So What Are you Reading?: Generations
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A Tale of Two Cities has a great opening and a great conclusion and an interminably long middle, even by Dickens standards.
I really enjoyed the BBC Radio adaptation narrated by Robert Lindsay, which (quite smartly) makes the first "book" two episodes, the last book two episodes, and the middle book (which is the longest) just one episode! Without all the fat, it works quite well.
In other words, "It was the best of times, it was the worst of times"?
Nearing the end of Chapter 14 of John Williams: A Composer's Life. Just finished the section covering Minority Report, and about to begin the one covering Catch Me If You Can. Neither movie ever appealed to me in the slightest. I looked up the former on Wikipedia, and after reading through the plot, I stand by my decision not to see it. As to the latter, I still remember the 60 Minutes segment on Abagnale, which is more than I ever wanted to know about him; I never had the slightest desire to see a movie about him.
@Christopher: what's the new avatar? A new original opus?
(speaking of avatars, one of these days, I'm going to change my own to a picture of me with a Linotype.)
@Christopher: what's the new avatar? A new original opus?
(speaking of avatars, one of these days, I'm going to change my own to a picture of me with a Linotype.)
I finished up Q-Space this morning, and I loved it. @Greg Cox did an absolutely fantastic job writing Q, and this was a great start to the trilogy. I was a little iffy about Faal and the whole set up with his experiment at first, it just didn't really seem like the most exciting set up for a big trilogy, but as the book went on and more and more complications popped it, it became clear there is more going on than there appears to be, it got a lot more interesting. And of course throwing Q, and (Mrs.) Q, and q into the mix always makes things fun. The one part I was most curious about, the exploration of Q's history did not disappoint, and I'm very curious to see what happens next after where we left off with all of that.
I did decide to take another short break before I moved on to book 2, Q-Zone, and started reading the digital collection of Jim Henon's The Storyteller: Witches. The first issue is the story The Magic Swan Goose & The Lord of The Forest written & illustrated by S.M. Vidaurri.
I did decide to take another short break before I moved on to book 2, Q-Zone, and started reading the digital collection of Jim Henon's The Storyteller: Witches. The first issue is the story The Magic Swan Goose & The Lord of The Forest written & illustrated by S.M. Vidaurri.
Hmm.
Only saw the show once, myself. And only on an HBO broadcast, rather than live. But that exchange, from "A Little Priest" stuck in my mind.
Meanwhile, back at the ranch, I'm nearing the end of John Williams: A Composer's Life. I just got past the part about Memoirs of a Geisha (interesting, how he selectively doubled a koto with a harp on that score), and only 85 pages to go. I've always thought it a shame that Williams was never tapped for a Star Trek score.
I will also note that Greiving was absolutely merciless about any movie that he personally thought was unworthy of being scored by Williams.
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I don't know, Williams style is so associated with Star Wars, that it would have been too weird to me to hear it with Star Trek too.
I finished up The Storyteller: Witches yesterday, and I was pretty happy with it overall, but I did have one issue with in. One of my favorite parts of the show was the stuff with The Storyteller and his dog, and they'd blend the Storyteller's world and stories together, like when they'd zoom into a painting and it would turn into the story, or another where tiny versions of the characters were running across the Storyteller's table as he was telling the story. But they didn't do any of the kind of stuff in the comic, and the first two issues only had a small silhouette of the Storteller sitting in his chair.
Once I finished that, I started The Amazing Spider-Man: Matters of Life & written by Dan Slott, and with art by too many people to list here.
I finished up The Storyteller: Witches yesterday, and I was pretty happy with it overall, but I did have one issue with in. One of my favorite parts of the show was the stuff with The Storyteller and his dog, and they'd blend the Storyteller's world and stories together, like when they'd zoom into a painting and it would turn into the story, or another where tiny versions of the characters were running across the Storyteller's table as he was telling the story. But they didn't do any of the kind of stuff in the comic, and the first two issues only had a small silhouette of the Storteller sitting in his chair.
Once I finished that, I started The Amazing Spider-Man: Matters of Life & written by Dan Slott, and with art by too many people to list here.
Well before Star Wars, "Johnny" Williams was one of the main composers for Lost in Space, which also had episodes scored by multiple Star Trek composers, including Alexander Courage, Fred Steiner, Gerald Fried, and Joseph Mullendore. Williams was also the composer for the early episodes of Gilligan's Island, before Fried took over for the rest of the series. So it would've been entirely possible for Williams to get hired for a TOS score, and it was probably just by chance that he wasn't. (Williams and Courage also collaborated on the score to Superman IV: The Quest for Peace.)
Which is an excellent score, in spite of the movie's reputation- I would say the franchise's best, after the 1978 Williams original.
Which style is that? The SW/Superman style? The CE3K style? The Indiana Jones style? The Schindler's List style? The Catch Me If You Can style? The . . . .
Part of his appeal is that he can write a dozen different scores that don't sound the least bit like each other (certainly less like each other than any two Goldsmith or Horner scores), and yet are all recognizably his work.
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