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karelm

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karelm last won the day on January 25

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  1. Next Sunday morning, September 22, CBS Sunday Morning news has a news segment about John Williams. Not sure if it will include new interview, they just had a preview saying “next week...To the stars…with composer John Williams” as he conducted Star Wars.
  2. Learn how to compose music then compose the kind of action music you wish others would compose.
  3. Tons of composers compose in this action style. The question is what director asks for it. For example, Ed Shearmur told me personally that no director has ever cared for him to reproduce this "retro" action style he nailed and is fully capable of delivering. He said he thought this would be his big break into this style of scoring and "the number of times any director cared I wrote this type of score...zero". There are so many composers who can compose like this but aren't asked to. The question should be directed to directors for no longer asking for this style. Anytime it is asked for, it is usually pastiche like "Death of Stalin" which again, Christopher Willis truly nails but that is satire of the Shostakovich/Prokofiev Soviet style which he nails. To answer your question - start first with directors, not composers.
  4. Thanks for posting, a very informative and enjoyable listen. I loved Mauceri back when he was at the bowl and will look for his book.
  5. ALOT more time, work, and focus goes in to editing the film than scoring the film. Please watch this. So JJ is micro-tweaking and JW is a passenger to some degree. First first version of the score is going to be solid but when a film loses a few seconds in a scene, the score editor can cut the score but a great composer would prefer to change the score to fit the new scene and I think that is what happens with JJ and JW. Since digital editing has pushed the ease of editing to the last second, you have less reliance on story boarding because just overshoot and edit it down. This is much more common today than it was when you had to physically edit film by cutting tape like in the 1970's and 80's.
  6. Fans of The Abyss? I thought this was an interesting and informative look back at an enjoyable film. I had no idea the liquid breathing was actually possible and the rat scenes showed rats really breathing liquid. Quite a fascinating look back at a forgotten film that might be worth a second look. I remember it in theaters being very captivating and thrilling so not sure why it isn't better loved.
  7. Ok, just saw the film. I liked it for its revenge fantasy heapings. Sometimes a guy needs to get his revenge fix...*cough* John Wick *cough*. They did a good job of building that up to the point of ridiculousness but I expected that right away from the opening pacifist Mel and kids wanting to go to war sequence and it certainly delivered on that revenge fantasy theme. Music was definitely good and exciting, moving when it needed to be. Sort of reminded me of War Horse and Far & Away musically which is not a bad thing. This is definitely not a gritty, lived in version of history but a polished, Hollywood entertainment version and that is what was expected and it delivered on that. @SteveMc see bold.
  8. I never saw the Patriot and never really listened to the score. How is the film and score, worth exploring?
  9. Weren’t the first few years of JWFan.com known as the dark ages of this site? Before the renaissance when the smart people came? The OP was far before his time.
  10. She wasn’t faultless in how she was treated. Both sides were miscommunicating so have some fault. If this went to court, she wouldn’t be completely innocent. She failed to deliver assets. They failed to pay her. They can argue She owes them money because of the costs they incurred because of six months delay by not having the assets she held. That’s one example. I take the blog to be almost entirely about bad business dealings.
  11. In a bout of sleeplessness, I just read through the entire blog including all the email correspondences. 90% of this is very familiar to any indie artist in the game and film industry. Seriously, I could tell the exact same stories of being taken advantage of in the exact same ways by directors for the same amount of money with similar correspondences over the years. The industry is ripe with abuse. When you’re Indy, you don’t have anyone else protecting your interest. Add to that women are definitely in a more vulnerable position, easier to be taken advantage of in the industry. It’s definitely a little bit of the wild west, and can be very difficult for sensitive artist types no doubt about it. I think the bulk of the blog reads like a very helpful self analysis for the blogger to get her head around therapy issues that have been lingering heavily in her for years and really needed to get worked through. Then, there is the Jeremy Soule sections which make up maybe 5%. These roughly break down into two subcategories being hearsay which is speculative and not very convincing (Jeremy convincing his powerful friends to punish her at any other company she works at) and the other much more damaging allegations. Her work performance, communication style, leave a lot to be desired and you can see she’s a very sensitive person in a very high pressure environment. I think it’s a very good read just to understand a window into what that environment was like for just about any indie artist working 1990’s-2015 or so minus the 5% Jeremy Soule specific references which is troubling if proven. I definitely feel bad for her and wish her well, but welcome to the club.
  12. That 2 CD set, I forget what it was called? Ultimate or something. That is why it is called lazy, it is a film output without care to the music quality or listening experience. I can also see why it would leave Sony execs baffled because they are saying it is literally what is in the movie. What goes in to a movie is not a great listening experience on its own though it might be a great cinematic experience. The music when isolated is full of micro-edits, bad edits that are covered up with audio/foley/sound effects, imperfect transitions that go unnoticed in a theater but are glaring in isolation. For example, in the film dub when all the various sound elements are put together in post production, the director might find the dialog too muffled and ask the score level to be dropped to allow the dialog to be better heard (the dialog might already be as loud as it can be). In the film, you'll not notice this adjustment in score level. In an isolated score you will suddenly hear the score level drop and generally inconsistent listening experience. In the ultimate (or whatever it was called) release, you'll hear that drop. That is freaking lazy! But the execs are right, that was what was in the film. EDIT: Here is a specific example of what I'm talking about. Take a look at this scene. At 1:00 in, when Morpheus says "he's the one" his acting is very good but the line is delivered quietly. The music is swelling and there is a significant drop in the score of maybe 10+ db to allow his dialog space to be heard. It's like smashing the breaks as the musical momentum builds. You can't really detect it because of all the other theatrical elements happening in the cinematic experience but if the score were isolated, it would be a jarring experience. So if this was a multi-generational prized franchise with glorious music and each and every release savored and it were treated this poorly, you'd hear all sorts of fury.
  13. GREAT: Every cue in pristine remastered audio quality as intended (this might differ from how it was composed or recorded because this would take into account a reconstruction using best sources. For example, a scene might use bars 1 to 10 of an early version of a cue, edit to a revision for bar 11, edit back to take 8 for bar 12 to 20, type of thing. If you used the original version of the cue, it wouldn't match what's in the film and what's in the film can and does have very jarring score editing so these issues would be fixed). This is what Mike Matessino does THEN include alternates not previously heard for a full authoritative best presentation of a classic score.
  14. The chances are very, very, very unlikely. The fee is irrelevant...time and peace of mind are more valuable now. He has security to not let this sort of thing happen and only allows people he already knows back stage at this point. He was never comfortable with fame and as he aged, had less and less reason to put up with it despite potentially very reasonable intentions from fans.
  15. I can read lips. Rey is saying "Rose, don't touch anything...seriously! I mean it, don't TOUCH ANYTHING!"
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