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"Andre Previn kept saying in the sixties he was going to be the next major Hollywood composer."
***
Did he really? (Was he ever caught in print nursing this prognostication?) I'd have thought by then maybe he'd have started setting his sights on loftier goals. Then again, maybe he began having such ambitions when he felt he'd already gone as far in Hollywood as he could. Wonder what people in the Polo Lounge might have thought if he'd ever declared that some day he'd be Knighted...
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"Andre Previn kept saying in the sixties he was going to be ############################################################rsas far as he could n Hollywood. (Then sagain,
Come again, PNJ?
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You're not supposed to read my posts while I'm still trying to figure out how to type on a computer.
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Altman and Williams had a ten year relationship?
IMAGES.... LONG GOODBYE.
What else?
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Altman and Williams had a ten year relationship?
IMAGES.... LONG GOODBYE.
What else?
Nightmare in Chicago/Once Upon a Savage Night (Kraft Suspense Theatre) (1964)
The Katherine Reed Story (1965)
Thanks!
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A few more as well:
Kraft Mystery Theatre -- "The Image Merchants"
Kraft Suspense Theatre -- "Once Upon a Savage Night"/NIGHTMARE IN CHICAGO, "The Hunt" (shadow-directed by Altman) and "The Long, Lost Life of Edward Smalley"'
The NIGHTWATCH pilot
The KATHRYN REED short
IMAGES
THE LONG GOODBYE
All those tv directed by Altman? Availability on disc or YT?
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There’s an interview from awhile ago where JW says to his daughter something to the effect of, “I wasn’t around all that much, was I?” It really is an all consuming endeavor with him.
Audrey Wilder said that being married to Billy Wilder she had to come to accept that she would always come second, after his work in films.
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So it's not like it was some 43-year-old nobody getting his big break on JAWS. He had a very accomplished career already, basically on the level James Horner was in the early 90s (prior to BRAVEHEART and TITANIC). So it's more like it cemented him firmly among the A list composers at the time.
To me, the turning point was The Reivers. That was really when "Johnny Williams" became John Williams, and he followed up that score with arresting efforts like Images, and The Towering Inferno.
He had some solid work to his credit prior to that (like None But The Brave and How To Steal A Million) but I don't feel he "knocked it out of the park" until The Reivers. Bachelor Father, Lost in Space, Fitzwilly and Diamond Head didn't really offer him much of an opportunity to show what he could do.
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What post Thor?
You made no such post.
Maybe you're being deleted out of existence.
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As stubbornly modest as he is brilliant.
Yeah, it's starting to piss me off. AT LEAST MUMBLE YOUR MAGNIFICENCE THROUGH A COSTCO INTERCOM FOR ONCE, THE TOWNER!!!
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So it's not like it was some 43-year-old nobody getting his big break on JAWS. He had a very accomplished career already, basically on the level James Horner was in the early 90s (prior to BRAVEHEART and TITANIC). So it's more like it cemented him firmly among the A list composers at the time.
To me, the turning point was The Reivers. That was really when "Johnny Williams" became John Williams, and he followed up that score with arresting efforts like Images, and The Towering Inferno.
He had some solid work to his credit prior to that (like None But The Brave and How To Steal A Million) but I don't feel he "knocked it out of the park" until The Reivers. Bachelor Father, Lost in Space, Fitzwilly and Diamond Head didn't really offer him much of an opportunity to show what he could do.
I do agree with Paul, but would state that it was The Reivers and Jane Eyre together that marked the transformation. Heidi doesn't really cut it, especially in comparison to those two.
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