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Showing content with the highest reputation since 07/24/19 in all areas

  1. 19 points
    I've had this beautiful gem for a few days and I can say that the album is, as expected, phenomenal. I’ll write more in a large article that I’m going to publish before the premiere. Several pieces, like Hedwig’s Theme, Donnybrook Fair and The Duel are very vibrant and virtuoso. Hedwig’s Theme in the extended version is a revelation. Dracula sounds phenomenal and dark. Luke and Leia is beautiful, just like Across The Stars. Sabrina is quite similar to the version that appeared on Cinema Serenade, Schindler's List doesn't differ much from the original either. I am looking forward to the deluxe version, but even this one is definitely one of the record events of the year. I'm telling you, this ends with at least one Grammy Award Below are some photos.The booklet has 24 pages. Liner notes are in English and German. There is also short essay by Jon Burlingame, but I don't want to spoil everything here What can I say more... Well, it's 'Nice to be around' this CD
  2. 19 points
    Some REAL updates from Don Williams (JW’s brother and his usual timpanist) grabbed during a meeting at theAcademy of Scoring Arts lecture: Looks like the sessions began a couple of weeks ago and will continue through August and September, with a couple of weeks break because of JW’s commitments at Tanglewood. Don talks about 135 minutes of music (gasp!)
  3. 15 points
    Long-time lurker (since 2006!), first-time poster here. Keith Lockhart and the Boston Pops orchestra performed the live score to the original Star Wars on August 16, 2019 at Tanglewood in Lenox, Massachusetts. John Williams was in attendance and made an appearance on stage at the end of the performance. The Pops did a great job with the musical accompaniment. I’m a long-time fan of the score and the movie (as a kid, I saw the film more than 40 times in theaters!), and I was very impressed. Lockhart was visibly tired at the end of the first half and at the film’s conclusion. Here are some videos, shot off one of the large screens facing the lawn crowd. The picture is sometimes off-kilter (I wasn’t looking through my phone as I shot it), but it will give you an idea of how it sounded. It’s also interesting to see where the split up the film for the intermission. (As an interesting note, the Pops did not perform the music in the cantina sequence.) As a Berkshire County resident, I’ve been lucky enough to meet Williams a few times, most recently at Tanglewood. He was there walking the grounds one evening, before a concert with which he was not associated, and I got a picture with him. Clearly he enjoys just being there. He was in good spirits and seems in good health. SW1.MOV SW2.MOV SW3.MOV SW4.MOV SW5.MOV SW6.MOV
  4. 13 points
    Oh my god, people are morons. This person thinks they're Sherlock Holmes figuring out how long the movie is but doesn't even know that there's more music in a film than on the OST *Picard facepalm gif* https://www.slashfilm.com/star-wars-the-rise-of-skywalker-score-length/
  5. 10 points
    They call him “the composter” cuz that’s where the bodies end up.
  6. 10 points
  7. 9 points

    The Art of the Score Podcast Thread

    @crumbs Hey! So sorry for the continued delay. We actually have it recorded already (not surprisingly) but we have found it impossible to get it mixed/completed due to work commitments. Dan and Nick, for instance, have been travelling for work almost constantly since Part 1 of Empire came out. Myself, I've been neck deep in shows for work that I haven't got around to it as well. But! We have some others in the can now: - A live recording of a talk we gave for the Melbourne International Film Festival on the film music of Nick Cave and Warren Ellis - A *different* type of episode where we asked one of the composers we analysed to listen to "their" episode and then they talk us through piles of music that never made it into the score. Less an interview and more a dive into the creative process. - And, after Part 2 of Empire, we have another film lined up. This time an animated feature that has been requested a bunch. Plenty to come before the end of the year! Re: TLJ live to picture - Yes! (and i'm impressed you know the places that they are sourced from) I'm currently trying to find a spot in our season to put it on. This title was announced to the orchestras really late, and my planning is so far ahead, that i'm finding it difficult to get it in. To tie you over however, can I suggest that you head along to our Return of the Jedi live shows in November? Should be a blast! I'm even trying to get a Jabba funk band to play in the foyer as the "cantina" band. Fingers crossed!
  8. 9 points
    Check back the next day and Don is missing from the percussion section. ”Don baby is taking a little vacation at Lake Tahoe.”
  9. 9 points
    "I'm really sorry, Sandy baby, but little Billy can't sing for shit."
  10. 9 points
    And I have a new user title Oh, drat, it doesn't fit OK, modified it to fit
  11. 8 points
    A small update from d23 at the Galaxy's Edge music panel:
  12. 8 points
    Williams wrote a new theme for Luke (to reflect his change in circumstances), two new themes for both new main characters, multiple action motifs for the Resistance, four completely unique source pieces (after sitting them out entirely for TFA), even something as obscure as a motif for one of the new planets. And people are still whining about Williams being 'past his prime'? Get stuffed. People either have absurdly large expectations about what Williams should deliver in the 8th score for a series of films based entirely on the principal of leitmotivic writing, or are completely ignorant about the subject at hand. Short of binning all existing themes and writing new ones for every character, Williams delivered exactly the score that film required -- and did a sensational job in the process.
  13. 8 points
    It was Mike Matessino who replied to you explaining how the process works. I copy/paste here because it's definitely interesting stuff to share:
  14. 8 points
    Disco Stu

