Edited by Josh500, 19 September 2011 - 07:04 PM.
The Adventures of Tintin: The Secret Of the Unicorn by John Williams
Started by Jason LeBlanc, Aug 01 2011 08:31 PM
441 replies to this topic
#201
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Posted 19 September 2011 - 07:04 PM
But anyway, I can't believe it's only another month till we get a new JW album! Boy, I hope time passes quickly.
#202
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Posted 25 September 2011 - 09:31 AM
Hey guys, found something over at imdb.
When you look for Cast and Crew of Tintin and scroll down you already find a short Music Department list:
http://www.imdb.com/...ullcredits#cast
Odd thing is that it states a guy named Alejandro de la Llosa as orchestrator alongside Conrad Pope.
If you look further at his credits it seems that he is orchestrating a lot for Remote Control composers like Zimmer!
I do not hope that Spielberg wants the Zimmer-sound for Johnnys score
When you look for Cast and Crew of Tintin and scroll down you already find a short Music Department list:
http://www.imdb.com/...ullcredits#cast
Odd thing is that it states a guy named Alejandro de la Llosa as orchestrator alongside Conrad Pope.
If you look further at his credits it seems that he is orchestrating a lot for Remote Control composers like Zimmer!
I do not hope that Spielberg wants the Zimmer-sound for Johnnys score
#203
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Posted 25 September 2011 - 09:39 AM
Williams could not sound like Zimmer even if he wanted too, even if they put a gun to his head!
#204
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Posted 25 September 2011 - 09:57 AM
oh no
#205
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Posted 25 September 2011 - 10:04 AM
Don't worry KM.
The orchestrators for John Williams only ever do copyist work, and they have never had any impact on how a Williams score sounds.
that's what we have been told time and time again.
The orchestrators for John Williams only ever do copyist work, and they have never had any impact on how a Williams score sounds.
that's what we have been told time and time again.
#206
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Posted 25 September 2011 - 10:16 AM
Yes and it is very true. And I am sure an orchestrator can't stamp his own sound on the music even if he wants to. I can imagine that any composer would raise an eye brow if suddenly his action music would have all unisono horns and thick soup of bass drones instead of the woodwinds he wanted and wrote there originally. And that orchestrator would be pretty soon on the street looking for another job.Don't worry KM.
The orchestrators for John Williams only ever do copyist work, and they have never had any impact on how a Williams score sounds.
that's what we have been told time and time again.
Btw the guys has also orchestrated for Howard Shore. Not a merit to some of us but I think it is sure a lot more comforting than POTC 4 in the credit list.
Ars superior est vita hominum.
"We pop out and come into the world and music is there. We didn't invent it - it's all organised in the atmosphere by divinity or whatever. It's a miracle." - John Williams-
I think music is a stream of some kind. It could be blood. It could be water. It could be ether. Whatever it is it seems to be a living, organic force that’s in motion, that serves humanity and is part of humanity and part of what describes us as humans. We sing, play, dance, all the things that we do. And there is a vibrant and great literature we have been given. ... As musicians, we join the stream. We swim in the stream with all the other millions of music makers. It’s a life force, a strong one, surrounding us and we are part of it. -John Williams-
#207
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Posted 25 September 2011 - 10:31 AM
As I said this is very odd. When you look back the last ten years Williams always approached Conrad Pope, Eddie Karam or John Neufeld. Perhaps those at imdb made a mistake.
I am sure Williams is the last to sound like those clones at RC!!! He'll battle them with xylophone and flutes...
I am sure Williams is the last to sound like those clones at RC!!! He'll battle them with xylophone and flutes...
#208
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Posted 25 September 2011 - 10:42 AM
Yes it is more of a curiosity of why wouldn't JW hire his usual suspects. Could be any number of reasons, mostly that there could be conflicting schedules and I do not know if John Neufeld still works as his credits at IMDB end with Terminal in 2004.
Ars superior est vita hominum.
"We pop out and come into the world and music is there. We didn't invent it - it's all organised in the atmosphere by divinity or whatever. It's a miracle." - John Williams-
I think music is a stream of some kind. It could be blood. It could be water. It could be ether. Whatever it is it seems to be a living, organic force that’s in motion, that serves humanity and is part of humanity and part of what describes us as humans. We sing, play, dance, all the things that we do. And there is a vibrant and great literature we have been given. ... As musicians, we join the stream. We swim in the stream with all the other millions of music makers. It’s a life force, a strong one, surrounding us and we are part of it. -John Williams-
#209
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Posted 25 September 2011 - 10:43 AM
Perhaps those at imdb made a mistake.
