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  1. 15 points
    Here's my attempt at isolating the choir that plays in The Intersection Scene using the two tracks from the new release. This sounds so creepy!
  2. 12 points
    Not to mention that very significant milestone anniversary in 2021........ It's so obvious now! ........
  3. 12 points
    From the moment the CDs arrived, were played, ripped onto our harddrives, they were doomed. They were undone, destroyed, after all of man's optical drives and devices had failed, by the tiniest scratches that plant workers in their wisdom put upon disc surfaces. Karol
  4. 11 points
    Just got my PhD yesterday, with grade "Excellent"! The defense was done via the internet eventually.. I'll upload the full thesis in a few days.
  5. 9 points
  6. 9 points
    To me, one of The Rise of Skywalker's most endearing qualities is the number of short, transient melodies and motifs that are heard just once or twice. These tend to be unrelated to the series's main catalogue of leitmotifs, and they aren't really set-piece themes either since they don't draw attention to themselves like "The Asteroid Field" or "Flag Parade" do. Nevertheless, I find these little one-offs quite essential to the overall warm, humane tone of this score as a whole. Here's a sample of what I'm talking about: Leia Trains Rey. Two distinct statements, at 0:10:33 and 0:13:24, neither on OST. Luke Trains Leia. Two distinct statements, one on OST (Track 6, 1:28) but cut from film, one in film (1:33:18) but cut from OST. Children's School. One statement, at 0:22:56, not on OST. Zorii's Farewell. One statement, on OST (Track 8, 0:24) and in film at 0:55:01. What do you all think? What other short, non-leitmotivic moments from Episode 9 caught your attention?
  7. 8 points
    Got my set! Here are the theme explanations from the booklet: Booklet names on the left, previously known as names on right Relationship between Hiccup and Toothless/Flight/Main Theme = Friendship/Flying Theme/"Test Drive" Friendship Arpeggio = Friendship Ostinato Viking Fun theme = Berk Theme (This is Berk, New Tail, Astrid Goes for a Spin) Viking Warrior Theme = Viking Theme (This Is Berk (Original Opening Version), Dragon Training) Viking Aspirational Tune/Enlightenment/Winds of Change = Hiccup's Theme (This is Berk, War Room, Kill Ring, Over) Love Theme = Romantic Flight Dragon Theme = Dragon Theme (This Is Berk, Dragons Den, Over / Less Okay, Wings, Counter Attack.) Fate Theme/Hope for the Future = Training Theme/See You Tomorrow Theme (Training Out There, See You Tomorrow, Ready / Confront)
  8. 7 points
    https://www.fpa.es/en/princess-of-asturias-awards/laureates/2020-ennio-morricone-and-john-williams.html?texto=discurso&especifica=0
  9. 7 points
    E-Wan

    Eiger Sanction: Due for a Remaster?

