Jul 8, 2017 - 5:58 AM
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By: |
davefg
(Member)
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Good that Spielberg moves around on his secondary choices until he finds another perfect fit.
Spielberg has worked with many composers, just not as director. But he is a very hands-on producer, and has worked many times with Goldsmith, Broughton, Horner, and (yes) Silvestri.
I don't think he's necessarily looking to find his next John Williams. His relationship with Williams is that of trusted colleague and friend, and if Williams could score as many movies at 85 as he could at 65, I'm sure he'd still be using him for every directorial project. But it feels like, without Williams, Spielberg is choosing individual composers for specific projects. Since "Ready Player One" is evidently steeped in '80s culture, Silvestri (who scored Spielberg-the-producer's biggest hits in that decade) is a logical choice.
Spielberg, the film music fan, can bring out the best in composers, and it will be interesting to see if that happens this time.
Was he a hands on producer with Transformers, Men in Black and Jurassic World? I'd be curious with what he thinks of Jablonsky, Elfman and Giacchino. According to the Variety article it was a scheduling conflict, if that is the real reason, that Williams cannot score this film, so I'm a bit surprised that Spielberg knowing that Williams isn't as young as he was in 1993 would have two films out in the space of four months.
It is a bittersweet moment that Williams cannot write for the score, however hopefully Silvestri can knock it out of the park. I haven't been a fan his recent thriller action scores of this A-Team/ GI Joe or Allied score. However I really enjoyed his score to the second Laura Craft film. The latter part of the score along with the music from the Mummy Returns were excellent and would fit into Indy Five if Williams was not available. I do hold out hope that if Spielberg is rotating between composers that David Arnold would get a look in rather than Giacchino, who frankly needs a rest. Arnold has been out of the game far too long now and his scores for IDA and Paul showed that he can muster the Williams magic.
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Good that Spielberg moves around on his secondary choices until he finds another perfect fit.
Spielberg has worked with many composers, just not as director. But he is a very hands-on producer, and has worked many times with Goldsmith, Broughton, Horner, and (yes) Silvestri.
I don't think he's necessarily looking to find his next John Williams. His relationship with Williams is that of trusted colleague and friend, and if Williams could score as many movies at 85 as he could at 65, I'm sure he'd still be using him for every directorial project. But it feels like, without Williams, Spielberg is choosing individual composers for specific projects. Since "Ready Player One" is evidently steeped in '80s culture, Silvestri (who scored Spielberg-the-producer's biggest hits in that decade) is a logical choice.
Spielberg, the film music fan, can bring out the best in composers, and it will be interesting to see if that happens this time.
Was he a hands on producer with Transformers, Men in Black and Jurassic World? I'd be curious with what he thinks of Jablonsky, Elfman and Giacchino. According to the Variety article it was a scheduling conflict, if that is the real reason, that Williams cannot score this film, so I'm a bit surprised that Spielberg knowing that Williams isn't as young as he was in 1993 would have two films out in the space of four months.
It is a bittersweet moment that Williams cannot write for the score, however hopefully Silvestri can knock it out of the park. I haven't been a fan his recent thriller action scores of this A-Team/ GI Joe or Allied score. However I really enjoyed his score to the second Laura Craft film. The latter part of the score along with the music from the Mummy Returns were excellent and would fit into Indy Five if Williams was not available. I do hold out hope that if Spielberg is rotating between composers that David Arnold would get a look in rather than Giacchino, who frankly needs a rest. Arnold has been out of the game far too long now and his scores for IDA and Paul showed that he can muster the Williams magic.
surprised Spielberg did not choose Thomas Newman (really liked Bridge of Spies) but I love Silvestri's music (Back to the Future). Anyway I am happy that John Williams is doing "The Papers" as I loved his score to Lincoln.
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Posted: |
Jul 8, 2017 - 7:50 AM
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By: |
jkannry
(Member)
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Good that Spielberg moves around on his secondary choices until he finds another perfect fit.
Spielberg has worked with many composers, just not as director. But he is a very hands-on producer, and has worked many times with Goldsmith, Broughton, Horner, and (yes) Silvestri.
I don't think he's necessarily looking to find his next John Williams. His relationship with Williams is that of trusted colleague and friend, and if Williams could score as many movies at 85 as he could at 65, I'm sure he'd still be using him for every directorial project. But it feels like, without Williams, Spielberg is choosing individual composers for specific projects. Since "Ready Player One" is evidently steeped in '80s culture, Silvestri (who scored Spielberg-the-producer's biggest hits in that decade) is a logical choice.
