bollemanneke 3,337 Posted December 13, 2018 Share Posted December 13, 2018 Yes, we hates them forever! redishere 1 Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted December 13, 2018 Share Posted December 13, 2018 2 minutes ago, bollemanneke said: Yes, we hates them forever! We certainly make it difficult for you guys don’t we. XD. bollemanneke and Alan 1 1 Link to comment Share on other sites More sharing options...
Popular Post crumbs 14,301 Posted December 13, 2018 Popular Post Share Posted December 13, 2018 Wow, I definitely did not expect that! I've always loved that little cue and intro, and the whole thing is basically artificial! It fits right into the rest of the score too, so hats off to the sound editors if they created the percussion. It's very weird that the cue title (for the deleted Cadogan scene) includes 'percussion' but there's no percussion in the cue. 😄 Did Williams record some overlays and not use them or something? That trickster. bollemanneke, Alan and Once 3 Link to comment Share on other sites More sharing options...
Holko 9,499 Posted December 13, 2018 Share Posted December 13, 2018 I just feel a bit cheated. One of the best cues in the score is just a slowed down tracking of another cue over which a random music editor masterfully overlaid some random percussion. I'll never even have the chance to have it unless the iso score leaks. crumbs and Once 1 1 Link to comment Share on other sites More sharing options...
bollemanneke 3,337 Posted December 13, 2018 Share Posted December 13, 2018 1 minute ago, crumbs said: Wow, I definitely did not expect that! I've always loved that little cue and intro, and the whole thing is basically artificial! It fits right into the rest of the score too, so hats off to the sound editors if they created the percussion. It's very weird that the cue title (for the deleted Cadogan scene) includes 'percussion' but there's no percussion in the cue. 😄 Did Williams record some overlays and not use them or something? That trickster. I've always loved it too, but surprisingly, the moment I considered that it might be a loop, it immediately felt like the right assumption. When I found out the slowed-down version wasn't on this set either, it immediately made me think something was going on with that cue. Alan and Once 2 Link to comment Share on other sites More sharing options...
redishere 697 Posted December 13, 2018 Share Posted December 13, 2018 The fact that that percussion loop is not JW's really surprised me! That's so interesting. So the shawm cue was indeed a source music composed by JW but not included in the set? Anyway, that part fades out after 30 seconds, so Discussing Black sounds fine without it. As I said, I surely wouldn't have listened to the shawm cue by itself bollemanneke and Alan 2 Link to comment Share on other sites More sharing options...
Popular Post Alex 2,833 Posted December 13, 2018 Popular Post Share Posted December 13, 2018 The woodwinds throughout POA sound absolutely stunning. Once, Will and Alan 3 Link to comment Share on other sites More sharing options...
Popular Post Jay 37,287 Posted December 13, 2018 Author Popular Post Share Posted December 13, 2018 32 minutes ago, redishere said: So the shawm cue was indeed a source music composed by JW but not included in the set? Correct. bollemanneke, crumbs, A. A. Ron and 2 others 2 3 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,030 Posted December 13, 2018 Share Posted December 13, 2018 Then I'm waiting for the further expanded release in some years. Not! redishere 1 Link to comment Share on other sites More sharing options...
Bounty95 557 Posted December 13, 2018 Share Posted December 13, 2018 1 hour ago, Holko said: I just feel a bit cheated. One of the best cues in the score is just a slowed down tracking of another cue over which a random music editor masterfully overlaid some random percussion. I'll never even have the chance to have it unless the iso score leaks. That's how I felt when I learnt that the final cue of Titanic was completely created by the editors and that James Horner never wrote it that way...Still it's so powerful and effective 😨 Link to comment Share on other sites More sharing options...
