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Post by erik on Feb 17, 2017 19:46:45 GMT -5
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Post by the Scribe on Feb 19, 2017 2:35:35 GMT -5
I found this interesting:
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Post by erik on Feb 19, 2017 12:47:15 GMT -5
It's interesting to note that Spielberg's interest in getting Williams onto his creative team stemmed from the Americana-influenced scores he composed for a pair of films directed by Mark Rydell: 1969's THE REIVERS (which starred Steve McQueen, and was based on a William Faulkner novel), and 1972's THE COWBOYS (one of John Wayne's best latter-day films). Prior to getting into the Spielberg camp, Williams' best-known original score was for producer Irwin Allen's 1972 disaster opus THE POSEIDON ADVENTURE.
Only on three films did Spielberg and Williams not collaborate: TWILIGHT ZONE: THE MOVIE (the score was by Jerry Goldsmith); THE COLOR PURPLE (which was scored by the film's co-producer Quincy Jones); and BRIDGE OF SPIES (which, because of Williams coming down with a brief illness and exhaustion from having scored STAR WARS: THE FORCE AWAKENS, was done by Thomas Newman, a cousin of Randy Newman). But many of the Oscars and Grammys that Williams has won over his lifetime have been for his Spielberg collaborations.
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Post by the Scribe on Feb 19, 2017 14:29:17 GMT -5
When Williams played a few bars from Jaws in the above interview I realized that was borrowed (in my mind) as the intro to 9 to 5 starring Dolly Parton, Jane Fonda and Lilly Tomlin. It must represent Dabney Coleman's character. A movie without music isn't much of a movie except on a rare occasion.
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Post by erik on Feb 19, 2017 15:02:19 GMT -5
Quote by ronstadtfanaz:
It really depends on how that music is applied. Williams probably understands this better than anyone else. Sure, he's done grand scores for films, including for Spielberg; but those films called for such scores. But that's not necessarily true for every film.
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Post by rick on Feb 19, 2017 19:49:23 GMT -5
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Post by erik on Feb 20, 2017 9:40:59 GMT -5
Quote by Rick:
Yes, this really is a big deal.
It should also be said that Williams' creativity extends to writing some of the best marches since the days of John Phillip Sousa, including the famous one for RAIDERS OF THE LOST ARK. and the jaunty one he wrote for 1941 (that latter film being arguably Spielberg's worst, and I say that with all due sincerity). And then there are the more somber scores he wrote for SCHINDLER"S LIST, SAVING PRIVATE RYAN, and MUNICH.
In short, the collaborative energy between Williams and Spielberg seems boundless (IMHO).
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