    Kyle Eastwood (Clint Eastwood's son) plays the jazz arrangement of music from The Eiger Sanction The track is from Kyle Eastwood's album Cinematic
  10. 6 points
    Some pics from the WAR OF THE WORLDS set at Universal, which I visited in 2010
  11. 6 points
    I made a simple transcription that may be useful. This is definitely quite unlike the usual accompaniment heard with Leia’s theme, which I think helps strengthen the likelihood this is an intentional allusion to Kylo’s theme:
  12. 5 points
    @Holko@A. A. Ron This Is Berk v5d This is the unreleased demo version using the Winds of Change theme over the Dreamworks logo https://drive.google.com/file/d/1gMCCtBo-EsVWa81aT4aaGqifdduQimSL/view?usp=sharing This Is Berk (With Original Opening Version) This is track 2 of the Varese deluxe edition, no edits required. https://drive.google.com/file/d/1o2qESzDPLFOP-It236wO2P7D-egOjHlO/view?usp=sharing Did Anybody See That? 1m6v3d Demo version of the film cue, some orchestrational differences (most notable is an extra trumpet for the cut to Hiccup running from the dragon on the hill.) https://drive.google.com/file/d/1MEjUkbzNpqEYeTsompetYngbCmTDQz4i/view?usp=sharing Training Out There The opening was dropped in the film, the film starts with the Winds of Change theme https://drive.google.com/file/d/1D69WOvzjxAqbCSPRKVaCmo0Q6uqj6L-i/view?usp=sharing
  13. 5 points
    In terms of re-recording entire scores, this may sound like blasphemy but I wouldn't mind the original Star wars slightly re-orchestrated for a 100 piece orchestra instead of the 70 piece they used (or whatever the numbers are) and re-recording it with the current LSO
  14. 5 points
  15. 5 points
    Hiccup and Toothless: 0:22 of "Test Drive" Friendship Arpeggio: 0:04 of "Test Drive" Viking Fun: 0:28 of "This Is Berk (Original Opening Version)", 2:01 of "New Tail", 0:00 of "Astrid Goes for a Spin" Viking Warrior: 0:03, 1:28 etc. of "This is Berk (Original Opening Version)", 0:00 of "Dragon Training" Viking Aspirational Tune/Winds of Change: 3:18 of "This Is Berk (Original Opening Version)", 0:05 of "War Room", 0:48 of "Training Out There", 0:06 of "Kill Ring", 1:37 of "Over". Love Theme: 3:01 of "This Is Berk (Original Opening Version)", 0:00 of "Romantic Flight" Dragon Theme: 4:22 etc. of "This is Berk (Original Opening Version)", 0:26 etc., 2:15 of "Dragon's Den", 0:13 etc. "Over / Less Okay", 0:06 etc. of "Wings", 0:41 etc. of "Counter Attack" Fate Theme: 1:04 of "Training Out There", 0:13 of "New Tail", 0:30 etc. of "See You Tomorrow", 1:33 of "Ready / Confront".
  16. 5 points
  17. 5 points
    Arpy

    The JWfan Arpy Art Thread

    It's been a while! Here's some things I've been working on: I started a sculpt of Gandalf last week and have spent most of my time working on it. Initially it was much stylised and cartoony, but now I'm pushing for more realism. I've pretty much finished the Tree/Deer creature from earlier in the year, and the girl riding the rabbit droid is part of a project I've been developing for a while now.
  18. 5 points
    To celebrate this expanded release I sat down and arranged Ray And Rachel for solo piano. Can't find time to nurture my YouTube channel, so here you go. WotW_3m4.pdf
  19. 5 points
    Since nobody seems to have posted any photos... I think it looks magnificent!
  20. 5 points
    Jay

    Star Wars Disenchantment

    I'm getting people reporting posts in this thread, and I'm flabbergasted. I don't know how many times I can point out that Mattriss is a troll, and the only reason this thread keeps going is BECUASE YOU ALL KEEP REPLYING TO HIS POSTS! if you ignore trolls, they go away and find some other place to annoy. If you engage with them, they will keep coming back and getting you worked up. I don't see any rule breaking in this thread, so I have no reason to issue any warnings or anything. Just a friendly reminder to everyone that A> You don't have to open this thread! You don't like what's in here? Read another thread! B> If you do read it, you don't have to respond! See something stupid? Just ignore it and move on with your life. It's just Star Wars guys. There's no reason to get so worked up about all this crap. What does any of this even matter?
  21. 5 points
    mstrox

