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THE ORVILLE - Music Discussion (Bruce Broughton, Joel McNeely, John Debney, Andrew Cottee)

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I absolutely love the bombastic Debney stuff, especially "Alara Hallucinates / Deserted Ship" at 4:54. I have no issues with the Goldsmith/Horner/Silvestri homages. I still get goosebumps at 6:20, even though it sounds straight out of Predators lol

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12 hours ago, Thor said:

I completely agree with your assessment of these scores. I find them highly enjoyable to listen to, with or without the visuals. Hopefully it was a good enough commercial succes to motivate them to release other seasons.

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I forgot to mention. There's actually only 1 thing that bothers me a little with the score for the last episode, Mad Idolatry. At 1:25 or so of the track Searching the planet, Mcneely uses the exact notes heard at 0:16 of the track Leaving Home from STM. Even the rhythm is basically similar. I don't mind the hommages, but to me this one seems a little too close.

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I felt similarly about the V'ger music homages early on in "If the Stars Should Appear"...McNeely adds in the new motif here and there, but it's overall identical to what Goldsmith wrote for TMP. It's kinda a shame because I know he could have done something great on his own without the temp track. His climactic cue from the episode is just incredible, and it's a total Goldsmith homage that evokes First Contact very strongly (but does not directly ape, like the earlier cue did with TMP).

 

Yavar

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Finally getting to listen to all of this... Awesome TV scores here! 

 

As I mentioned in the other thread. We all know temp tracks are obviously used here but... Did I just hear Horners Danger motif in the track "Alara Gets the Cold Shoulder"?

 

Either way doesn't matter The more of this they make the happier I will be :)

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AWESOME!

 

orv-event-flyer-4-web.jpg

 

 

 

Quote

L.A. AREA FANS! FREE "THE MUSIC OF THE ORVILLE" LIVE EVENT & COMPOSER SIGNING: Wednesday, 4/17, 7:30pm, Harmony Gold Theater on Sunset Blvd in Los Angeles, CA. Join composers Bruce Broughton, Joel McNeely, John Debney and Andrew Cottee, and series star/creator Seth MacFarlane for an in-person discussion and Q&A about the incredible music from the hit show! Composer CD signing to follow the Q&A.

 

https://lalalandrecords.com/free-the-music-of-the-orville-live-event-composer-signing/

 

 

Quote
L.A. AREA FANS! FREE "THE MUSIC OF THE ORVILLE" LIVE EVENT/COMPOSER SIGNING: Wednesday, 4/17, 7:30pm, Harmony Gold Theater on Sunset Blvd.

About this Event

L.A. AREA FANS! FREE "THE MUSIC OF THE ORVILLE" LIVE EVENT & COMPOSER SIGNING: Wednesday, 4/17, 7:30pm, Harmony Gold Theater on Sunset Blvd in Los Angeles, CA. Join composers Bruce Broughton, Joel McNeely, John Debney and Andrew Cottee, and series star/creator Seth MacFarlane for an in-person discussion and Q&A about the incredible music from the hit show! Composer CD signing to follow the Q&A.

RESERVE YOUR TICKET NOW!

Please... ONLY obtain a ticket if you are ABSOLUTELY coming to the event.

TICKET A: COMPLIMENTARY ADMISSION TICKET - There is no charge for this ticket. Each ticket is an individual ticket for one person You must bring your eventbrite printed ticket to the venue. Seating is general admission.

TICKET B: COMPLIMENTARY ADMISSION / CD AUTOGRAPH TICKET: $22 - There is no charge for this ticket, but a $22 purchase of THE ORVILLE SEASON ONE (2-CD SET) is added so that you may get your CD autographed by the composers scheduled to attend. You MUST bring your eventbrite printed ticket to the venue.Seating is general admission and you will receive your CD upon check-in at the venue.

NOTE: Only attendees with TICKET B can have their CD signed at the event. NO additional items will be allowed for autographs - only THE ORVILLE SEASON ONE CDs purchased as part of TICKET B will be autographed at this event. No exceptions.

 

https://www.eventbrite.com/e/free-the-music-of-the-orville-live-event-composer-signing-tickets-59645168304

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Some pics from the La La Land Orville music panel last night

 

Also a write-up:

 

Quote

One of the questions from fans at the end was “when is the Orville movie coming out?” To which Seth laughed & said, “one step at a time, we gotta do Season 3 first!” Chances are he meant we gotta get season 3 first but I’m foolishly hopeful that it’s good news.

 

It was a good panel. Showed clips from the show then talked to the composers about it. Their styles & inspirations & how lucky they are that Seth lets them be.

A few of takeaways:

- the two part episodes had different composers due to time & schedule. But they ended up sounding similar by accident. The two never had time to talk to each other about it

 

- except for the pilot they aren’t really able to get thematic excerpts from each other. So they mostly reuse the Orville theme & don’t have individual character themes

- Fox wasn’t big on the idea of live musicians but Seth wore them down once they realized how big of a deal it was to him.