    Obi-Wan TV show confirmed

    It's also just the kind of quirky detail that has no bearing on the plot but gives the movie character. The kind of thing that was largely missing from Force Awakens, as breathlessly entertaining and quick-paced as that movie is.
  15. 8 points
    So, being a John Williams fan and software engineer, I wanted to see what would happen if I fed Star Wars track titles from all 8 existing soundtracks into a neural net, and now I have this AI-generated track list for Star Wars: The Rise of Skywalker: Main Title and The Journey Begins Rey, Finn, or Poe R2’s Theme The Jedi Knight of the Resistance A-1’s and Their Friends First Lightsaber The Force is With Us Space Pirate Chewbacca’s Return Tales of Two Worlds Endor (Tarkin’s Theme) Anakin’s Dance Maze of the Sith Starfighter Mission Fury of the Emperor The Final Battle Return from the Nexus A New Dawn and Finale What do you think? Some of these actually sound fairly plausible…
  16. 8 points
  17. 8 points
    If you had told me 10 years ago that by 2020 I’d be living in a world where Donald Trump was President of the United States and John Williams had written another Star Wars trilogy, I’m not sure which would have been harder to believe.
  18. 7 points

    28 days without drinking alcohol

    It's decided, I start today. Seriously. Is someone starting that cure with me?
  19. 7 points
    He probably just wanted to check that he doesn't leave out any themes when he puts all of them in the new score.
  20. 7 points
    The album version of the end credits suite features: 1:05 - 1:50: Luke's Theme fanfare 1:51 - 2:40: Rose's Theme (a new recording specific to the end credits) 2:41 - 2:56: Leia's Theme tribute (on piano) 2:57 - 3:43: Luke's Exile Theme (seems to be an excerpt of TRIR) 3:44 - 4:41 (a highlights montage from The Battle of Crait recorded for the end credits, not tracked music -- with fragments of the Resistance March, Rose's Theme, the Rebel Fanfare, Rey's A Theme, interspersed with athematic fanfares) 4:42 - 5:32: Yoda's Theme (a re-recorded excerpt of the existing concert suite from ESB) 5:31 - 6:25: Holdo's Resolve (the film cue with its original ending; the film version seems to have an insert ending) 6:26 - 6:43: Resistance in Peril motif A, closing with Rey's A Theme 6:43 - 6:53: Resistance in Peril motif B 6:54 - 7:25: Here They Come, Again (end credits version, not tracked music) 7:26 - 8:28: Rey's Theme coda (end credits recording of Rey's melody on flute/strings followed by the 'celeste' motif in minor on chimes) So altogether: from TLJ we have 3 new themes and 2 action motifs, fragments of 2 TFA themes (Resistance & Rey) and 3 OT themes (Yoda, Leia & Luke). Everything in the end credits except the excerpt of Luke's Exile Theme from TRIR and Holdo's Resolve (which is just the film cue) was arranged and recorded for the end credits. It's not exactly a Mischief Managed situation where just the opening is new and the rest is an edit of film cues.
  21. 7 points
    Quickly -- *The statements of Rose's theme come from "Rebellion is Reborn"; *The brief Leia arrangement is new; *The Luke in Exile section comes from "Rebellion is Reborn" (which in turn came from early Ahch To Island cues); *The Battle of Crait stuff comes directly from that cue (parts of which in turn came from the opening Escape cue, or perhaps vice versa -- hard to say) *The Yoda arrangement splices the very beginning and very ending of the original 1980 concert arrangement *The Holdo's resolve stuff comes directly from that cue *The Battle of Crait stuff that follows comes directly from that cue, along with spruced up iteration of TIE Fighter Attack *The Rey's theme Coda is new to the End Credits So, besides little transitions here and there, the only music specifically unique to the TLJ credits are the Leia's Theme snippet for piano and the end statement of Rey's Theme (and possibly the brief iteration of Rose's motif at 2:34) I map out the End Credits for this and the rest of the films in a little more detail in my leitmotif catalogue, if you're curious. Enjoy!: https://drive.google.com/file/d/1xJ0Jj-mLfOPUCtcAm_HDGIkFwvHL5gbX/view?usp=drive_open
  22. 7 points
    After 45 years, I am finally free of this crap and Finale
  23. 7 points
  24. 7 points
    Maybe that's exactly what's going to happen.
  25. 7 points
