[Fmpro] Big JohnW

[bipcress@comcast.net]

All right, if we're all refusing to get off of "good John", I love what he 
did for Altman's THE LONG GOODBYE. The 70s was the absolute peak of American 
cinema, and THE LONG GOODBYE is almost a quintessential example of the 
amazing things going on everywhere you turned (I was at the movies at least 
twice a week throughout the decade). The score, of course, is blatantly, 
ridiculously, gloriously mono-thematic - William's theme song is heard as 
source music coming out everything just short of Elliot Gould's nose (there 
is one scene where there could be a solo sax version coming out of his 
nose). I used to die for a soundtrack LP, or even a 45. I still can't 
believe the damn thing finally came out on CD. Just glorious. - JohnB

----- Original Message ----- 
From: "David Kane" <dave at ilad.net>
To: <fmpro at nxport.com>
Sent: Wednesday, June 04, 2008 1:04 AM
Subject: Re: [Fmpro] Where are the Distinctive Voices In Scoring?


> Ever hear Williams'  Flute and Violin Concertos? Seriously forward
> looking stuff and of course, brilliantly orchestrated.
>
> -Dave
>
> On Jun 3, 2008, at 11:22 PM, fmpro-request at nxport.com wrote:
>
>> Message: 2
>> Date: Tue, 03 Jun 2008 11:57:32 -0400
>> From: Alcheh Daniel <daniel at danielalcheh.com>
>> Subject: Re: [Fmpro] Where are the Distinctive Voices In Scoring?
>> To: fmpro at nxport.com
>> Message-ID: <67CF5CB8-771F-40C4-B47B-ADB233D22E1E at danielalcheh.com>
>> Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
>>
>> I cannot believe someone can put Giachcino and Williams in the same
>> category.
>> It is just ridiculous. Williams is a composer.
>
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