    Star Wars Disenchantment

  22. 5 points
    karelm

    The Composer's Thread

    It's the 10 year anniversary of the premiere of my concert piece, "Ancient Dreams"! I learned so much through the experience of composing and performing in this work. It was an 18 minute tone poem for orchestra. The recording of the concert premiere was if I recall just stereo microphones with a high end pre-amp. I also recall that I had microphones at the back of the hall which I mixed in for reverb because the acoustics were nice. Here is an excerpt: https://clyp.it/atz2sy3i Some things I learned: 1. If you perform in the premiere of your own composition, you might want to make your part easier to play because you are extremely aware and distracted by everyone else's parts/mistakes and end up screwing up the very part you wrote for you! 2. It's not as bad as you remember it was. 3. I would do it very differently today but it's not worth changing it. It's part of your record, your history. 4. Be very careful of the dynamics you give to the glockenspiel. They smashed the hell out of the part and were constantly way too loud resulting in me always under playing them afterwords. I HATE how loud they played! It might also be a consequence of my mic placement which focused on them. 5. It's very important to understand the words of John Adams who said in his blog "Do not be surprised if at the first rehearsal of your music you don't recognize the work as being your own piece". Very, very true. A composer needs to have an out of body experience for the first few rehearsals because it sounds nothing like what you spent the past year writing! I recall a rehearsal where a percussionist got lost and were smashing away a bar off throughout! Eventually it will coalesce and maybe even surprise you. With a great orchestra, it will surpass your expectations! You'll hear things you never imagined in your own work! 6. Be flexible. I had written the work for a harp but at the last moment learned we had a second harpist and the piece needed to be revised to include two harps, not so common but a very welcome luxury to me. So I revised the harp part to accommodate 2 harps. I've experienced situations like this very frequently and in reverse too. In another work, I found out too late, we had a contrabassoon player which I would have loved to include. For my piece he sat out and only joined in the Brahms work.
  23. 5 points
    I’m not sure the difference is materially different to the FYC, but the expanded release sounds pretty spectacular, the horns have a gorgeous roundness to them, the moment when they play out the main theme in Test Drive at 40 seconds hasn’t sounded better (to pick up in another thread that’s one of my all time favourite moments of any score, very much a hairs on the back of the neck moment notwithstanding that I’ve listened to that track probably well over 100 times (indeed it’s one of my all time favourite cues alongside See You Tomorrow)). I think the mix has more air to the soundstage compared to the original album so the sonic upgrade in that regard is worth the investment. The additional cues round out the original selection nicely. Given how much I love this score I really feel I should know it better (possibly a side effect of not having seen the film in a long while) but there are several tracks that always take me by surprise. And some which will doubtless take some by surprise who are only familiar with the original album. Parts of relax/stroke/hell sound like they’ve escaped from an historical epic. I’m still in two minds about the song. Ans that’s said as a more than casual (but not fanatical) fan of Jonsi/Sigur Ros. However I think the other two are better, the second for the terrific way it’s mixed with extracts from Powell’s score and the third as its just a lovely song. Still glad to have it. But yeah. This is a great release. So great to have the full score in amazing sound. It’s not just the many memorable themes, but that so many of the cues function more or less as “proper” music with a beginning, middle and end and a dramatic arc within them as well as across the entire narrative of the score. Superb stuff.