I would never believe that!
You wouldn't see a subtle plan if it painted itself purple and danced naked on top of a harpsichord, singing "Subtle Plans Are Here Again."
#210
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Posted 25 September 2011 - 10:47 AM
I have sadly noticed that IMDB is an unreliable source at best, always needing corroborating evidence from other sources. I know it is a huge site with so much information but they should try to keep it as accurate as possible.
Perhaps those at imdb made a mistake.
I would never believe that!
Ars superior est vita hominum.
"We pop out and come into the world and music is there. We didn't invent it - it's all organised in the atmosphere by divinity or whatever. It's a miracle." - John Williams-
I think music is a stream of some kind. It could be blood. It could be water. It could be ether. Whatever it is it seems to be a living, organic force that’s in motion, that serves humanity and is part of humanity and part of what describes us as humans. We sing, play, dance, all the things that we do. And there is a vibrant and great literature we have been given. ... As musicians, we join the stream. We swim in the stream with all the other millions of music makers. It’s a life force, a strong one, surrounding us and we are part of it. -John Williams-
#211
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Posted 25 September 2011 - 11:06 AM
Yes it is more of a curiosity of why wouldn't JW hire his usual suspects. Could be any number of reasons, mostly that there could be conflicting schedules and I do not know if John Neufeld still works as his credits at IMDB end with Terminal in 2004.
I also guess this has something to do with scheduling conflicts. I mean, Pope probably wasn't available ALL the time over the last two(???) years JW was writing/changing the music. After all Pope was also busy orchestrating for Desplat and writing his own scores... and Karam was working on War Horse and as you said Neufeld most likely has retired.
#212
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Posted 25 September 2011 - 02:08 PM
Hey guys, found something over at imdb.
When you look for Cast and Crew of Tintin and scroll down you already find a short Music Department list:
http://www.imdb.com/...ullcredits#cast
Odd thing is that it states a guy named Alejandro de la Llosa as orchestrator alongside Conrad Pope.
If you look further at his credits it seems that he is orchestrating a lot for Remote Control composers like Zimmer!
I do not hope that Spielberg wants the Zimmer-sound for Johnnys score
People, don't get paranoid over this kind of things. Orchestrators are guns-for-hire, they only do what they're requested for. It's likely that Alejandro de la Llosa is part of the team of people who generally work with Conrad Pope (who himself has orchestrated also for RC's people).
Tintin will be a John Williams' score from beginning to the end, don't worry.
"It's still baffling to me. I sit down with a pencil and a piece of paper and do my best... The remarkable thing is that my music is heard by billions of people." --John Williams
"Let me say, however, there is no "next" John Williams. Sadly, he is unique--- a figure who simultaneously embodies and transcends the music of all the masters of film music who preceded him (much like Brahms and Wagner of the Romantic era). He comes from a time when the craft of music in film was still one of the ear, heart and mind. Today, sadly, the craft is largely technical. Most composers do not conceive their music "inwardly" but rather at the computer--- and with rather limited skills, musically, at that. The inner spirit knows no boundaries--- our plastic abilities, sadly, do. John is a man of spirit, heart, intellect and soaring music." -- Conrad Pope about John Williams
"Let me say, however, there is no "next" John Williams. Sadly, he is unique--- a figure who simultaneously embodies and transcends the music of all the masters of film music who preceded him (much like Brahms and Wagner of the Romantic era). He comes from a time when the craft of music in film was still one of the ear, heart and mind. Today, sadly, the craft is largely technical. Most composers do not conceive their music "inwardly" but rather at the computer--- and with rather limited skills, musically, at that. The inner spirit knows no boundaries--- our plastic abilities, sadly, do. John is a man of spirit, heart, intellect and soaring music." -- Conrad Pope about John Williams
#213
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Posted 25 September 2011 - 02:20 PM
Hey guys, found something over at imdb.
When you look for Cast and Crew of Tintin and scroll down you already find a short Music Department list:
http://www.imdb.com/...ullcredits#cast
Odd thing is that it states a guy named Alejandro de la Llosa as orchestrator alongside Conrad Pope.
If you look further at his credits it seems that he is orchestrating a lot for Remote Control composers like Zimmer!
