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About elvisjones

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  1. In 2002 I attended a Lucasfilm event in Hollywood where Rick McCallum and Fred someone from ILM explained the evolution from 35mm film in 1977 to digital capture on Ep 2 in 2000. One of the things they went into detail about was the evolution of the laser film printer, a machine which could print out new camera negative. It was developed in the 80's and 90's to improve the quality of CGI images on 35mm - in '77 all the CGI (i.e. the Death Star plans) was captured by pointing a film camera at a computer screen and filming it one frame at a time. In 1996 FOX decided to do a 20th anniversary rerelease of Star Wars. Lucas went into the vaults and struck a new print from the OCN and was shocked at how much the image had degraded. (They showed the first few minutes of this print at the 2002 event. It did not have the "Episode IV A New Hope" subtitle in the crawl.) The print was dark, murky, and pretty much unwatchable. The decision was made to scan the entire original camera negative (OCN) into a computer, repair the image digitally, and then print out a new negative using the laser printer. Since they were scanning the whole film in anyways, GL then decided to upgrade shots that he was never happy with, using CGI. This was how CGI shots were done in Jurassic Park, for example - CGI laid over 35mm images scanned into a computer. Once this decision was made, it was then decided to shoot new elements for the stormtroopers in the desert, and resurrect the lost Jabba the Hutt scene with Harrison Ford. Searching the vaults revealed that the OCN for the Jabba sequence was gone. The only thing they could find was a work print of the scene, complete with edits and editorial markings on the film (grease pencil indications of dissolves, etc). So they scanned the rough cut into the computer, did repair work digitally, then added CGI Jabba over the top of the human stand-in. The point of all this is that the OCN for the 77 version of Star Wars still exists. The "OCN" of the SE is actually a new negative printed out in '97 from the digitally repaired scan of the OCN from '77 with CGI additions. In fact, they made several OCNs of this version of the movie, and struck theatrical prints from them, which essentially made every 35mm print of the SE 2 generations closer to the OCN since they skipped the inter-positive/inter-negative steps. In 2006 when the original versions of the first 3 movies were put on DVD in non-anamorphic widescreen, Lucasfilm's press comments clouded the issue because, in an effort to fend off angry fans, GL told vague half-truths about the original version not existing anymore, when in truth, it's just that the '77 OCN is in terrible shape and would need to be restored all over again for any anamorphic release. So, in conclusion, the 1977 OCN of Star Wars still exists. It's just in terrible shape.
  2. I remember when Star Wars stopped being a thing - in the late 80's. The Marvel comics run was finished, Kenner stopped selling the toys, George Lucas had vanished from the public eye as a filmmaker, and the notion of a prequel trilogy was a "pie in the sky", "never-gonna-happen" kinda thing....
  3. Ok, sorry, one more post as I feel compelled to defend my reputation against claims that I am lying, and that what I’ve said is now being exaggerated. What part of my original post quoted above says EITHER ABRAMS GO OR I GO? What part of this indicates JW was unprofessional in any way, that he shouted at people in some unreasonable, demanding manner? What part of this is me dropping some “sensational bombshell”? Steef, you’ve been here forever, when have I just posted bullshit? Stu, when have you known me to post something claiming it’s fact just to annoy people versus posting something that I’ve heard or seen FIRST HAND in my job in LA?
  4. This is the my Last post on this topic. I would suggest that calling my posts gossips IS disregarding “my claims”, as is calling them a “conspiracy theory”. Are you really saying that people would rather see LOST L2P than a Star Wars movie? A quick google check reveals that R1 made a billion dollars at the box office. Tomorrowland made 200+ million. Coco made 800+ million. No Trek film of MGs made more than 500 million. The “fan favorite” arguments doesn’t seem very likely an explanation to me, but perhaps you’re right.... I understand that you may not LIKE what I’ve said, but not BELIEVING something because you don’t LIKE it isn’t the answer. I don’t LIKE that Trump is President, but that doesn’t mean I don’t BELIEVE it. I don’t mean any ill-will toward anyone on the board either, and I don’t seek to ruffle anyone’s feathers. However, that “facts - no, gossip” comment seems definitely intended to ruffle my feathers.