  24. 5 points
    Thank you dearly, @Incanus. I'm so glad you're enjoying this. Check the latest episode with Mike Matessino discussing WAR OF THE WORLDS: https://thelegacyofjohnwilliams.com/2020/10/12/war-of-the-worlds-podcast/
  25. 5 points
    https://thelegacyofjohnwilliams.com/2020/10/12/war-of-the-worlds-podcast/ Also available as a YouTube video: Hope you'll like it, gents!
  26. 4 points
    i thought that Intrada released this? 😂
  27. 4 points
    There’s not enough detail to really discern anything other than just the general lengths of the words. But the look of these is consistent with the only glimpse I’ve ever seen of the bound sketches: Based on that, I’d say it’s more likely to be: STAR WARS THE RISE OF SKYWALKER MUSICAL SCORE And based on the size of those Black Sunday and Star Wars volumes, I’d venture all three of those pictured may be for TROS, given its length relative to the original (226 minutes recorded vs. 92).
  28. 4 points
    I love when MM references the intertextual in JW's scores, e.g. the above in context with Lost World (I think?) I was watching Jaws with one of my kids within a day of listening to the podcast, and this made me think about how music was used there too. There are many great unscored moments, the human to human dramas but also the death of Quint, which in a way might reflect his own pathetic human struggle and pulls away the myth around Quint's Tale, the Sea Hawk-like music, "Spanish Ladies," etc. My set arrived a few days ago and I've listened to the score presentation. Sound is as fantastic as I'd expected, if maybe slightly less of a revelation than MR. Listening now, AI, MR and WotW really feel like a musical and sonic trilogy. In some places, WW also feels like a continuation of the darker parts of RotS [EDIT: yes, @lemoncurd, I hear PoA too], and some of that quasi-operatic minor-mode and elegiac writing undermines the more abstract, brutalist content that potentially makes the score unique in this period of JW's work (or any period). There's a lot of Dies Irae bleeding out here and there. Blatant Rite of Spring/Jaws in the Intersection Scene, nice balance including the woodwinds but again it doesn't feel brutalist rather than a shot of a well-known syrup. The latter parts of Prologue/Closing Montage have a starry night flavour which references SW in a less overt way. I haven't seen the film since 2005 but do plan to revisit it. I appreciate having both the Freeman and no-Freeman options. I do like where JW stretches in tiny ways, e.g. in the last 23 seconds of Red Planet, the rising string glissandi from CE3K (referencing composer Iannis Xenakis) juxtaposed with the hammered two-note chord that opens John Adams's Harmonielehre (which Adams also brings back in Doctor Atomic, coincidentally in 2005). Truly spooky, and the improved sonics make it pop. Epilogue is still my favourite cue, for several reasons, including that it focuses on three trumpets played quietly which is a kind of a twist for JW in a blockbuster. It's really all about the tuning of that opening minor chord that is a drama of its own (that we aren't necessarily aware of on a conscious level); it's straining against the human convention of the equal temperament tuning system in a way that could suggest the breakdown of society after its destruction. On top of that, towards the end JW lets the three trumpets' lines drift in different directions and land on other unrelated minor chords (so JW) and interesting dissonances before returning to the original chord again. And in the last 90 seconds, after playing an elegy that is somewhere between the Epilogue from the re-recording of The Fury and Cybertronics from AI, there are the strings in the background, hanging on the two-note chord! JW at his best. There are lots of other great bits more in that "trilogy" vein, as well. But returning to this score, I was struck that (as with MR) it's not nearly as monochromatic and modernist out of context as I remembered.
  29. 4 points
    Falstaft