 

- After seeing the clip of Isaac returning from his 700 years on the planet Seth joked about how they got a bigger budget for costumes in season 2.

- the composers love how Seth lets them do their own thing & take advantage of ship shots, etc. “It’s nice to be able to write melodies again & not just atmospheric music” one of the composers said

- except for Andrew (who Seth met during his singing albums) the other composers were film score heroes to Seth (used to collect film score albums in college) who was surprised they said yes when he asked if they wanted the job. Andrew technically didn’t have the experience but Seth knew that “if you can write you can write” (like they have one script writer on the show from Friday Night Lights who had never done sci-fi before but he said she knocks it out of the park every time) & knew the guy was good. So while it was a leap of faith it was only a tiny one.

 

- one question from the audience was if Ron Jones was ever considered. While Seth sung Ron’s praises he really didn’t answer that question but instead said how composers are cast like actors are cast for a show.

- Andrew occasionally works without a click track. He’ll use it for action scenes where music has to hit but for other moments he’ll free conduct during the record so the music can feel & flow with the scene better

- the composers have to compose without any of the FX due to schedule. So most of the time they’ll see the characters reacting to something out the window of the ship as the actor staring at a green screen. The scoring stage is the first time they see any visual effects - though only about 75% of the way done. It’s often a “ahhhh” moment to see how their guessing works in conjunction. So far it’s been rare that their swells & hits are late due to guessing but it happens. But it can be fixed.

- scoring session times vary widely due to the amount of music in each episode being different. Also type of music (conversation Vs action) can change the length as well.

- (slight spoiler) the last episode of this season has some intense music in it. It was one of the longest scoring sessions, not because of any mistakes while playing, but because of how much of it there was

- a lot of the cinematic moments with music on the show are thanks to Fox allowing them to have a longer show with fewer commercial breaks. Normally those would have to be trimmed or cut for time but they get to have “shoe leather.”

- on this show they (especially Andrew) try to dip the music themselves for dialogue instead of having the mixer do it. Any brass will drop out & woodwinds will take over. It’s a pet peeve of Andrew to hear when the mix drops instead of the music doing so naturally so they try to do that

- Don’t make fun of the projectionist & the 20 second delay (of the theatre not the show)

- to get approved Bruce sent over the theme song as a piano only track (instead of an orchestral computerized mock-up). They figured that if the piano alone could sell the piece then they truly had something memorable.

- the theme song came first then the FX, animators & editors did their thing to time everything like the final engines to the music. Usually it’s the other way around

- the theme changes keys & moves around the keyboard a lot to symbolize the ship exploring & moving around space.

- they only discussed season 1 music since that’s what was on the CD

- Seth wasn’t happy that Fox puts a blanket compressor on the audio tracks for broadcast since it changes the sound of the music but it’s what they do for every show on the network as a rule. If you want to hear the real untouched sound for an episode watch it on Hulu or AppleTV. (Or buy the La La Land Records CD!)

- I didn’t get an autograph since I didn’t pay for the higher up ticket. I brought my CD from home anyway hoping maybe I could get one but no. They had it separated

- when composing for the “flatland” scene the composer didn’t know what it would look like due to lack of visual FX. And at the time Seth didn’t know either to tell him because it hasn’t been decided yet. So sometimes the composers have to rely & guess from the script since they can’t always see or know what it will look like.

 

https://www.reddit.com/r/TheOrville/comments/bemph4/some_pics_from_last_nights_music_of_the_orville/

 

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icon1.gif  Posted:   Mar 27, 2019 - 3:08 PM    Report Abuse Reply to Post
   By:   La La Land Records   (Member)

The Orville Season 2 is hopefully coming from us this summer. 
MV

 

For those who wanted it directly...much less of a wait than for the season 1 album. I *really* hope this is a three disc set this time, since there are two more episodes and some have very extensive scores!

 

Yavar

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It's always great to hear someone like Seth, who is high up in the world of media, talking about their love of film and tv scores. It makes me optimistic that someone with Seth's influence and talent is still a guardian of great orchestral music for media.

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For anyone interested, La-la Land is releasing a vinyl edition of the Season 1 OST on August 13th

 

https://filmscoremonthly.com/board/posts.cfm?threadID=67395&forumID=1&archive=0&pageID=44&r=448#bottom

 

Still no word on a Season 2 OST (haven't heard of anyone having a promo, either)

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Quote

orvilles1-lp-announcement-web.jpg

LA-LA LAND RECORDS PRESENTS NEW RELEASES: Tues, 12 noon (PST) JULY 30, 2019

New Releases available to order at www.lalalandrecords.com
Tues, 12 noon (PST) JULY 30, 2019

THE ORVILLE LAUNCHES ON VINYL!

