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About karelm

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    Recovering Sith Lord

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  1. In general, composers who grew up before the personal computer (the early 1980s with a milestone being Mac in 1984) use paper and pencil. Of course there are exceptions. Also important is Finale and early DAW which were early 1990's and late 1990's.Those who grew up after have no memory of a non personal computer. It is fair to say that those who grew up after the late 1990's were using digital audio workstations as their primary method of writing music. Those before it were using pencil an paper. This is a gross generality. I think it is important that a budding composer not look too much to the past as a way to emulate how it was done. There was a major change once technology improved on the process. Do what feels right. Don't reject the past nor the future trends.
  2. Remember that he became out of fashion and had a last few scores rejected. His style didn't fit the remote control mold of the day and those that hired him wanted old fashion sensibilities rather than drones+arpeggios.
  3. In some ways, yes. Remember, Star Trek resurgence owes its existence to the success of Star Wars. Paramount looked into their properties and felt Star Trek would work. Rather than making Star Trek phase 2 (the TV show that was in pre-production), they went for a big budget extravaganza that was supposed to be more like 2001: A Space Odyssey mixed with Star Wars adventure. They brought in the special effects team of 2001 and an old and highly respected director rather than the New Wave directors (the young guys making a name for themselves in the late 1960's and 70's...Coppola, Spielberg, Lucas, Altman, Brian De Palma, Terrance Malick, Martin Scorsese, etc.). One thing that Jerry Goldsmith struggled with was coming up with a memorable theme. Robert Wise wanted a Star Wars style old fashion theme. Goldsmith struggled with this creatively and was probably heading down a more experimental approach sounding something like Rosenthal. After several versions were rejected for not being thematically memorable or fit the style enough, Goldsmith started doubting his skills and told the director if you don't like any of my thematic attempts, maybe I am not the right guy for this type of score. Luckily, Bob Wise persisted and the classic score is what resulted. The famous theme was of course reused in several more movies and TNG opening theme. More here: Though not in the video clip, during the 30th anniversary of the film, it was screened at the Arclight with several members of the music crew, David Newmann (who played violin in the sessions), the blaster beam guy with his cute daughter, music editor, a few others and they recalled that the shadow of Star Wars loomed large on the production and thematic elements. Remember, Star Wars was the biggest film ever at the time and had a tremendous impact on pop culture, films, and scoring approaches. The film has an overture like the old style films, an ilia theme which was modeled to be a concert suite like Princess Leia, etc.
  4. It's a great movie and a transitional one for both Spielberg and JW. Also a text book case of sound design.
  5. There is an excellent interview with Simon Franglen where he talks about this and many other interesting things. In short, the compositional style had really deviated from the 1960 style of scoring films and no longer worked in modern scoring and the interview explains why they wanted to use the Bernstein but also struggled with exactly "how" to use it. Edit: here is the video I was mentioning and is well worth watching the entire interview...clearly Franglen is one sharp bloke and a true professional. It is clear he adored Horner. http://collider.com/simon-franglen-magnificent-seven-voyage-of-time-interview/
  6. I like the Black Sunday score. Here is the fugue:
  7. James Horner on NPR today: http://www.npr.org/sections/deceptivecadence/2016/09/22/494922417/james-horners-posthumous-works-tell-a-story-of-his-life
  8. There is no mystery here. JW is an a list composer and uses A list team. They are not amateurs at what the do. They know how to take JW's sketches and translate it to a full score and exactly what he wants. He is very clear in his intentions.
  9. There is no confusion. He is saying no orchestration is needed with JW sketches. That is what we've all been saying. Conrad believes this more than anyone else.
  10. Good article: http://variety.com/2016/artisans/production/magnificent-seven-composer-james-horner-1201867146/
  11. I think this is quite beautiful. Music from Danny Elfman's ballet.