    Star Wars Disenchantment

    If that's what you had in mind -- measures 1-6 of 2M1 -- then I hate to say it but you're misremembering. The theme never reaches that Kylo-esque phrase, but instead completes the Emperor theme's first 4-measures in Gm and then modulates for a 2 measure partial statement in Fm. And this kind of reworking of the leitmotif is characteristic.There is not one rendition of the Emperor's theme through the PT that has the relevant concluding phrase. Quite the contrary, we of all people, knowing full well the often ad-hoc nature of Williams's scoring style and the limits of his memory, should be more skeptical of these purported "deep" connections than the average listener. We all know the famous examples of, shall we say, thematic amnesia in his corpus. But I'll add that, when I asked him last summer how he keeps all his motifs straight across these 9 films, he said that he tries but doesn't always succeed. (He went on to give an amusing anecdote about mixing up a few of his character themes while scoring 1941 and, when he apologized to Spielberg, he laughed and said he didn't notice or care).
  30. 4 points
    Naïve Old Fart

    Star Wars Disenchantment

    Did you know that MATTRIS is an anagram of RAM TITS? Just saying...
  31. 4 points
    Holko

    Star Wars Disenchantment

    I can confirm hungarian minors can be very evil indeed.
  32. 4 points
    Falstaft

    Star Wars Disenchantment

    Oh, I wouldn't say that. @Manakin Skywalker pointed out, correctly, that Williams tends to use the same scale for villains -- C-D-Eb-F#-G-Ab-B, sometimes called Hungarian Minor, among other things. This is accurate, about as far from "musically illiterate" as imaginable. And it's also something that plenty of others have noted at numerous junctures on this board. Williams uses this scale -- and in particular the flanking of ^5 with ^#4 and ^b6 -- all the time. Just off the top of my head, we have: Kylo Ren's main motif, Anthem of Evil, Knights of Ren, Secret of the Scrolls, Evil Giants in BFG, Peter Pettigrew, Chamber of Secrets, Philosopher's Stone, Voldemort (both themes), Wet Bandits, "I Have Long Feared" from The Patriot, Smee, Pankot Palace, Sankara Stones, and many others I'm sure... No one is disputing that the last phrase of the Emperor's Theme is mirrored--quite uncannily, if inexactly--in Kylo Ren's main motif. You don't need to be a musical cryptographer to discern that; it's an ear-catching similarity. I recall many folks pointing it out within hours of TFA premiering back in 2015 and speculating what, if anything, it meant. What isn't "proven" -- if such a thing is even possible in music analysis -- is that this is anything more than an accident. Considering how often Williams likes to repeat himself across the scores, how brief and simple this musical idea is, how in the dark he himself claimed to be as to the narrative direction of the saga, and how little in the way of musical corroboration there is of this connection in any of the ST soundtracks, I place more credence on it being a happy accident. Not, however, an unmeaningful one. We're allowed to relish all connections of this sort, as they contribute to the consistency and suggestiveness of this 9-film soundscape. But it's not some irrefutable evidence of a master-plan. Who knows, maybe some day we'll get Williams's sketchbooks and see that, indeed, he did knowingly tease Kylo's motto out of a portion of the Emperor's theme he probably hadn't heard himself since 1983. That would be awesome. Nothing I've seen yet suggests this the case.
  33. 3 points
    Jane Eyre, without hesitation.
  34. 3 points
    ragoz350

    Empire Of The Sun - La-La Land 2CD

    Still I decided to synchronize this mockup with the image. I had to slightly correct the shots (since this is mockup, heh), the sync points are clear, but I don't know what to synchronize with the beginning of the piano solo - perhaps something was even cut out at this moment, but I decided to slow down the shot, where a column of cars passing the checkpoint.
  35. 3 points
    publicist

    Coronavirus

    Rubbish, I never questioned sanitary or mask-wearing measures. But what I detest very much are guys like you, constantly lying with half-truths to get their own views across, obviously drunk on daily news coverage. As we can see now, rising numbers everywhere - with highly varying degrees of measures taken - means at least governments should openly discuss to right failed strategies, especially now when it becomes increasingly clear there is no real strategy except more and more lockdowns and waiting for a vaccination that may be years in the future. It has become very much an ideological battle, which probably is par for the course. I am highly critical of Germany's dependence on test results only. Since months now they dodge the issue that you should put the number of critical cases in relation to that, and especially that the detection is in no way an indicator how contagious a person might be. It's always presented like positive test=sick/ill. Which seems to me a peculiar way of dealing with this particular problem, especially after dealing with it for almost 10 months now. But then to read how everyone else who is not following the party line is killing granny, I mean, it's a bit more complicated than that.
  36. 3 points
    crocodile

    The Official La-La Land Records Thread

    Regarding the remaining 2020 releases (and some 2021 ones): Certainly there will be that just don't expect anything jaw dropping. We had at least 4 jaw dropping projects (IMO) planned and all of them are delayed for one reason or another and will not be making Black Friday. That being said, our 1st qrt 2021 may prove to be pretty awesome. There won't be anything released in November so basically anything that is done and approved (and in house) will be made available for our Black Friday batch. As of right now 2 titles with 2 more titles close to final approval and possibly 3 more after that. Karol
  37. 3 points
    Omen II

    Eiger Sanction: Due for a Remaster?

