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  1. 25 points
    An anonymous tipster has sent JWFan some information that I can share with you now! The information is a list of cues that appeared in a cut of the film dated November 11th, 2019. Remember, the final day of recording sessions didn't happen until November 21st, and even by this cut some of the cues JW had written had already been dropped or replaced, so consider this a PARTIAL cue list: 1M01 Main Title 1M022 The Ninth Beginning 1M05 Rey Trains 1M06 Ren's Entrance 1M08 Approaching The Nursery 1M09 Rey Wakes Up 1M13 Tell Me What They Are 1M15 Vader's Castle 1M20 Rey Training 1M24 Meditation 1M26 Spy's Message 1M26 Lightspeed Skipping 2M01 Cockpit Dialog 2M02 Fixing The Helmet 2M03 The Wisdom of Maz 2M04 The Emperor Lives 2M06 The Medal 2M07 Ship Trip 2M20 The Forge 2M30 Rey's Mission 2M32 Quicksand 0M01 Children's School 3M00 Lando 3M01 Before The Chase 3M03 No Title 3M06 Knights of Ren 3M07 Ochi and the Dagger 4M01 Rey Senses Ren's Approach 4M02 Rey's Incredible Hand 4M04 Zucini? 4M05 To The End 4M05B Good Ship, Bad Ship 4M06 He Won't Remember 4M07 Rey's Grief 4M10 Red Eyes 4M11 Poe and Girlfriend 4M12 Ship Walk and Talk 5M01 Meddling and Poe's Crush 5M03 Hallway Shooting 5M05 Rey Sees Mother 5M06 Hard To Get Rid Of 5M07 I'm The Spy 5M08 Geneology 5M10 Landing At ? 5M12 Off The Waterfront 5M30 Under a Blanket 6M02 Rey Climbs Pipes 6M02A Climbing 6M04 Daisy In A Veil 6M05 Leia Lies Down 6M07 Stop and Start 6M08 Healing Wounds 6M12 Six Twelve 6M13 Rey's Trip To P 6M20 Sabre Toss 7M01 Seven One 7M02 Rey Meets Luke 7M03 Luke's Advice 7M04 The Meeting 7M05 March Of The Resistance 7M08 Father Knows Best 7M10 Leia's Sabre 7M12 Seven Twelve 7M12A Horses #2 7M20 Approaching The Throne 7M21 Parents 7M30 More Action 7M32 Make The Sacrifice 7M36 Dunkirk 7M38 I Am All The Sith 8M04 Psalm of the Sith 8M05 Jumping The Chain 8M07 Big Ship Blows Up 8M08 On Their Knees 8M10 Success and Sliding 8M11A Dropping The Sabre 8M14 Ben to Rey 8M15 Horn Solo 8M16 End Credits 9M03 Bows 9M05ALT Return to Tattooine The list also contains the two source pieces not composed by Williams: 2S35 JJ Festival Music 3S35 JJ Bar Source As well as the cue names from prior scores that were tracked into this cut: 13M2 from Ep.6 Vader's Death 7M03 from Ep.3 The Birth of the Twins 7M05 from Ep.3 Plans for the Twins 3M26R from Ep.7 You're Han Solo? 4M36R from Ep.7 I Ran Into You 5M46R from Ep.7 Kylo Stalks Rey 6M50R from Ep.7 Han and Leia Reunion 6M55R from Ep.7 Council Meeting 6M56E from Ep.7 Ren In Cockpit 8M77 from Ep.7 March Of The Resistance 4M36 from Ep.8 Luke and Rey
  2. 12 points
    Apologies if this has already been posted, but I thought this was super cool!!! (particularly given what orchestra it is) (These are from the Chicago Symphony's Instagram account - the bottom-most photo, at least, can be accessed publicly here)