Spielberg, the film music fan, can bring out the best in composers, and it will be interesting to see if that happens this time.
Was he a hands on producer with Transformers, Men in Black and Jurassic World? I'd be curious with what he thinks of Jablonsky, Elfman and Giacchino. According to the Variety article it was a scheduling conflict, if that is the real reason, that Williams cannot score this film, so I'm a bit surprised that Spielberg knowing that Williams isn't as young as he was in 1993 would have two films out in the space of four months.
It is a bittersweet moment that Williams cannot write for the score, however hopefully Silvestri can knock it out of the park. I haven't been a fan his recent thriller action scores of this A-Team/ GI Joe or Allied score. However I really enjoyed his score to the second Laura Craft film. The latter part of the score along with the music from the Mummy Returns were excellent and would fit into Indy Five if Williams was not available. I do hold out hope that if Spielberg is rotating between composers that David Arnold would get a look in rather than Giacchino, who frankly needs a rest. Arnold has been out of the game far too long now and his scores for IDA and Paul showed that he can muster the Williams magic.
David Arnold scores for IDA and Paul. Could you be more specific. Cant find such scores.
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Good that Spielberg moves around on his secondary choices until he finds another perfect fit.
Spielberg has worked with many composers, just not as director. But he is a very hands-on producer, and has worked many times with Goldsmith, Broughton, Horner, and (yes) Silvestri.
I don't think he's necessarily looking to find his next John Williams. His relationship with Williams is that of trusted colleague and friend, and if Williams could score as many movies at 85 as he could at 65, I'm sure he'd still be using him for every directorial project. But it feels like, without Williams, Spielberg is choosing individual composers for specific projects. Since "Ready Player One" is evidently steeped in '80s culture, Silvestri (who scored Spielberg-the-producer's biggest hits in that decade) is a logical choice.
Spielberg, the film music fan, can bring out the best in composers, and it will be interesting to see if that happens this time.
This is true...Jerry Goldsmith said it in an interview..that Spielberg was there note for note when scoring Poltergeist and Twilight Zone. That he knows what he is looking for.
And It is not like Spielberg does not know who these composers are. Spielberg is truly a master of movie music and getting the composers, Williams and Goldsmith and Newman, and Silvestri...to that right magical moment.
The Papers is Oscar Bait...written all over it. BET!
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What is in that magical Silvestri wine???
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Apparently my phone thought Silvestri was my attempt to write Silverstein. Thanks, autocorrect.
Yavar
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In the book of Ready Player One...was there not a lot attention paid to Spielberg's Films of the 80's? I believe that Spielberg took that aspect out of the screenplay.
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Posted: |
Jul 8, 2017 - 9:15 AM
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By: |
Thor
(Member)
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First of all, I'm sorry to hear that Williams won't do RPO. I had hoped for something pulsating in the style of MINORITY REPORT, perhaps (or at least PRESUMED INNOCENT, which isnt' too bad). I'm glad that he's doing THE PAPERS (any new Williams is appreciated), but I'm not excited about the project at all, and I can kinda already hear the score in my mind. Not the biggest canvas, nor the greatest opportunity for a fine textural score. I was far more excited for Williams' RPO than Williams' THE PAPERS.
All that being said, I'm curious about what Silvestri can deliver. I've not read the book, but something tells me "retro electronics" here. Silvestri was great with electronics in the 80s, and he proved that he still has that touch with certain tracks in the COSMOS soundtrack. So if he can delve into some of that, I'd be a happy camper.
Time will tell!
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2) It wasn't so long ago that people around these parts were somehow convinced that Spielberg's eventual replacement for Williams would be Hans Zimmer. Remember that?
I see your thought and raise you another: Maybe Zimmer was his choice, but Zimmer either was too busy or turned it down? Seems you're also pulling at nothing straws. ;-)
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And it is difficult to know which composer might be the better fit for the film. Before The Fellowship of the Ring was released I don't think anyone would have thought of Howard Shore as being a smart choice.
The Fly and Looking for Richard and a few others made some of us think it was an ingenious choice at the time.
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I just generally prefer Silvestri in more intimate mode.
Yavar
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