  5. I've been posting on this site since it was THE STAR WARS PREQUEL MUSIC RESOURCE 20 years ago, the old-timers here will tell you, I'm not one to bullshit or make empty claims. Here is one piece of "return" I offer you. Ben Burtt's interview for Vanity Fair. https://www.vanityfair.com/hollywood/2017/12/ben-burtt-star-wars-sound Here's something else I can offer in "return". There are rips of the 7.1 mix of TFA floating around that make it pretty easy to listen to the score as it appears in EP 7, and it's obvious that it's been hacked to pieces. In contrast, based on their own words, the filmmakers of Ep 8 gave JW a temp score and told him to follow it, which he apparently pretty much did. My guess is after all the rewrites he had to do on Ep 7, he just wanted to write the score for Ep 8 once. If JW and MG are such buddies, why has no live-to-picture concert for Rogue One been done? MG is constantly doing these, you would think R1 would be done too. We all know the prequels haven't happened because no sheet music exists that matches the films due to all the heavy music editing (and even pitch shifting in EP 3) done. The reason Ep 7 is possible live is that they did all the orchestration and sheet music in a computer originally (the prequel scores were orchestrated by hand using pencil and paper) and conformed it as they recorded the cues expressly for the purpose of potential live-to-picture concerts. By the way, MG always reserves a day at the end of this recording session blocks to do just that - conform his sheet music to the final versions of the cues recorded for potential live-to-picture concerts. I know for a fact he did this on R1 too. I know I can't convince you that what I say is not "hearsay", but it isn't. I keep a relatively low profile because I like to be able to offer info when I get it without upsetting people I associate with in real life As to qualifying my remarks as big claims? I simply said, despite what everyone said in public at the time (because we know nobody lies to the press when a movie, especially a big expensive movie, comes out) JW didn't actually enjoy rewriting the score to TFA over and over again for JJ, and when Colin Treverow quit EP 9 and JW realized he might be working under the same conditions as he did on Ep 7, he seriously considered not coming back. Is that a big claim? I guess it is, but in the end, he DID come back, so what does it matter? I just thought it was an interesting factoid to share with SW music fans.... So, again, feel free to disregard what I say, I just wanted to assure you, I'm not just making this up... Humbly, elvisjones
  6. Nope, just a regular guy. Don't believe me if you don't want to, but someday the truth will come out. JJ is very hard to work with - just ask Ben Burtt...
  7. I do believe that MG worked on the revision of Star Tours a few years ago. So it's very possible Disney approached him to work on Galaxy's Edge. I also know for a fact that JW was not crazy about any aspect of the music situation on R1, even before MG was hired. However, currently, Lucasfilm seems to be going to some length to placate JW, (perhaps because he supposedly almost quit ep 9 when he learned JJ was coming back). It's obvious he's not going to be around forever, and my guess is when JW passes on, MG will be brought in to the SW musical universe a lot. But I have not heard any rumors re:JW/MG on the theme park front. All I know is so far the publicly announced work has been done by JW and Williams Ross. Rumor control ends now.
  8. http://www.filmmusicmag.com/?p=19396&fbclid=IwAR3uokH_cG06CIoKDRyCQBkyoanzSVLxCHBSf2p0QMHrueb0KHlDKvL2bAI
  9. My personal opinion is that the 6 big studios (Warner Bros, Paramount, Universal, Disney, Sony and Fox) have all decided they would rather spend $300 million to make $1 billion than spend $10 million to make $100 million. Therefore, when investing $300 million in the production of a movie, they hedge their bets and rely on built-in audience recognition to help minimize risk of a flop. On top of that, when they spend that kind of money, they expect the final film to contain a fair amount of spectacle. On top of THAT, they tend to make hiring decisions that minimize the chances of being blamed for taking a risk, so you see the same names writing, directing, starring in, and scoring these movies. Put all that together and you get yet another comic book property/old tv show being rebooted/old movie series being rebooted made by the same people who are making everything else. The mid-level studios (i.e. Lionsgate, Millennium) try and make movies that achieve some aspect of the bigger studio films but cut corners to keep the costs down, usually well under the $100 million budget. Hence you get movies like Olympus Has Fallen, London Has Fallen, The Hellboy reboot, Red Sonja - directed by people either on their way up to the big 6 studios (James Wan) or on their way down (Bryan Singer). The low-level studios such as Asylum usually have more creative fare because they need to attract audiences based on high-concept scripts rather than expensive name actors/crew and visual effects. In these movies you see more innovation than the higher 2 categories. But they are made under very tight means, with music budgets in the 10's of thousands of dollars rather than 100's of thousands or even millions. The real place "normal" films are being made is in the independent film scene, TV/internet "networks", and the foreign film market. Films like Philomena, The Theory of Everything, and The King's Speech, for example, these are are made in Britain outside the mainstream Hollywood system. In America, a lot of the "normal" films are either independently financed or made for TV (HBO in the 80's and 90's, Amazon and Netflix in the 2000's and later). In the 70's, Paramount would make and release a film like THE CONVERSATION. Now that would be a "Made-for-Netflix" movie. In the 80's, Warner Brothers would make THE ACCIDENTAL TOURIST. Today that would likely be a small film production company like A24 (Room, Moonlight). 90's films like The English Patient would probably be made in England with foreign funding rather than through an American indie like Miramax. So the films like Rain Man, Three Men, Fatal Attraction, Home Alone, and Ghost are still being made - just not by the 6 major studios....
  10. Well, Balfe’s team can.... notice all the additional music credits on MI6 vs MI5...
  11. I think because Ryan Shore scores a lot of Star Wars tv stuff, but it would be nice if Joe Kraemer got a shot at Star Wars too?
  12. I take back what I said, then...sorry.
  13. But Steef, we must argue about something! ;-)
  14. I can't find the exact quote, but when Balfe was confirmed, McQuarrie made a big deal on twitter posts about the fact that he didn't bring Kraemer back because every MI film had a different director up to that point and every MI film felt different stylistically, and he wanted to maintain that - and that was the only reason he changed composers. So yes, if he brings back Balfe for another film, that means his excuse for not bringing back Kraemer was not true. Because everyone knows Kraemer AND Balfe could change styles as needed from film to film - it's part of the job of being a film composer. Koray, I know you love Balfe and I know you love McQuarrie and you don't like Kraemer, so I fully expect you to come up with another reason why what I'm saying is somehow not true...
  15. well if he brings back Balfe we know all his talk about each film having a different style is bullshit
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