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In Conversation with Scoring Engineer Bruce Botnick hosted by Mike Matessino Nov 5 in Burbank, California

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CREATURE FEATURES celebrates the 35th Anniversary of POLTERGEIST and E.T. THE EXTRA-TERRESTRIAL with a lively discussion about the music with legendary scoring engineer BRUCE BOTNICK and Soundtrack Producer MIKE MATESSINO, who recently co-produced the new 35th Anniversary Remastered Edition of E.T. for La-La Land Records.

After many years of engineering the classic recordings for THE DOORS (which he still restores and remasters), BRUCE BOTNICK took a producer position at CBS Records which led him to meet composer Jerry Goldsmith on STAR TREK: THE MOTION PICTURE in 1979. He soon became Goldsmith’s engineer, a position he held until the composer’s untimely death in 2004. Among their numerous collaborations are GREMLINS, EXPLORERS, TOTAL RECALL, RUDY, L.A. CONFIDENTIAL, AIR FORCE ONE and THE MUMMY. 

Botnick also recorded the music for Disney’s NEWSIES, BEAUTY AND THE BEAST, THE LION KING and MULAN, the latter scored by Jerry Goldsmith. Botnick’s work with Goldsmith on POLTERGEIST for Steven Spielberg led to his involvement with E.T. THE EXTRA-TERRESTRIAL. He worked on restored and remastered releases of both scores with soundtrack producer and film historian MIKE MATESSINO, who has also produced acclaimed releases of Goldsmith’s THE SAND PEBBLES, ALIEN, and (with Botnick) STAR TREK, OUTLAND, TWILIGHT ZONE and GREMLINS. 

He has also produced several score releases for Steven Spielberg/John Williams collaborations including JAWS, 1941, EMPIRE OF THE SUN, JURASSIC PARK, and A.I. ARTIFICIAL INTELLIGENCE. Matessino and Botnick will discuss all aspects of film scoring with a focus on the recording of the classic music for POLTERGEIST and E.T..

 

Sunday, November 5 at 1 PM - 3 PM PST @ Creature Features, 2904 W Magnolia Blvd, Burbank, California 91505

 

 

https://www.facebook.com/events/1460288590706654/

 

 

Mike Matessino also posted about this:

 

This is going to be a terrific chat and we're planning to show some things you can't see (or hear) elsewhere.

 

https://www.facebook.com/mike.matessino/posts/10212841069557023

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15 hours ago, Quintus said:

All budding recording engineers shall love and despair at the feet of this god of analogue film soundtracks!

 

Many of his recordings were digital. He's a great engineer.

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19 minutes ago, Stefancos said:

Botnick worked on ET 

 

I know that, and damn good it sounds, too :) but the blurb says that he also worked on JAWS (John Neal), 1941 (also John Neal) and EOTS (Armin Steiner), so...why's it saying that BB worked on these scores?

In fact, BB didn't "produce" a single one of the JW scores mentioned in the press release.

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30 minutes ago, Richard said:

 

I know that, and damn good it sounds, too :) but the blurb says that he also worked on JAWS (John Neal), 1941 (also John Neal) and EOTS (Armin Steiner), so...why's it saying that BB worked on these scores?

In fact, BB didn't "produce" a single one of the JW scores mentioned in the press release.

That part is referring to Mike Matessino's C&C credits

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4 hours ago, Disco Stu said:

Where is our Matessino interview?!  The JP one came out really soon after the collection last year didn't it?

 

SoonTM

 

 

3 hours ago, Richard said:

 

I know that, and damn good it sounds, too :) but the blurb says that he also worked on JAWS (John Neal), 1941 (also John Neal) and EOTS (Armin Steiner), so...why's it saying that BB worked on these scores?

In fact, BB didn't "produce" a single one of the JW scores mentioned in the press release.

 

You read wrong.  That sentence is talking about MM's work, not BB's work.

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There was a conversation about this in the early days of the internet. Apparently the whole thing was recorded to an analog multi-track recorder and a digital two-track. So there must be analog and digital versions.  

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On 8-11-2017 at 8:21 PM, Disco Stu said:

I assumed it was Botnick in the glasses and Matessino in the Amblin t-shirt.

 

Mike is too young to have mixed for The Doors.

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Well I think Bruce has some kind of anti-aging pill, because I expected him to look much older knowing how far back his career goes.  He must have been 12 when he worked with The Doors.

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One item of note is a clarification how Quincy Jones worked on the 'Color Purple'. We know that it was score-by-committee, but Botnick describing the working conditions (he assigned sequences to 23 different people, Sandy Courage included, that somehow made them work to film because he was going through a nasty divorce at the time) makes you wonder how someone as musically involved as Spielberg let that pass. He got the project from Jones but still...

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On 11/8/2017 at 2:21 PM, Disco Stu said:

I assumed it was Botnick in the glasses and Matessino in the Amblin t-shirt.

I was referring to the audience,  who apparently include some well-known people in film music circles

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