Popular Post TownerFan 4,983 Posted December 13, 2018 Popular Post Share Posted December 13, 2018 2 hours ago, TSMefford said: Exactly. I’m not going to lose my head over why certain things were included when we have an outstanding set in front of us. Something I never thought would see the light of day officially, and certainly not this soon. However, that doesn’t mean I’m not curious to hear stories about why something was excluded, and I like to hear everything because I too have a filmmaking fascination and just want to know the process behind some of the decisions or recordings. I’ve mentioned I love music editing. Well, it means I’m fascinated by the music editing as well as the music itself. Which is why I reconstruct film edits for some of my favorite scores. I like to know what they did, how they did it, and why they might of done it so that I can be more educated when making these decisions down the line. Later on this weekend, I’ll be sharing much more about the set and some interesting film edit comparisons for those who are interested. None of this means that I do not appreciate the hard work of @Jay or MM and La-La Land. There’s two different hats being worn and in play here, my composer / musician hat and my Filmmaker / Music Editor hat. I can appreciate something one way and maybe be a little picky from a different angle, but ultimately I can not believe this set. The sound quality is utterly outstanding, the scores are amazing, and the alternates are beautiful and very cool to hear. I’m still working on my big post with thoughts and my favorite gems. So hopefully none of my minor things I’ve mentioned recently is construed as ruining the set for me. Not at all! I work in broadcast television as creative producer, so I too am fascinated about details and insights about the pecularities of the production of film scores. I like to peek into JW's creative process and also how his music undergoes the various stages of scoring, recording, post-production and so on. However, I find myself more fascinated if I put down the magnifying glass and enjoy the music for what it is, diving into the score itself and its thousand nuances. Sometimes it's fun to get lost into the tiny little details and make comparison between film, OST and the likes (I love Jay's spreadsheets for example, they're very useful and provide a great track record to see how things evolved), but the level of such deep-down tech analysis done by some people here sometimes scares me, LOL, so I ask myself "Do they enjoy the actual music in the end or do they just overanalyze stuff only from such a technical level?". It's not a criticism per se or toward anyone specific, but really, what is astounding for me about the music of Harry Potter is how incredibly dense, interesting and brimful of creativity is as pure music. I even distance myself from the films, enjoying the music as a beast of its own. I totally understand that a lot of people here are so much into the Harry Potter films and all their mythology and some of them came to know and appreciate JW and his art thanks to these films (it was the same for me back in the early 80s with Star Wars), so don't take it as criticism. For me, it's particularly fascinating to see a composer still working with what are basically 19th century tools and apply his methodology to a 21st century product. So I like to get lost into those things more than anything else. To each his or her own Alan, Incanus, crumbs and 2 others 5 Link to comment Share on other sites More sharing options...
Popular Post A. A. Ron 1,739 Posted December 13, 2018 Popular Post Share Posted December 13, 2018 23 hours ago, Arpy said: Oh man, that's bad. It's concerning especially for those of us who are still waiting that the discs may be defective. Here's hoping LLL can get yours sorted! For the record, I finally had a chance to re-rip everything last night and "The Quidditch Match" is the only track that had issues. I will of course be writing to the nice folks at LLL. DJMcNiff, redishere, Taikomochi and 3 others 3 3 Link to comment Share on other sites More sharing options...
Popular Post Alex 2,833 Posted December 13, 2018 Popular Post Share Posted December 13, 2018 I’m watching POA again and honestly, I need another Cuarón/Williams collaboration in my life. crumbs, Alan, Docteur Qui and 7 others 10 Link to comment Share on other sites More sharing options...