I do not hope that Spielberg wants the Zimmer-sound for Johnnys score
People, don't get paranoid over this kind of things. Orchestrators are guns-for-hire, they only do what they're requested for. It's likely that Alejandro de la Llosa is part of the team of people who generally work with Conrad Pope (who himself has orchestrated also for RC's people).
Tintin will be a John Williams' score from beginning to the end, don't worry.
POTC The Curse Of The Black Pearl was orchestrated by Conrad Pope
, if I'm not wrong.
"I get asked all the time, 'What happens after Return of the Jedi?,' and there really is no answer for that. The movies were the story of Anakin Skywalker and Luke Skywalker, and when Luke saves the galaxy and redeems his father, that's where that story ends."
- George Lucas
- George Lucas
#214
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Posted 25 September 2011 - 04:16 PM
Awesome. Cant wait to hear Tintin's awesome synth theme!
#215
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Posted 25 September 2011 - 04:35 PM
POTC The Curse Of The Black Pearl was orchestrated by Conrad Pope
Surely one of his proudest achievements.
You wouldn't see a subtle plan if it painted itself purple and danced naked on top of a harpsichord, singing "Subtle Plans Are Here Again."
#216
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Posted 25 September 2011 - 04:46 PM
That score was mint!
Karol
Karol
From a storytelling point of view, from a directing point of view, there is one thing I associate with what he does, which is calm. There is such an inherent calm and inherent trust of the one powerful image, that he makes me embarrassed with my own work, in terms of how many different shots, how many different sound effects, how many different things we’ll throw at an audience to make an impression. But with Kubrick, there is such a great trust of the one correct image to calmly explain something to audience. There can be some slowness to the editing. There’s nothing frenetic about it. It’s very simple. There’s a trust in simple storytelling and simple image making that actually takes massive confidence to try and emulate.
- Christopher Nolan
#217
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Posted 25 September 2011 - 04:56 PM
No. POTC The Curse Of The Black Pearl was orchestrated by Synth N°4.POTC The Curse Of The Black Pearl was orchestrated by Conrad Pope
#218
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Posted 25 September 2011 - 05:03 PM
Wasn't de la Llosa the guy who conducted a couple of cues? I remember I read a report on that some time ago...
If you start taking yourself seriously, then you’re in deep trouble! - Jerry Goldsmith
#219
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Posted 25 September 2011 - 05:18 PM
From a storytelling point of view, from a directing point of view, there is one thing I associate with what he does, which is calm. There is such an inherent calm and inherent trust of the one powerful image, that he makes me embarrassed with my own work, in terms of how many different shots, how many different sound effects, how many different things we’ll throw at an audience to make an impression. But with Kubrick, there is such a great trust of the one correct image to calmly explain something to audience. There can be some slowness to the editing. There’s nothing frenetic about it. It’s very simple. There’s a trust in simple storytelling and simple image making that actually takes massive confidence to try and emulate.
- Christopher Nolan
#220
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Posted 25 September 2011 - 05:22 PM
Dear God. Some of you guys are really overthinking this.
Two orchestrators are credited, but Alejandro de la Llosa probably only did a short source music.
I couldn't care less. It's not like it says all of a sudden "Music Composed and Conducted by John Williams and Alejandro de la Llosa."
Two orchestrators are credited, but Alejandro de la Llosa probably only did a short source music.
I couldn't care less. It's not like it says all of a sudden "Music Composed and Conducted by John Williams and Alejandro de la Llosa."
#221
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Posted 25 September 2011 - 05:45 PM
But POTC isn't a symphonic score
POTC The Curse Of The Black Pearl was orchestrated by Conrad Pope
Surely one of his proudest achievements.
"I get asked all the time, 'What happens after Return of the Jedi?,' and there really is no answer for that. The movies were the story of Anakin Skywalker and Luke Skywalker, and when Luke saves the galaxy and redeems his father, that's where that story ends."
- George Lucas
- George Lucas
#222
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Posted 25 September 2011 - 06:27 PM
That was Gustavo Dudamel.
Karol
Aaahh, I see... Well, we could always ask Conrad Pope about this new guy. Maybe Williams likes his work and decided to give him a shot, who knows?
If you start taking yourself seriously, then you’re in deep trouble! - Jerry Goldsmith
#223
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Posted 25 September 2011 - 06:38 PM
Obviously John Williams is employing South Americans because they will work for next too nothing and clean his pool...
#224
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Posted 25 September 2011 - 07:39 PM
Obviously John Williams is employing South Americans because they will work for next too nothing and clean his pool...