    No! Each trilogy should be unique! The Original Trilogy has new recordings for each film, the Prequel Trilogy has one recording for all three films, and the Sequel Trilogy has two films sharing the same recording, the second film recording a new version that got dropped, then the third with a new recording to close things out. And yes, Don certainly dropping some ... overt hints there. Here's a transcript with important notes highlighted: Dare I ask... the reference to the Phantom... could he be referring to Duel of the Fates? Yes, the Phantom Menace is technically the Emperor/Palpatine but wouldn't Don refer to it as such if he meant the Emperor's Theme? Hints of DOTF throughout TROS make perfect sense musically, considering the apparent threat of Palpatine's return.
  26. 7 points
    "Mr. Williams, what do you remember about the first time you saw Schindler's List?"
  27. 7 points
  28. 7 points
    According to Amazon Germany, the deluxe edition will have a CD with 17 tracks, plus a DVD with video content: Disc 1 Rey's Theme (From "Star Wars: The Force Awakens") Yoda's Theme (From "Star Wars: The Empire Strikes Back") Hedwig's Theme (From "Harry Potter And The Philosopher's Stone") Across The Stars (Love Theme) (From "Star Wars: Attack Of The Clones") Donnybrook Fair (Based On "Blowing Off Steam" From "Far And Away") Sayuri's Theme (From "Memoirs Of A Geisha") Remembrances (From "Schindler's List") Night Journeys (From "Dracula") Theme (From "Sabrina") The Duel (From "The Adventures Of Tintin") Princess Leia's Theme (From "Star Wars: A New Hope") The Chairman's Waltz (From "Memoirs Of A Geisha") Luke And Leia (From "Star Wars: Return Of The Jedi") Nice To Be Around (From "Cinderella Liberty") Theme (From "Schindler's List") Markings A Prayer For Peace (From "Munich") Disc 2 Anne-Sophie Mutter in Conversation with John Williams Menu / Across The Stars https://www.amazon.de/gp/product/B07T4RYM68/
  29. 7 points
  30. 7 points
    John looks and sounds fantastic here, full of energy and spirit. If he's this sprightly writing TROS, I reckon we're in for one hell of a final Star Wars score.
  31. 7 points
    This set is.....bananas. The first Goldsmith score has incredible punch. My god, what a triumph. I’ll be up all night listening.
  32. 6 points
    More than the information about the upcoming STAR WARS score, I find it far more fascinating to observe Don speak. I've seen several of these videos before, and it's always interesting to see how similar he is to John in terms of voice colour and mannerisms, but with a rather different personality. More direct, more acerbic wit. It's like two worlds colliding.
  33. 6 points
    Some people misunderstood the anecdote about the dude getting booted between days. It's not that he dropped equipment or anything during a take--I'm sure even John has dropped a baton or a page during a take before--it's that once that mistake happened, he thought in his mind "Oh well the take is ruined now, might as well get silly", much like how you'll see bloopers in movies or TV. This is very common for musicians, who often are inconsolably goofy-ass people (Fellini's Prova D'Orchestra is only an exaggerated version of the truth). Now we know that in John's mind this is unacceptable, as he sees value in a complete performance, and to throw in the towel so to speak after a slight mishap can potentially rob everyone of an amazing performance of the rest of the piece at hand. In this way he's similar to one of his heroes Miles Davis. "Yo-Yo baby? That take...." "What did I do wrong John?" "Did I ever tell you about the first time I saw Schindler's List? What Spielberg told me?" "Yeah you said he needed a better composer, and he agreed, but said they're all--oh shit!" *jumps out of the way to dodge the chair Williams hurtled towards him, which smashes his cello*
  34. 6 points
    Excerpts from the wikipedia article: "Le Fantôme de l'Opéra is a novel by French writer Gaston Leroux. The novel is partly inspired by historical events at the Paris Opera during the nineteenth century and an apocryphal tale concerning the use of a former ballet pupil's skeleton in Carl Maria von Weber's 1841 production of Der Freischütz. (...)The details about the Palais Garnier, and rumors surrounding it, are closely linked in Leroux's writing. The underground lake that he wrote about is accurate to this opera house, and it is still used for training firefighters to practice swimming in the dark". "At a gala performance for the retirement of the opera house's two managers, a young little-known Swedish soprano, Christine Daaé, is called upon to sing in the place of the Opera's leading soprano, Carlotta, who is ill, and her performance