Popular Post TSMefford 1,509 Posted December 13, 2018 Popular Post Share Posted December 13, 2018 42 minutes ago, Alex said: I’m watching POA again and honestly, I need another Cuarón/Williams collaboration in my life. Shouldve grabbed Cuarón for Episode 9 lol 1 hour ago, TownerFan said: Sometimes it's fun to get lost into the tiny little details and make comparison between film, OST and the likes (I love Jay's spreadsheets for example, they're very useful and provide a great track record to see how things evolved), but the level of such deep-down tech analysis done by some people here sometimes scares me, LOL, so I ask myself "Do they enjoy the actual music in the end or do they just overanalyze stuff only from such a technical level?". I whole-heartedly agree with everything else in your post, but I did want to single this bit out and assure you that it is possible to do deep technical analysis and still enjoy the actual music. That’s why I specified different hats in my post earlier. Trust me, it is possible my friend. At least for me. 🙂 1 hour ago, TownerFan said: I work in broadcast television as creative producer Oh wow. Just noticed this. That's my current gig as well! TownerFan, Once, crumbs and 3 others 5 1 Link to comment Share on other sites More sharing options...
Once 604 Posted December 13, 2018 Share Posted December 13, 2018 2 hours ago, Jay said: Correct. Do you know why? 😊 bollemanneke and redishere 2 Link to comment Share on other sites More sharing options...
Popular Post Jay 37,287 Posted December 13, 2018 Author Popular Post Share Posted December 13, 2018 Here's a spreadsheet for HPCOS, it only has a tabs comparing LLL to OST for now https://docs.google.com/spreadsheets/d/1Lenk84oELk7Uo6jN1ew4BTSDbfJvgJLfVxJxx2s_SKA/edit?usp=sharing DJMcNiff, CGCJ, AlejandroGO and 6 others 1 8 Link to comment Share on other sites More sharing options...
Damien F 1,742 Posted December 13, 2018 Share Posted December 13, 2018 2 hours ago, Alex said: I’m watching POA again and honestly, I need another Cuarón/Williams collaboration in my life. I watched it last night for the first time in about 6 years. It is such a great film, not just a great Potter film, but a great film in general. It looks absolutely beautiful, has some fantastic camera work, the three leads have totally matured into their roles, and the story in gripping. David Thewlis and Gary Oldman are excellent additions to the cast. And of course JW's score ... 👍 Once and TSMefford 2 Link to comment Share on other sites More sharing options...
Popular Post Lockdown 238 Posted December 13, 2018 Popular Post Share Posted December 13, 2018 Anyone recall where the Something Wicked Intro is on the set? Never mind! Mr. Who, crumbs and bollemanneke 1 2 Link to comment Share on other sites More sharing options...
Jay 37,287 Posted December 13, 2018 Author Share Posted December 13, 2018 It's at the end of Discussing Black Link to comment Share on other sites More sharing options...
Popular Post crocodile 7,984 Posted December 13, 2018 Popular Post Share Posted December 13, 2018 I am about to finish listening to the first score. While Potter scores were never as close to my heart as some of the other works, I have to admit he really put a lot of effort into those. And you can hear how the first score not only propels the narrative but also creates the entire musical world of wizardry. It's very much like Williams' Star Wars and Shore's Middle-earth scores in that respect. And these types of works need to be experienced in full. While a lot of the elements heard in the first score can be found in some of the older works, it's still very impressive execution of Williams' twinkly kiddie sound. Unlike many of you, I don't think I've ever listened to the leaked sessions. I probably did try while doing something else and never finished. Part of the reason is that I'm not quite as obsessive as some of you. And the other reason is that I was pretty sure those scores would receive a release like this some day (I didn't expect all three at once!). Anyway, as you can imagine, listening to this set reveals a lot of material as I am only familiar with the score as heard in the film. So yeah, some passages I've never heard before. It's a very strong listen (apart from Hedwig's theme being used bit too much) and I'm quite glad I decided not to "spoil" it for myself by memorising the sessions. That way it feels very new and vibrant. Oh I've read the outer booklet as well as the one dedicated to the first score. It's more detailed that you'd expect with anecdotes from music team and film's crew. Excellent read, this. Excellent work Mike, MV, Matt, Neil, @Jay and the rest of the gang. And I've still got two more to go (not to mention another 7 discs of other releases and the Quartet batch)! Karol bollemanneke, mstrox, redishere and 7 others 10 Link to comment Share on other sites More sharing options...
