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Williams starts scoring Episode VII in two (!) weeks..?


Sandor

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unreleased forever, tech guys destroy the recordings is more realistic


I wonder how Williams will approach the trailer. if he has not spotted the film in any way, it would be doubtful that he has new themes sketched. But obviously, to use just the old themes would seemingly be unnecessary, as they could have just tracked such music.

a completely new, kick ass version of the main titles

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Maybe it'll be like the Harry Potter and Hook teasers with a few themes... and he'll expand from those when he scores the actual film? I guess it really depends how long the teaser is... it probably won't be more than a 2-3 minutes. No doubt we'll hear at least one familiar theme.

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I'm expecting a "Main theme followed by the Force theme followed by the Rebel Fanfare" kind of thing.

You can be sure the first trailer will be nostalgia driven, so I'm expecting the music to reflect that.

Yeah, I think you're right. Although I wouldn't be surprised if it started with the Force theme first.

I expect it to start somewhat similar to this:

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I love special DVD-ROM content. Maybe printable stickers or posters? Hoping my dialup can handle it if there's an internet game!

You need to insert the CD, enter your e-mail address, solve a Star Wars quiz, and you'll get a free poster. There will be a bonus track. You have to click a link, after which you'll be sent a download link for a TJ Tiesto remix of Lapti Neck, in a mail with a photo of John Williams giving you the finger.

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Maybe since everyone loves J.J. Abrams now, there IS hope they will release an expanded version of the score that Williams hasn't even recorded for a film that isn't even finished sooner rather than later.

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Well lets not break the habit of a lifetime if age is the problem for travelling

Lets send the London Symphony Orchestra to LA for three weeks to score the picture

We all know it makes sense


Such a damned shame the 20th Century Fox Cinemascope logo is not going to play before it on release either

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Well lets not break the habit of a lifetime if age is the problem for travelling

Lets send the London Symphony Orchestra to LA for three weeks to score the picture

We all know it makes sense

I have a feeling that the AFM would not be happy about it... No way they'll allow this.

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Why would it have the Fox Fanfare? Fox isn't distributing the new films.

As for getting the LSO back, a compromise could be that somebody else takes the conductor's stand in London. That's if he's not up to travelling the distance.

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As for getting the LSO back, a compromise could be that somebody else takes the conductor's stand in London. That's if he's not up to travelling the distance.

That is much more likely, even though I'm quite sure JW wants to conduct himself as long as he has the energy to do it.

In the end, it's all up to him I guess. If he feels right traveling to London, the score will be recorded there. If not, it's gonna be LA musicians. I'm sure he's quite sensitive about this subject much more than we are. He's the first to know how integral the LSO is for the Star Wars sound.

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Yes Gistech-I am well aware that Disney have bought the rights to the Star Wars franchise-i was merely pointing out that the Alfred Newman 20th century fox and opening JW Star Wars scroll music combo will be missed by quite a few that were brought up with it after seeing it all those years ago from the very start in 1977--and yes we all have to move on when distribution rights change but it will be missed.

As for the AFM and their policy regarding recording film scores in the US or abroad (and i cite the Lionsgate offshoring issue) if members of that union were asked to go to Europe or Australia or the UK to perform-do you think that musician is going to say no-so why deny musicians of excellence like the LSO coming to do a tour or work on a score in the US -sounds biased to me.

It doesnt matter whether a company like Lionsgate gets US tax credits-they are a global company like all the other major film companies who have divisions and studios worldwide-tax credits are given by the irish government-the czechs etc. Films made in the US have been scored in London and vice versa since moving film was created a century ago. These goalposts are never going to change.

For the LSO to go to America to do the scoring as well as an opportunity to do a tour might just teach the AFM a few things about one of the worlds greatest orchestras let alone help the US economy in terms of hotels restaurants and transport

Next thing theyll be saying successful american singer/composer/musicians wont be allowed abroad to record in Londons Anvil or Abbey road studios on the soundtrack of a film

But back to the main topic

I do find it strange that someone or somebody has posted that JW doesnt fly-where did this info come from-

How does he get from LA to New York or conducts in cities around the US-does he go by car or train then?

If JW wont fly, then if hes got sea legs lets treat him to a state room on one of Cunards Queen ships to go New York -Southampton

Either way Star Wars and the LSO go hand in hand

If hes able to, I'm sure JW will have already booked the flight to London to do what is right whether it be for the trailer or the main score

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If it's that important, get the LSO to Hollywood. Though i guess, pragmatism will prevail and they will use a AFM orchestra. Rather that than Williams letting a guest conductor wave the button in London.

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If it's that important, get the LSO to Hollywood. Though i guess, pragmatism will prevail and they will use a AFM orchestra. Rather that than Williams letting a guest conductor wave the button in London.

Move one man to London or move 100 people to US or just record the whole thing locally. Hmmmm I wonder what the Hollywood number crunchers say. Will Disney shell out that kind of money to keep LSO in the soundtrack cover?

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It's all up to JW, really. If he thinks it's integral to have the LSO performing the score, then things will be settled for a recording in London. If other considerations will prevail instead, then it will be recorded in LA. I'm sure there are already people at work trying to figure out the best solution for this. I think we'll know sooner rather than later.

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I could see this going so many ways. Williams making an exception and flying out to London for old times' sake, Williams appointing a trusted colleague to conduct the LSO in his stead (as he had Bill Ross do a few years ago for Tokyo's Star Tours), Williams just recording in LA...well, okay, I guess that's only three ways I could see it going. I'm hoping it's one of the first two. I'd rather hear someone else conduct the LSO than Williams conduct an LA orchestra. Frankly, the tempo is largely built into the music, and I'm sure Williams would still be providing creative direction and approval from afar.

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. I'd rather hear someone else conduct the LSO than Williams conduct an LA orchestra.

No! Williams not conducting would affect the final result way more

And there's almost no difference between LSO and Studio Orchestra Williams recorded scores. Only the Star Wars OT sounds a bit distinct (probably due to the mixing)

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The SW Prequels have the same final sound as any other Williams scores recorded in the 2000's. Plus AotC is known to have more hiss and sounds worse than most

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It's not a matter of the proficiency of the single player over another. It's really about how the group sounds when it's playing together. There is definitely a difference of sound between European orchestras and American ones, as there is between various individual ensembles in the same country. And there is definitely a difference between an orchestra made of freelance players and a stable symphony orchestra. Okay, maybe to the untrained ear there is no true difference, but ask any conductor or professional musician and they will tell you the same. For me, the difference is quite clear.

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No, really, if all professional symphony orchestras sound virtually the same to your ears, I don't know what to say. I can hear a difference between the LSO and the Angelenos players, as I can hear a difference between the Chicago Symphony and the Wiener Philharmoniker. And that's not automatically to state that one is better or inferior than the other. It's really how they sound.

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I'm not saying there's no difference at all, but that the difference isnt as pronounced as other factors like recording studio, mikes, and especially mixing

Case in point is the score to The Desolation Of Smaug, which despite a whole different orchestra from another part of the world doesnt really sound very different at all then the previous 4 Middle Earth scores.

Another example, the Boston Pops live sound different then they do on their recordings.

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