is an astonishing success". "The Vicomte Raoul de Chagny, who was present at the performance, recognizes her as his childhood playmate and recalls his love for her". "He attempts to visit her backstage, where he hears a man complimenting her from inside her dressing room. He investigates the room once Christine leaves, only to find it empty. (...) At Perros-Guirec, Christine meets with Raoul, who confronts her about the voice he heard in her room". or Christine visits her father's grave one night, where a mysterious figure appears and plays the violin for her. The Phantom, having abducted Christine (...), reveals himself as a deformed man called Erik. Erik intends to hold her prisoner in his lair with him for a few days, but she causes him to change his plans when she unmasks him and, to the horror of both, beholds his noseless, lipless, sunken-eyed face, which resembles a skull dried up by the centuries, covered in yellowed dead flesh. The following night, the enraged and jealous Erik abducts Christine during a production of Faust and tries to force her to marry him. Raoul is led (...) into Erik's secret lair deep in the bowels of the opera house, but they end up trapped in a mirrored room by Erik, who threatens that unless Christine agrees to marry him, he will kill them and everyone in the Opera House by using explosives. If this is an inspiration for some part of the script of Ep. IX (it sure sounds like something their secret consultant for this movie George Lucas could model a story on), then... Way to go, Dallas!
  35. 6 points
  36. 6 points
    John has been described as “an iron fist in a velvet glove”, I’ve no doubt that he’s absolutely calling the shots and the musician in question was completely removed. There’s too much money and too little time to mess around. Might be ruthless but it’s the movies, baby! 😎 I think a lot of people have this image of the kindly old grandfather, but he’s survived in this business for nearly seven decades for a reason.
  37. 6 points
    The textual lisp first appeared at The Haunted Mansion in Disneyland.
  38. 6 points
    I don’t really understand what I’m looking at...
  39. 6 points
    Well that makes a lot more sense! So we have: Normal 1CD (or vinyl or digital) edition dropping August 30th: https://www.amazon.com/dp/B07SVKRGBM / https://www.amazon.de/dp/B07SVKRGBM 01. Rey’s Theme (From “Star Wars: The Force Awakens”) 3:16 02. Yoda’s Theme (From “Star Wars: The Empire Strikes Back”) 3:34 03. Hedwig’s Theme (From “Harry Potter and the Philosopher’s Stone”) 6:03 04. Across The Stars (Love Theme) [From “Star Wars: Attack of the Clones”] 5:17 05. Donnybrook Fair (Based on “Blowing Off Steam” from “Far and Away”) 3:53 06. Sayuri’s Theme (From “Memoirs of a Geisha”) 4:43 07. Night Journeys (From “Dracula”) 5:38 08. Theme (From “Sabrina”) 4:58 09. The Duel (From “The Adventures of Tintin”) 4:23 10. Luke and Leia (From “Star Wars: Return of the Jedi”) 5:01 11. Nice to Be Around (From “Cinderella Liberty”) 4:02 12. Theme (From “Schindler’s List”) 4:12 Deluxe CD/DVD edition dropping September 27th (new tracks in bold) https://www.amazon.com/dp/B07T4RYM68/ /https://www.amazon.de/dp/B07T4RYM68/ 1. Rey's Theme (From "Star Wars: The Force Awakens") 2. Yoda's Theme (From "Star Wars: The Empire Strikes Back") 3. Hedwig's Theme (From "Harry Potter And The Philosopher's Stone") 4. Across The Stars (Love Theme) (From "Star Wars: Attack Of The Clones") 5. Donnybrook Fair (Based On "Blowing Off Steam" From "Far And Away") 6. Sayuri's Theme (From "Memoirs Of A Geisha") 7. Remembrances (From "Schindler's List") 8. Night Journeys (From "Dracula") 9. Theme (From "Sabrina") 10. The Duel (From "The Adventures Of Tintin") 11. Princess Leia's Theme (From "Star Wars: A New Hope") 12. The Chairman's Waltz (From "Memoirs Of A Geisha") 13. Luke And Leia (From "Star Wars: Return Of The Jedi") 14. Nice To Be Around (From "Cinderella Liberty") 15. Theme (From "Schindler's List") 16. Markings 17. A Prayer For Peace (From "Munich") Still missing (possibly not recorded?) The Devil’s Dance from “Witches of Eastwick” Han Solo and the Princess
  40. 6 points
    I could stomach it if it were perhaps a bluray with the full recordings as if it were a concert, edited well, DTS-HD, plus the interview. But no, it's 2019, let's release a premiere recording exclusively on fucking vinyl and DVD.
  41. 6 points
    I hope MacAuly Culkin returns as a grizzled mentor figure who shows the protagonist the ropes of trap making and wacky hijinks.
  42. 6 points