Popular Post Richard Penna 3,672 Posted December 13, 2018 Popular Post Share Posted December 13, 2018 The first score helped get me into scores. The wintry/Christmassy feeling of it meant a lot to me as a 15 year old when it came out. The sessions were awesome but had serious issues with volume that was all over the place and a general un-mastered feel. I never quite attached to PoA in the same way, and was originally going to lose the time-related material as I generally found it less interesting. However, seeing the physical box has really hit home that we now have all 3 scores in their best possible presentation. I've decided there's no way I can lose any music. The only stuff I've done is recreate 3 bits of tracking in #1 (mentioned elsewhere) and join some cues together here and there (in the spirit of JW's album suites). Other than that, it's all here... with no sfx or echoey sound. Wow. Well done LLL and all those involved - this is a staggering achievement Alan, A. A. Ron and Chewy 3 Link to comment Share on other sites More sharing options...
Alex 2,833 Posted December 13, 2018 Share Posted December 13, 2018 I just listened to “Trailer” from POA, was not expecting that?! Anyone got a link the the trailer it’s from? TSMefford 1 Link to comment Share on other sites More sharing options...
King Mark 3,625 Posted December 13, 2018 Share Posted December 13, 2018 1 hour ago, crocodile said: @Jay. And the other reason is that I was pretty sure those scores would receive a release like this some day (I didn't expect all three at once!). I still think they were released by a string of lucky breaks, not because they were destined to be. First the existence of Mike Mastessino, nobody else could have convinced the studios or Williams. Second they talk it was because the studio was split up or something and that gave them a lucky break for the rights otherwise not possible .Seems the later scores can't even be released because of complicated rights issues Always wise to have the sessions no matter what bollemanneke 1 Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted December 13, 2018 Share Posted December 13, 2018 50 minutes ago, Alex said: I just listened to “Trailer” from POA, was not expecting that?! Anyone got a link the the trailer it’s from? Sure! Here ya go. Link to comment Share on other sites More sharing options...
Docteur Qui 1,544 Posted December 14, 2018 Share Posted December 14, 2018 Can't say I'm the biggest fan of the overlay of "Window to the Past" right on top of the lovely piano/strings melody, 00:23 in "Lupin's Transformation", it doesn't really gel for me. Luckily we have the original version as well! Speaking of which, at 00:09 of "Lupin's Transformation" listen for the descending string line, it's a reprise of 00:18 of "Sirius and Harry". I love how he used the time travel element to play with these kinds of melodic callbacks, gorgeous stuff. TSMefford 1 Link to comment Share on other sites More sharing options...
Richard Penna 3,672 Posted December 14, 2018 Share Posted December 14, 2018 Huh, I hadn't listened to the set in enough detail to notice the WttP overlay. I agree with you there - it doesn't work. Was it really composed that way? Might have to fix that with an edit - I can't just use the alternate because the alternate ending with those plucked strings is also a bit rubbish. bollemanneke 1 Link to comment Share on other sites More sharing options...
Docteur Qui 1,544 Posted December 14, 2018 Share Posted December 14, 2018 3 minutes ago, Richard Penna said: Huh, I hadn't listened to the set in enough detail to notice the WttP overlay. I agree with you there - it doesn't work. Was it really composed that way? Might have to fix that with an edit - I can't just use the alternate because the alternate ending with those plucked strings is also a bit rubbish. No it wasn't composed like that by the sounds of it, I'm pretty sure that "Window" was just tracked in over the top. Also the second half of "Lupin's Departure" is BREAKING MY HEART. It's insanely beautiful. Link to comment Share on other sites More sharing options...
