Intersection Scene from WotW and "Hidden Treasures and the City of Gold" from KotCS
Ah, yes. Although he obviously takes the passage in different directions, it starts out nearly identically.
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Posted by Datameister
on 17 May 2013 - 05:29 AM
Intersection Scene from WotW and "Hidden Treasures and the City of Gold" from KotCS
Posted by Datameister
on 06 April 2013 - 05:29 AM
I have a question, (seems most suitable for this topic). How much of the final score is actually written in by JW? For example, his wealth of exquisite scalic flute passages that can be found in almost all of his conventional scores (most prevalent to me in E.T) - are they all written in directly by him, or do his orchestrators add some of them? I only ask because that has to be one of my favourite aspects of JW orchestrations; the sublime woodwind parts that are completely unique to his style. That and the glockenspiel
The others are correct when they say that it's all Williams. When working on a film score, he indeed writes an average of 1 or 2 minutes a day, sitting at the piano with a pencil and a sheet of eight-staff sheet music sketch paper. The sketches include or imply 99% of the information found in the final score, including every note of the flourishes you're talking about. Now, in order to be able to write at a sufficient speed, he does use some shorthand and so forth. For instance, those flourishes and scales and runs usually end up using nearly the entire woodwind section, with octave doublings and voicings that are pretty straightforward. Williams will typically write out just a single octave with the direction WIND above it, allowing the orchestrator for that cue to divide it all up appropriately. It's not that Williams isn't capable of doing this on his own - on the contrary, he does his own orchestration when time permits. It's just that there's a fair amount of nitty-gritty stuff like that to do in a short period of time, stuff that's more about technical expertise than creativity. In other words, no matter which of Williams' orchestrators takes care of a given cue, it's still gonna end up sounding the same, because all the information is there (in some form) in the sketch.
Now, there are occasional exceptions. But it's usually pretty hard to know whether the changes were made by the orchestrator or by Williams making a suggestion after the sketch was finished. And those changes are typically pretty minor.
Long story short, it's all Williams! ![]()
Posted by Datameister
on 02 April 2013 - 04:21 PM
I like what Maurizio said about this theme, which I find to be among the most brilliant elements of this score.
Posted by Datameister
on 15 March 2013 - 02:23 AM
Posted by Datameister
on 12 February 2013 - 06:27 PM
Posted by Datameister
on 02 February 2013 - 02:55 PM
John Williams is a hack. We all know it. He stole most of his material from Lord Zimmer.
Posted by Datameister
on 31 January 2013 - 03:13 AM
You know I also heard John Williams MIGHT compose the music for Harry Potter and the Deathly Hallows Part 2... if his schedule allows it. Let's pray it happens, people! I think it really might. Maybe Yates will let him score an early cut!
Posted by Datameister
on 23 January 2013 - 07:56 AM
Posted by Datameister
on 17 January 2013 - 03:42 AM
Posted by Datameister
on 17 December 2012 - 12:03 AM
I can't imagine what it must be like, never having heard The End Of All Things on the big screen.
Posted by Datameister
on 14 December 2012 - 07:41 AM
Posted by Datameister
on 11 December 2012 - 04:55 AM
This is an interesting topic. I'm listening to Home Alone a lot these days (holiday season), one of my favorite scores. There are so many variations of the celeste sound in there, and I've always been curious what's synth and what's not.
Posted by Datameister
on 09 December 2012 - 08:34 AM
Posted by Datameister
on 24 November 2012 - 05:29 AM
Posted by Datameister
on 06 November 2012 - 03:50 PM
Jedi Master and his Apprentice?
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