    The Anal Thread

    I’m not looking forward to Bespin seeing this thread.
  43. 6 points
    Excellent! Broadcast live from Edinburgh Music Festival. Program: UPDATE: First encore is Imperial March. Second is presumably Superman!
  44. 6 points
    I usually trust my ears over spectograms when it comes to audio quality, but a cursory glance at the spectograms for this score are interesting. Firstly, just to establish that the LLL is pretty much identical to the existing OST: OST (MP3 compressed): LLL Disc 1: As an aside, it's interesting how much more information is present in all 4 takes of the recording session version of this cue. A result of the mastering done in 1993? So obviously this line at 16hz appears disconcerting, but I believe this is just the ambient noise from the recording venue (please correct me if I'm wrong). This appears consistently throughout the soundtrack to varying degrees on all tracks bar OYF’N Pripetshok, Yeroushalaim Chel Zahav and Remembrances. Without checking, I'm guessing those cues were recorded elsewhere, hence not having the 16hz line. Point is, that's been there since 1993. I don't think a scan of the analogue masters would change it because it's probably baked into the recording itself. It would appear that all 3 sources originated from the same digital master though. Where things get concerning are on disc 2. The comments regarding I Could Have Done More (Film Version) are not unfounded. This is the OST track of Williams' original cue: And this is the LLL film version: Now, it doesn't take an audio engineer to see that something is clearly wrong here. It's even more alarming when you compare it to the recording sessions version of the same cue, which are dripping with orchestral detail and sharpness: This would explain why the first half of the track on disc 2 sounds so compressed; a huge amount of audio information has been clipped off. Fortunately, the insert itself is unaffected, so theoretically one could edit a corrected version themselves by combining the two tracks, if they so desired. Obviously doesn't explain how this happened in the first place -- perhaps some liberal use of noise reduction that accidentally got applied to the (already mastered) OST material? Another weird anomaly is Reflections having all frequencies clipped above 16hz, similar to those clipped OST segments on the Azkaban set: Reflections, recording sessions: The Perlman Family seems to have a similar issue, but it's not too dissimilar from the sessions version, so likely just a result of the source material: FWIW, Schindler's Workforce (Film Version), Theme For Recorder and Remembrances (Alternate) all have flawless spectograms, brimming with detail. I'm particularly impressed by Schindler's Workforce (Film Version) which is thoroughly detailed, especially for the long stretches of quieter material (which are lacking in atmospheric/room detail in tracks like The Perlman Family, above):
  45. 6 points
    I see your CD was directed by JJ Abrams!
  46. 5 points
    I hope it ends with one of those "where are they now" montages.
  47. 5 points
    Personally, I don't understand the 'I don't want this or that' attitudes to the score. At this point the only thing I want is for John to finish this score so that we have 9 SW scores and the collection is complete. I don't even care whether it's good, bad, outstanding, average or great, or whether this theme or that motif returns or not. All that matters is that John completes writing it. Ross is an amazing condcutor who made HP2 the vibrant score that it is, so I'd be more than okay with him taking over if it were necessary.
  48. 5 points
    I don't understand why they would remake Home Alone. The first one seems like it's still basically an ATM shitting out cash for the rights holder. It airs on TV constantly, even in the middle of Summer (I saw both movies on some cable channel just last week). Plus the live-to-picture concerts are an annual Holiday tradition for many orchestras at this point. It's still beloved, the brand is alive and generating revenue already, why bother? I don't see the marginal benefit.
  49. 5 points
    "Remembering Sean" from Fellowship of the Ring, GoldenEye, Game of Thrones, Patriot Games
  50. 5 points
    Everything in this post is on point. Couldn't have written it better myself. Rogue One is nails on a chalkboard for me. The notion of Giacchino being the heir apparent to the Star Wars musical legacy is over. His sensibilities are incompatible with Williams' writings, and his imitations of JW's style have proven incongruous. MG is a perfectly talented composer in his own right (JWFK being a great example, where instead of aping Williams he just does his own thing, and it works brilliantly!) and that's what he should pursue; find his own identity and build his own legacy. Stop trying to be Williams because, frankly, he isn't.
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