Richard Penna 3,672 Posted December 14, 2018 Share Posted December 14, 2018 Just now, Docteur Qui said: No it wasn't composed like that by the sounds of it, I'm pretty sure that "Window" was just tracked in over the top. Also the second half of "Lupin's Departure" is BREAKING MY HEART. It's insanely beautiful. Well yes, it sounds like it was tracked in over it, but that goes against the mantra of this set - to present JW's intended score. Why recreate this one? Link to comment Share on other sites More sharing options...
Faleel 5,340 Posted December 14, 2018 Share Posted December 14, 2018 Kind of reminds me of Far and Away though: Link to comment Share on other sites More sharing options...
Docteur Qui 1,544 Posted December 14, 2018 Share Posted December 14, 2018 3 minutes ago, Richard Penna said: Well yes, it sounds like it was tracked in over it, but that goes against the mantra of this set - to present JW's intended score. Why recreate this one? Perhaps so we have both the film version and original intended version? The mantra of the set wasn't just JW's intended score, it's a complete archival representation. Link to comment Share on other sites More sharing options...
Faleel 5,340 Posted December 14, 2018 Share Posted December 14, 2018 Speaking of WttP do we think this is a Irina's Theme situation where the concert cue was created editorially from cues throughout the score glued together? or a mix of those plus inserts ala JP? Just now, Docteur Qui said: Perhaps so we have both the film version and original intended version? The mantra of the set wasn't just JW's intended score, it's a complete archival representation. "Then why not preserve Ripples on the Lost World set if that was the case?" ~ Richard Penna bollemanneke 1 Link to comment Share on other sites More sharing options...
Richard Penna 3,672 Posted December 14, 2018 Share Posted December 14, 2018 4 minutes ago, Docteur Qui said: Perhaps so we have both the film version and original intended version? The mantra of the set wasn't just JW's intended score, it's a complete archival representation. Archival presentations don't usually contain tracked or edited cues. Hence I'm just curious that if this is indeed tracking, why this one? TSMefford and Holko 2 Link to comment Share on other sites More sharing options...
Docteur Qui 1,544 Posted December 14, 2018 Share Posted December 14, 2018 There's no indication of the intent for an overlay in the written score. I can't tell you why the overlay is presented in this set beyond my own speculation that it was a deliberate decision to present both versions. Past archival presentations are irrelevant. Link to comment Share on other sites More sharing options...
Jay 37,287 Posted December 14, 2018 Author Share Posted December 14, 2018 1 hour ago, Faleel J.M. said: Speaking of WttP do we think this is a Irina's Theme situation where the concert cue was created editorially from cues throughout the score glued together? or a mix of those plus inserts ala JP? Sounds like someone hasn't read the liner notes yet.... Link to comment Share on other sites More sharing options...
Faleel 5,340 Posted December 14, 2018 Share Posted December 14, 2018 Just now, Jay said: Sounds like someone hasn't read the liner notes yet.... I wanted to listen to the set first, before looking at it Truth be told, I have been trying to experience the Potter scores as pure music as much as possible, without the baggage of the films/books. (which I am not really interested in) bollemanneke 1 Link to comment Share on other sites More sharing options...
Popular Post Jay 37,287 Posted December 14, 2018 Author Popular Post Share Posted December 14, 2018 We've always known it was just an edit of film cues even before the liners spelled it out. It's just a recorder solo of the theme, a piece of the end credits, a piece of Woods Walk And Birds Flight, and the overlay from Lupin's Transformation edited together. He later wrote a real concert arrangement, which had been recorded by City of Prague and others. It's basically the exact same situation as Irina's Theme four years later. TSMefford, bollemanneke and Once 3 Link to comment Share on other sites More sharing options...
Faleel 5,340 Posted December 14, 2018 Share Posted December 14, 2018 Anyways, I just put together a little suite featuring unreleased cues from PoA, it turned out a little more chronological than I wanted.. Will 1 Link to comment Share on other sites More sharing options...