    Does your question refer to Earthquake or The Eiger Sanction, @crumbs? Almost all of the source music in The Eiger Sanction is by John Williams, the exception being a minute or so of Chopin's Nocturne in E flat major heard emanating from another apartment as Wormwood climbs the stairs prior to his killing right at the beginning of the film. Most of the other source music (totalling about 12 minutes) is heard at Ben Bowman's ranch in Arizona while Hemlock prepares for his assignment on the Eiger, although there are also a couple of quasi source music pieces as Hemlock and Jemima get it on after he picks her up during a plane flight. The source music is similar in style to much of the source music in Earthquake. I agree with others' comments that a presentation of the full score would be revelatory. Not only is the OST a complete rerecording (as was the case with Jaws, Earthquake, The Missouri Breaks, etc.) but much of the brilliant music for the climbing scenes in the last third of the film is not represented at all. Just one example is the music for the scene where the French climber Montaigne is mortally injured in a rockfall, a classic Williams action cue that can be counted among his best work of the 70s, in my opinion. Incidentally, most of the source music in Earthquake is by John Williams, although he cannot claim credit for the Hare Krishna chant! Candice Rialson plays an art student who tells Hemlock (Clint Eastwood) that she will do "anything" to get a better grade. He tells her to go home and "study her little ass off"!
  38. 3 points
    "The Great Winning of the Millennium Falcon at Numidian Prime & End Credits"
  39. 3 points
    I think that is a Viking Warrior variation. 1:49, not entirely sure, probably a B section of one of the themes, or it was overlooked. BTW here is a mastering comparison of the Final battle track:
  40. 3 points
    Couldn't agree more. Minority Report and War of the Worlds are two Williams scores that I never revisited much in their OST forms. I bought the expansions more out of a desire to support the labels and as a collector than as a fan of the scores themselves. On listening again though I have been surprised by how easy they are to enjoy and I've developed an entirely new appreciation for them. A.I. is similar but I've had that expansion for a long time so I can barely remmeber how I felt about the OST now.
  41. 3 points
    So, here's finally my doctoral dissertation in Greek. I wish you could read it, but there are numerous written examples in it, and someone may make something out of it. Konstantinos Zacharopoulos The film music of John Williams (1975-2018): melody, harmony, formal archetypes and thematic unity Department of Music Studies, National and Kapodistrian University of Athens, Greece Athens 2020 The aim of the dissertation is to give John Williams's film music style as it is evident from his musical themes. For this, 500 themes were analysed out of 71 films. If anyone has any question, please feel free to ask. You can see in the bookmarks the detailed contents of the dissertation in English, for quick and easy access. ZACHAROPOULOS_DISSERTATION.pdf
  42. 3 points
  43. 3 points
    This is really remarkable, @Ludwig, and strengthens my feeling that "Farewell" is one of the cues Williams pored the most effort and attention to. I'm also struck by how this semitonal figure is prefigured earlier in the score. I have to thank @BrotherSound for pointing out one particularly ingenious usage: as the counter-melody against Leia's theme during her elegy in "Healing Wounds" -- first following Kylo Ren's melodic contour, then inverting it, then combining both up and down forms at 2:10. Superb.
  44. 3 points
    For me, one thing I love about this score is the way Williams develops not just the themes but melodic snippets that aren't necessarily leitmotifs. "Farewell" is a great demonstration of this. There, he introduces this tiny little rising semitone figure at the end of Kylo/Ben's leitmotif: 1:10-1:13: It seems like an unimportant detail at first, but then he uses it again and again (sometimes a rising whole tone instead of a semitone). I'd say it represents a kind of lamenting sound given we've just had the death of Rey and Ben coming over to grieve then try and revive her. It's one of these cues where Williams is sparing with the leitmotifs and instead relies on a musical motive that just sounds right for the scene - mournful, grieving, that sort of thing. I think it's better than it would have been to simply reiterate Rey and Ben's themes in various guises throughout this passage. Music as music rather than music as themes! Brilliant stuff. I repost the link so you can just click on it to get to the right timestamp: 1:46-1:49 1:52-1:55: 1:55-1:59 (in the inner voice): 2:11-2:17 (in the horns): 2:18-2:21: 2:24-2:31 - three times in a row, the last time becoming an altered start to Rey's theme:
  45. 3 points
    Bruce Marshall really isn't any good at humor, is he? No surprise there. He doesn't seem to be good at anything. He's easily one of the worst posters (*spammers) in the history of this forum, second only possibly to Sky38, but perhaps worse because he is still here. Endlessly spamming threads like an ass, making absolutely no friends here. Literally. No one likes him. Maybe Drax and I mostly have each other. I'll grant that. But it's something. Bruce has no one. It's why he'd never be in the JWFan movie aside from maybe a special features deleted scene in-joke where an annoying fly buzzing around a character's ear is swatted out of existence. Spoilers: the fly is Bruce.
  46. 3 points
    gkgyver