Ahem...
If you start taking yourself seriously, then you’re in deep trouble! - Jerry Goldsmith
#225
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Posted 25 September 2011 - 07:48 PM
Ah Michael, yes, I wanted to talk to you about the dust I noticed on the JWFan-banner.
#226
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Posted 25 September 2011 - 07:54 PM
Its political correctness gone mad.
#227
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Posted 25 September 2011 - 09:27 PM
If that bothered me as much, I would have been long gone.
Karol
Karol
From a storytelling point of view, from a directing point of view, there is one thing I associate with what he does, which is calm. There is such an inherent calm and inherent trust of the one powerful image, that he makes me embarrassed with my own work, in terms of how many different shots, how many different sound effects, how many different things we’ll throw at an audience to make an impression. But with Kubrick, there is such a great trust of the one correct image to calmly explain something to audience. There can be some slowness to the editing. There’s nothing frenetic about it. It’s very simple. There’s a trust in simple storytelling and simple image making that actually takes massive confidence to try and emulate.
- Christopher Nolan
#228
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Posted 25 September 2011 - 11:45 PM
You are Polish right?
That's the European, EU regulated version of the Mexican illegal immigrant.
That's the European, EU regulated version of the Mexican illegal immigrant.
#229
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Posted 26 September 2011 - 05:32 AM
That's more like it! I feared you started to mellow with age.
Karol
Karol
From a storytelling point of view, from a directing point of view, there is one thing I associate with what he does, which is calm. There is such an inherent calm and inherent trust of the one powerful image, that he makes me embarrassed with my own work, in terms of how many different shots, how many different sound effects, how many different things we’ll throw at an audience to make an impression. But with Kubrick, there is such a great trust of the one correct image to calmly explain something to audience. There can be some slowness to the editing. There’s nothing frenetic about it. It’s very simple. There’s a trust in simple storytelling and simple image making that actually takes massive confidence to try and emulate.
- Christopher Nolan
#230
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Posted 26 September 2011 - 05:58 AM
On a Tintin subject it is less than a month to the soundtrack release in Europe and still no information. Sony is really keeping this under their hat. No track list or anything has appeared.
Ars superior est vita hominum.
"We pop out and come into the world and music is there. We didn't invent it - it's all organised in the atmosphere by divinity or whatever. It's a miracle." - John Williams-
I think music is a stream of some kind. It could be blood. It could be water. It could be ether. Whatever it is it seems to be a living, organic force that’s in motion, that serves humanity and is part of humanity and part of what describes us as humans. We sing, play, dance, all the things that we do. And there is a vibrant and great literature we have been given. ... As musicians, we join the stream. We swim in the stream with all the other millions of music makers. It’s a life force, a strong one, surrounding us and we are part of it. -John Williams-
#231
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Posted 26 September 2011 - 07:12 AM
Obviously John Williams is employing South Americans because they will work for next too nothing and clean his pool...
Ahem...
Steef is known as a racist. Don't worry.
On a Tintin subject it is less than a month to the soundtrack release in Europe and still no information. Sony is really keeping this under their hat. No track list or anything has appeared.
Track listings of soundtracks are released approximately 2-3 weeks before the release of the CD, aren't they?
#232
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Posted 26 September 2011 - 07:32 AM
But I want it NOW!!! I want everything now, immediately, today!
On a Tintin subject it is less than a month to the soundtrack release in Europe and still no information. Sony is really keeping this under their hat. No track list or anything has appeared.
Track listings of soundtracks are released approximately 2-3 weeks before the release of the CD, aren't they?
Ars superior est vita hominum.
"We pop out and come into the world and music is there. We didn't invent it - it's all organised in the atmosphere by divinity or whatever. It's a miracle." - John Williams-
I think music is a stream of some kind. It could be blood. It could be water. It could be ether. Whatever it is it seems to be a living, organic force that’s in motion, that serves humanity and is part of humanity and part of what describes us as humans. We sing, play, dance, all the things that we do. And there is a vibrant and great literature we have been given. ... As musicians, we join the stream. We swim in the stream with all the other millions of music makers. It’s a life force, a strong one, surrounding us and we are part of it. -John Williams-
#233
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Posted 26 September 2011 - 07:36 AM
We will get things in this order:
1. cover art
2. track listings
3. samples
4. actual CD you can hold in your hands
We might get 1 and 2 simultaneously.
Dammit, I am obsessive!