King Mark 3,625 Posted December 14, 2018 Share Posted December 14, 2018 I'm a bit confused that JW wrote the Teaser music when he wasn't even hired as composer yet. Does this mean he might not have scored this at all despite writing music for the trailer? Is there a story behind that? I vaguely remember when the Teaser came out we were debating if Williams wrote it or if it was an Elfman piece or something because there was no credit at all for a while, or confirmation he was scoring the films Link to comment Share on other sites More sharing options...
Manakin Skywalker 4,891 Posted December 14, 2018 Share Posted December 14, 2018 I believe in the booklet he says he had already been hired by Chris Columbus, or at least that's what it sounds like. Link to comment Share on other sites More sharing options...
Jay 37,287 Posted December 14, 2018 Author Share Posted December 14, 2018 Why do you say he wasn't hired as a composer yet? Link to comment Share on other sites More sharing options...
King Mark 3,625 Posted December 14, 2018 Share Posted December 14, 2018 some posts here said that earlier Link to comment Share on other sites More sharing options...
Jay 37,287 Posted December 14, 2018 Author Share Posted December 14, 2018 Link? Link to comment Share on other sites More sharing options...
Will 2,215 Posted December 14, 2018 Share Posted December 14, 2018 52 minutes ago, Faleel J.M. said: Anyways, I just put together a little suite featuring unreleased cues from PoA, it turned out a little more chronological than I wanted.. No Sirius's Rescue? Seriously, tho, how great is 6m5 Pt II in full orchestral glory? Never realized it was scored for choir! 😍 Link to comment Share on other sites More sharing options...
Faleel 5,340 Posted December 14, 2018 Share Posted December 14, 2018 I kind of wanted to highlight the less known unreleased stuff and kickbutt alternates.. Link to comment Share on other sites More sharing options...
King Mark 3,625 Posted December 14, 2018 Share Posted December 14, 2018 31 minutes ago, Faleel J.M. said: I kind of wanted to highlight the less known unreleased stuff and kickbutt alternates.. Summoning the Patronus? what's 6M5 pt II? 51 minutes ago, Jay said: Link? On 12/3/2018 at 6:49 AM, Holko said: You confused the two, the teaser is the earlier one scored by a Williams who hasn't seen the film yet and wasn't contracted for it. The trailer is what uses edited performances. At least we can be sure TV ad is Hedwig tries a Coke/Cookie. Link to comment Share on other sites More sharing options...
Jay 37,287 Posted December 14, 2018 Author Share Posted December 14, 2018 17 minutes ago, King Mark said: what's 6M5 pt II? The Dementors Converge. And Holko was clearly wrong there. I guess you haven't read the liner notes either. Once 1 Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted December 14, 2018 Share Posted December 14, 2018 1 hour ago, King Mark said: I'm a bit confused that JW wrote the Teaser music when he wasn't even hired as composer yet. Does this mean he might not have scored this at all despite writing music for the trailer? Is there a story behind that? I vaguely remember when the Teaser came out we were debating if Williams wrote it or if it was an Elfman piece or something because there was no credit at all for a while, or confirmation he was scoring the films It was official by at least May of 2003. http://edition.cnn.com/2003/SHOWBIZ/Movies/05/05/john.williams/index.html Link to comment Share on other sites More sharing options...
Jay 37,287 Posted December 14, 2018 Author Share Posted December 14, 2018 It was official in May of 2003 he was scoring Harry Potter 1 from 2001? You don't say.... bollemanneke 1 Link to comment Share on other sites More sharing options...
Gruesome Son of a Bitch 6,488 Posted December 14, 2018 Share Posted December 14, 2018 I thought he was talking about the third one for some reason. I don't remember there ever being any question about him doing the first movie. The trailer music was a dead giveaway and not very Elfman. Link to comment Share on other sites More sharing options...
King Mark 3,625 Posted December 14, 2018 Share Posted December 14, 2018 too bad we don't have the threads on this, but there were doubters But I remember it took a little while before Williams was confirmed to have written the Teaser misic Link to comment Share on other sites More sharing options...
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