    Star Wars Disenchantment

    @Mattris Hiring an expensive scriptwriter for a script that was never to be used, to distract WHO? The audience who didn't know its content? The fans who didn't know its content? The actors who were never gonna act it? JJ who was never gonna direct it? Kathleen Kennedy who never gave a shit? John Williams who couldn't even remember his own love theme when he was 20 years younger? The art department, to make them REALLY miserable about unused designs? So WHO do you think needed an ENTIRE and REAL and BOGUS script before and during movie production as a DISTRACTION?
  47. 3 points
    mstrox

    the mstrox thread

    we had to visit fsm. it was awful
  48. 3 points
    Disco Stu

    the mstrox thread

    Down in central Virginia, leaves don't really change until late October into November, but my Dogwood trees are always the first to turn.
  49. 3 points
    So, here we are. After A.I. I definitely had to find something with enough gravitas to step it up. You know the methodology: present the score as is, the footage synced to it. In this case extra steps were comparing all 3 editions (beside the obvious one additional scene in the Spec Ed with a new JW cue, no scorewise changes, no previously scored but then deleted scenes restored - in fact, the shower scene even splits a cue in half, so they're more detrimental than anything) and breaking down the LLL into separate cues with slates recording sessions-style (with the help of @Jay's excellent spreadsheet) to have a simple clean straightforward base to build from. Also got the deleted scenes and the Steven's Home Movies featurette ready, those I knew I was going to need. While working, I also found a version of the script on scifiscripts.com, that helped provide some of the bits to fill in black screens. An overview of the main themes I'll be referring to: The Five Notes: The main way the aliens communicate, the famous five notes. Initially only appearing in source music, then becoming part of the score proper by the end. The Vision: Two notes, ascending. A questioning figure that leads the movie's characters to different interpretations and then finally the same goal. Roy's Obsession: Roy turns The Vision around, making a repetitive descending phrase from it. It can appear in downtrodden and depressed, nervously obsessed, or gently suggestive forms. Military Motif: The military also find their way of interpreting The Vision's notes, incorporating it into a harsh uncompromising march-like motif. The Mountain: The true meaning and end goal of The Vision it seems, 3 ascending notes and a followup figure to play them off. Just like the characters take a while to put the clues together, the score takes a while to assemble this one. So without further ado: Let There Be Light fits magnificently. "Thematically", Navy Planes introduces the string figures that could be looked as a recurring setting for excitement as they run around looking at the planes. The following figure on brass could be an unformed version of what will later become the Military Motif. I was somewhat surprised I already had to include a deleted scene to fill in an unused (in all the final cuts) section. I'm not entirely convinced it is exactly where it was intended to be and whether it's all there is, but that's where the hole was and as included on the blu, it's scored by exactly that portion of music, so it slots right in. Lost Squadron fits perfectly fine. Intended scoring returns after a whopping 12 minutes in the Theatrical with only occasional source music, even more in the other cuts. Trucking premieres the Dies Irae-esque Roy's Obsession motif (his misguided way of making sense of The Vision, here even before he realises he's been implanted with it) and, while unused, fits mostly fine. The rythm follows the back and forth swaying of the crossing light and the mailboxes in a fun way, maybe even too fun and cutesy for the scene. Into the Tunnel sees the return of the aforementioned excited string figures. The first half is unused. The First Encounter not only starts the association between the aliens and low voices and generally the choir, but suggests the latter developed form of the Vision, The Mountain, when Roy decides to go after the aliens in the end section. The cue