1. cover art
2. track listings
3. samples
4. actual CD you can hold in your hands
We might get 1 and 2 simultaneously.
Dammit, I am obsessive!
#234
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Posted 26 September 2011 - 08:21 AM
We will get things in this order:
1. cover art
2. track listings
3. samples
4- Rapidshare release
5. actual CD you can hold in your hands
We might get 1 and 2 simultaneously.
Dammit, I am obsessive!
1. cover art
2. track listings
3. samples
4- Rapidshare release
5. actual CD you can hold in your hands
We might get 1 and 2 simultaneously.
Dammit, I am obsessive!
#235
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Posted 26 September 2011 - 08:31 AM
I was listing only the legal, official stuff.
#236
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Posted 26 September 2011 - 08:35 AM
I do wonder if people who listen to "regular" music use the less than legal means of getting the album of their favourite artist before the release in their country? Or is it just us, the compulsive, the obsessive and the mad.
Ars superior est vita hominum.
"We pop out and come into the world and music is there. We didn't invent it - it's all organised in the atmosphere by divinity or whatever. It's a miracle." - John Williams-
I think music is a stream of some kind. It could be blood. It could be water. It could be ether. Whatever it is it seems to be a living, organic force that’s in motion, that serves humanity and is part of humanity and part of what describes us as humans. We sing, play, dance, all the things that we do. And there is a vibrant and great literature we have been given. ... As musicians, we join the stream. We swim in the stream with all the other millions of music makers. It’s a life force, a strong one, surrounding us and we are part of it. -John Williams-
#237
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Posted 26 September 2011 - 08:37 AM
It's not us against the rest of the world, you know.
Some do, some don't.
But generally, I would think that, if somebody admires an artist very much (regardless of whether it's a film composer or pop singer or rock artist or boy band, etc.), they buy their official releases. Just to support them.
Some do, some don't.
But generally, I would think that, if somebody admires an artist very much (regardless of whether it's a film composer or pop singer or rock artist or boy band, etc.), they buy their official releases. Just to support them.
#238
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Posted 26 September 2011 - 08:48 AM
I think film music fans are truly a very special group among music fans. I have never encountered such industry, such attention to detail and minutiae than among us. We talk of milliseconds, crossfades, alternates, self-done edits etc. which is something I believe you don't encounter very much anywhere else in music fandom. This music by its nature welcomes besides the normal interest to hear good music a certain kind of obsessive interest that comes to fans who follow both film and music media. It is almost like half of the fun to some of us, the cataloguing of small details and making sure every second of music is on the release and worrying about it more than enjoying the music itself.It's not us against the rest of the world, you know.
Some do, some don't.
But generally, I would think that, if somebody admires an artist very much (regardless of whether it's a film composer or pop singer or rock artist or boy band, etc.), they buy their official releases. Just to support them.
And of course people want to support their favourite artists. I do not mean that we do not get e..g. Tintin CD when it comes out. I plan to get it ASAP. I meant that it would be interesting to know how much more film music fans traffic with "internet provided" materials compared to others.
Ars superior est vita hominum.
"We pop out and come into the world and music is there. We didn't invent it - it's all organised in the atmosphere by divinity or whatever. It's a miracle." - John Williams-
I think music is a stream of some kind. It could be blood. It could be water. It could be ether. Whatever it is it seems to be a living, organic force that’s in motion, that serves humanity and is part of humanity and part of what describes us as humans. We sing, play, dance, all the things that we do. And there is a vibrant and great literature we have been given. ... As musicians, we join the stream. We swim in the stream with all the other millions of music makers. It’s a life force, a strong one, surrounding us and we are part of it. -John Williams-
#239
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Posted 26 September 2011 - 08:59 AM
Many fans (though not all, by means) of classical music and operas also pay attention to the smallest details and minutiae...
But again, I am a film music fan too and I generally don't, and I don't think I am an exception. I just want to have every official JW release, and a few good unreleased cues as well, when they come my way.
But again, I am a film music fan too and I generally don't, and I don't think I am an exception. I just want to have every official JW release, and a few good unreleased cues as well, when they come my way.
#240
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- Location:Belgium
Posted 26 September 2011 - 09:29 AM
It's because, generally, when they release an opera, a symphony, or a regular music band album, it won't have left out tracks or micro-edited the music. Back when Casino Royale was released, I had hoped that more soundtracks would follow suit - release an album, edited for listening experience, and release the rest of the tracks digitally. But no.
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