THE ORVILLE – ORIGINAL SERIES SOUNDTRACK: SEASON 1
VINYL 2XLP
Music by Bruce Broughton, Joel McNeely, John Debney and Andrew Cottee
RETAIL PRICE: $34.98
STARTS SHIPPING JULY 30

Order at www.lalalandrecords.com starting 7/30 at 12noon (pst)

La-La Land Records, 20th Century Fox TV Records and 20th Century Fox Television present THE ORVILLE – ORIGINAL TELEVISION SOUNDTRACK: SEASON 1, music by Bruce Broughton, Joel McNeely, John Debney and Andrew Cottee. This deluxe 2XLP presentation contains the astounding orchestral score highlights from the first season of the acclaimed hit television series. Thematic, dramatic, suspenseful and full of heart and wonder, these soaring episode scores are vital to THE ORVILLE’S missions, as its ship’s crew, both human and alien, face the wonders and dangers of outer space, while also dealing with the problems of everyday life. Produced by Dan Goldwasser, Bruce Broughton, Joel McNeely, John Debney and Andrew Cottee, this 2XLP 180 gram, white colored vinyl presentation is mastered for vinyl by Chris Bellman at Bernie Grundman Mastering, manufactured by Erika Records, and is art designed by Goldwasser, with liner notes by writer Jeff Bond.

TRACK LISTING:

SIDE A
1. The Orville Main Title 1:04
Composed by Bruce Broughton

OLD WOUNDS (1LAB01) Composed by Bruce Broughton
2. Shuttle to the Ship / She Requested It /Departing for Landing / Krill Attack / Asking Kelly to Stay 7:08

IF THE STARS SHOULD APPEAR (1LAB02) Composed by Joel McNeely
3. Exploring the Bio-Ship 2:43
4. Dorahl / The Roof Opens* 4:05

COMMAND PERFORMANCE (1LAB03) Composed by John Debney
5. Distress Signal Received / Alara Freaks Out / Approaching Calivon 4:41
6. Extermination Process Continues / Bortus Hatches His Egg 2:39
TOTAL SIDE TIME: 22:25

SIDE B
ABOUT A GIRL (1LAB04) Composed by Joel McNeely
1. Western Simulation 1:01
2. Arriving on Moclus 1:42
3. Trip to the Mountains 2:15
4. Epilogue 2:35

PRIA (1LAB05) Composed by John Debney
5. Rescuing Pria* / Searching Pria’s Room 4:38
6. Pria’s Theme 1:41

KRILL (1LAB06) Composed by Joel McNeely
7. Krill Attack the Orville / Intruder Alert / Preparing the Weapon 5:08
8. Turning on the Lights / New Enemies 2:29
TOTAL SIDE TIME: 21:39

SIDE C
MAJORITY RULE (1LAB07) Composed by John Debney
1. John Gets Arrested 1:14
2. Bringing Lysella Aboard / Casting the Votes / Their World Can Do Better 6:13

INTO THE FOLD (1LAB08) Composed by Joel McNeely
3. Sucked In 2:44
4. The Attack 1:55
5. Claire Thanks Isaac 1:22

CUPID’S DAGGER (1LAB09) Composed by John Debney
6. Archaeologist Arrives / Claire Visits Yaphit / Claire Kisses Yaphit 3:12
7. War Before Peace / Cleared for Duty / Darulio Departs 2:51
TOTAL SIDE TIME: 19:54

SIDE D
FIRESTORM (1LAB10) Composed by John Debney
1. Plasma Storm / It Was Late Evening / Deserted Ship 5:09
2. Cannot End Simulation / Back to Normal 3:05

NEW DIMENSIONS (1LAB11) Composed by Andrew Cottee
3. Damage Report / What Happened to the Plants? 2:00
4. Within the Anomaly / Time to Reflect / Quantum Bubble Is Deteriorating 2:25
5. Mission Complete / Commander Lamarr 2:48

MAD IDOLATRY (1LAB13) Composed by Joel McNeely
6. Investigating an Anomaly 1:09
7. Searching the Planet 2:38
8. Isaac Steps Up / Civilization Restored 3:14

9. The Orville End Titles 0:34
Composed by Bruce Broughton
TOTAL SIDE TIME: 23:05

TOTAL ALBUM TIME: 87:00
*contains "Theme from The Orville" composed by Bruce Broughton

 

https://lalalandrecords.com/orville-the-original-television-soundtrack-season-1-vinyl-2xlp/

 

So it's shorter than the CD edition but many tracks are configured in different ways, possibly releasing some new clean openings

 

https://docs.google.com/spreadsheets/d/11G_A8bMDZ9Y4U2jvI5gNexh4kBIco_rfPvOGuG80srA/edit?usp=sharing

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