is mostly unused. The Next Encouter fits fine until the end is unused - and I had to trim the cop reaction shots to make it fit just a bit better. It continues the association between the voices and the aliens' lights, then returns to the quick strings and excited figures (here for winds and strings) for the car chase. Kissing cue lasts longer when synced up to the movie's audio. The unused Shaving Cream Mountain introduces The Vision, supported by a gentle version of the Obsession. The Pillow - the scene only shows up in the Theatrical cut, but it partially plays in place of the previous cue in all cuts, so not completely unused there either I guess. Interesting to follow the more thematic first vision up with an atmospheric one. False Alarm follows up on The Vision and the low voices, then a crescendo of false promise from Obsession. It has a gap in the middle. Incuded the synth notes and xylophone just for fun to introduce the Five Notes - unfortunately the Indian chants are not released and Note Demo is a little bit of a mess so I decided to skip them. Barry is Kidnapped was shortened here and there, I tried to keep up. Interestingly the music fits to the latter half, so it seems the telephone call to Ronnie was cut before this was recorded - but not before JW already composed and recorded "TV Western" for it! There are strange things going on in Warehouse Scene - it starts by the van coming in, the door opening and we see the astronauts inside, in one shot. Then we cut to the van arriving and stopping from another angle. Then we cut to the inside of the van, closed, the door is then opened and the astronauts get out. In order to make the opening with Roy's drawing fit with the cue's opening, even if not 100% like the movie, I had to cut that mess into one thing - I lost the other shot of the van arriving and tried to matchcut the door opening shots. I also had to slow down the last shots of shutting the truck door. Nevertheless this cue introduces the military's own motif, their way of making sense of the Vision. Stargazing and the Convoy is the well-known mess. The first part is from the released deleted scene of Roy up on the roof stargazing instead of going down to have some mashed potatoes - the second part with Lacombe looking up at the sky (scored with Obsession) was not included in it for some reason, only on the new bluray in "Steven's home videos and outtakes" - booth footage of JW playing the cue while it's projected up as usual. While not ideal, this bit of footage helps in showing the intended sync points, where it ought to begin. (Mike didn't quite get it right in his recent Youtube video I'm afraid, he missed this part of the footage). Then we get back to the released movie, but even that's not straightforward, it tracks and microedits the military motif over this and the end of the last cue from a number of its occurences over presumably later extended footage that I thus had to edit down. Forming the Mountain fits fine and after that initial suggestion starts to follow through on The Mountain (though not until Obsession frustrates Roy): first a brass rendition that stumbles away after the first notes, then a full choral reading where the second note descends instead of ascending, as if starting Obsession but finding the right way, the end also falling away into searching. The score is trying to form The Mountain along with Roy, if you will.
  50. 3 points
    The possibility of me exploring his TV scores deeper than I already have is very low. It's hard to track down exactly which episodes he scored, and which were taken from the Universal library. The concert works would be fun, but many of them were never recorded, so they are impossible to find. I have had some help finding some of the ones I feature in some of the episodes, but I can't imagine someone out there has, for example, one of the two performances of Symphony No. 1. I started working on this project two years ago this month. It required a lot of sacrifice from other things in my life, which I was very happy to do. Now, it is almost time to ride off in the sunset. I will do an "epilogue" episode after Rise of Skywalker, and that's probably the last one, unless a film score announcement comes.
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