PoggoAOTS

Oh wow, yeah I forgot about this. We interviewed a composer about their previously-released episode as an experiment in a different format for an episode. The hope was that we would get the "real story" perhaps, or other insights, unreleased cues etc. etc. And although we definitely got that, and in many ways it was wildly entertaining for us to record (and the composer was just wonderful), it just didn't "feel" like Art of the Score. It almost became a sort of review of our review and ultimately was inconsistent in what it was trying to achieve (perhaps because I'm still not sure what it actually was achieving). That's a somewhat long answer - but we would have released it (and continued pursuing these) if we thought the format worked. Do you mean of the live orchestra shows? If so then that's nearly impossible given rights surrounding the orchestras themselves. But it's also worth noting that the format is quite different - we still do our AOTS "thing" but it's changed to be more of a concert focus and allow for the large amount of people in the room (and I do mean the vast majority) who have never heard of us and are there for the music and the orchestra. Well... your covers are simply THE BEST.

Ahem... time dilation is a strange thing... https://www.artofthescore.com.au/podcast/2024/1/22/episode-36-interstellar

Sorry I missed this... I'm actually not at the MSO anymore (I now run my own concert production company called Concert Lab www.concertlab.com.au) I'd sorta be surprised, at this point, if they went there though. The MSO have just started pumping out the OT again...

We’re really trying to get our schedules to line up. Stay tuned (and sorry!)

Yeah it’s certainly possible to sign an exclusivity clause for a premiere or similar. And that *might* mean that other orchestras are having to wait. But I think it is far more likely that orchestras everywhere are struggling to stay in business AND have almost 2 seasons of rescheduling to get through first. Even after that the film concerts are hugely expensive. So much so that you sort of need to guarantee full capacities to make them work. If you get heavily restricted houses you’re gonna lose piles of money, at a time when orchestras are already hurting. So combine a backlog of reschedules, alongside ongoing Covid restrictions/uncertainty (increased risk) AND the outside chance of an exclusive premiere thing and those are your main reasons (if not the only reasons).

Thanks Folks. Glad you're still hanging out for episodes :)

Thank you very kindly Glad you're enjoying the non-Williams content! Interesting...

Like anything in business there is nothing stopping people from "doing deals". Whether they would be successful or not is a different matter... All I can say is there isn't a "menu" of prices, and therefor isn't a set discount for bulk buying - purchasing a couple of concert licenses is different to getting a discount on printing thousands of books. Licenses, whether for live performances, or licensing songs/clips for use in films/ads etc, are often based on what the purchaser is going to make out of it (along with a bunch of other factors) and not really a case of "well if I buy 100 of these surely you'll give it to me cheaper". ...But as I say, anything is possible when negotiating. If orchestras in the US aren't doing as many of the LTP concerts as you would like i suspect the following are the most likely reasons: The orchestra themselves only have a limited number of weeks they are willing to commit to non-classical performances, therefor limiting what they are willing to put on. Continuing on that thought, if you only have a handful of slots, then you have to toss up what will be the most popular thing ALONG WITH hitting different demographics (if that's a goal). Constantly filling spots with stuff for the same people/demographics can sometimes go against the goals of the orchestra with these shows. Regardless of license expense (which is sizeable), the shows are hugely expensive to put on from a tech point of view. Factor in musician costs/ choir (maybe), advertising, hall hire etc etc, a large number of orchestras simply can't make the numbers work. OR, importantly, see less risk in putting something else on that might fulfil other company goals. It's important to know that the cost can be so high as to potentially risk the company going bankrupt if it failed. Not sure many arts organisations would risk that for "Star Wars" (or anything else for that matter). I personally know of many orchestras that have lost significant money on many movie shows (well in excess of six figures) - some of them MASSIVE blockbusters. Even if you see a full hall, doesn't mean the orchestra is making money hand over fist. Some orchestras can't fulfil the basics of the license ie being able to physically fit the required musicians on the stage they have access to OR not physically having enough players, of a high enough calibur, to perform with the correct number of instruments. Keep in mind that most modern movie scores involve HUGE orchestras by any standard. A lot of orchestras simply don't have that many players in the towns/cities they perform in. Some concert halls (more than you think) simply can't accommodate the screens and amplification needed to run these shows. I know of this being an issue in piles of cities. There are, of course, many other reasons too (including the programmers even seeing merit in these types of shows) but the above should give you a little insight.

Just for something a little different haha!

That's strangely specific for this forum Are you a promoter, or do you run an orchestra?

To attempt to answer your question: venues absolutely have very different acoustics and naturally highlight different sections. Hamer Hall, for instance, is great for woodwinds and lower brass but sometimes difficult to get strings to balance well. In General Hamer is also the "best" acoustic, however because it is so acoustically live it is also a nightmare to balance the movie sound effects and dialogue without it turning into a swamp of sound. In some ways the more acoustically dead venues like Plenary and The Palais are better for action films because you can control everything so well. I'm not surprised you enjoyed the Palais for TFA - that was a great night In terms of picking a venue I must admit that the venue's acoustics are only part of the consideration (albeit an important component). Other things are: - Is the venue even available when we can do the shows - The capacity and cost of the venue compared to how many tickets I think we are going to sell (in other words, a commercial consideration) - What the audience experience will be like there and does the venue make sense with the type of show we're doing - Venue capability and sight lines. Some of the venues in town simply can't accommodate the screens and sound systems we need to do them If you have any other questions about how these work behind the scenes I'd be happy to try and answer your questions where I can.

Yeah, same problem as last time. No obvious slot in 2020 for me to program Last Jedi. That said, I *will* find something eventually so stay tuned (and sign up to the MSO e-news to be the first to hear about it). I'll also put TLJ in Hamer Hall next time, so that might help highlight the score a little more. Yeah! Plenty of score goodness has come and gone (and also upcoming). Yay! I'm glad someone appreciated the effort for the live Jabba's Baroque Recital. I'm always keen to put little Easter Eggs around the venue where we can. Thanks for supporting the orchestra

It's pretty cool huh? Totally in there on purpose - no way you chance upon the droid theme (as backing) during a droid rebellion moment...

Yes! A few others Tweeted us as well. Great pick up folks - we can always count on the JWFan group for the answers...