  3. 10 points
    And here's all the info from the document, in a nice readable table! ## # Start End Title Dur Orig Old Other Old Notes REEL ONE v9DC2 1 1 00:23:20 01:50:03 1M01 Main Title 1:26 1:26 Star Wars 1:26 2 2 01:50:03 02:30:13 1M022 The Ninth Beginning 0:40 0:34 0:06 Kylo :06 3 3 02:30:13 04:34:05 1M08 Approaching The Nursery 2:04 1:53 0:11 Kylo :11 4 4 04:34:05 04:48:12 1M15 Vader's Castle 0:14 0:14 Vader :14 5 5 04:48:12 05:31:15 8M04 Psalm of the Sith 0:43 0:43 6 6 05:31:15 06:01:17 1M24 Meditation 0:30 0:18 0:12 Force :12 7 7 06:01:17 06:19:09 1M09 Rey Wakes Up 0:18 0:18 8 8 06:19:09 07:49:12 1M20 Rey Training 1:30 1:05 0:25 Rey :15 Vader :06 Kylo :04 9 9 07:49:12 08:13:10 1M05 Rey Trains 0:24 0:24 10 10 08:21:13 08:30:20 2M03 The Wisdom of Maz 0:09 0:09 11 11 08:30:20 09:23:12 1M13 Tell Me What They Are 0:53 0:53 12 12 10:07:17 12:39:01 1M26 Lightspeed Skipping 2:31 2:15 0:16 Emperor :05 Resistance :04 Falcon :07 REEL TWO v9DC3 13 1 00:08:00 02:10:00 2M30 Rey's Mission 2:02 1:22 0:40 Emperor :10 Rey :20 Force :10 14 2 02:10:00 02:52:20 2M20 The Forge 0:43 0:23 0:20 Kylo :20 15 3 02:59:05 04:50:08 2M06 The Medal 1:51 1:29 0:22 Force :22 16 4 04:50:08 06:03:13 2M02 Fixing The Helmet 1:13 1:07 0:06 Kylo :06 17 5 06:03:13 06:34:21 2M07 Ship Trip 0:31 0:31 18 6 06:28:01 07:32:10 2S35 JJ Festival Music 1:04 1:04 19 7 07:32:10 09:38:01 0M01 Children's School 2:05 1:41 0:24 Rey :10 Kylo :14 20 8 09:38:01 10:10:17 2M01 Cockpit Dialog 0:33 0:33 21 9 10:10:17 10:27:15 8M05 Jumping The Chain 0:17 0:17 22 10 10:27:15 10:56:23 3M00 Lando 0:29 0:29 23 11 10:56:23 11:40:13 5M10 Landing At ? 0:43 0:43 24 12 11:40:13 12:43:19 3M00 Lando 1:03 0:50 0:13 Leia :13 25 13 12:43:19 13:13:05 3M01 Before The Chase 0:29 0:29 26 14 13:13:05 15:29:07 3M03 No Title 2:16 2:05 0:11 Rey :11 27 15 15:41:22 16:08:00 2M32 Quicksand 0:28 0:28 REEL THREE v9DC4 28 1 00:08:03 00:43:10 3M07 Ochi and the Dagger 0:37 0:37 29 2 01:16:00 02:35:06 3M07 Ochi and the Dagger 1:19 1:19 30 3 02:51:05 04:01:03 6M02 Rey Climbs Pipes 1:10 1:10 31 4 04:01:03 04:48:04 2M04 The Emperor Lives 0:47 0:22 0:25 Rey :11 Force :14 32 5 04:48:04 05:02:08 3M06 Knights of Ren 0:14 0:14 33 6 05:02:08 05:19:18 2M07 Ship Trip 0:17 0:17 34 7 05:19:18 07:46:09 4M01 Rey Senses Ren's Approach 2:26 2:15 0:11 Resistance :11 35 8 08:48:10 09:55:22 4M02 Rey's Incredible Hand 1:07 0:57 0:10 Kylo :10 36 9 10:11:15 10:40:03 8M08 On Their Knees 0:28 0:28 37 10 10:59:11 11:37:19 1M08 Approaching The Nursery 0:38 0:38 38 11 11:28:04 12:23:09 4M12 Ship Walk and Talk 0:55 0:55 39 12 13:01:13 13:28:18 4M05 To The End 0:27 0:27 40 13 12:23:09 14:13:15 4M05B Good Ship, Bad Ship 1:50 1:50 41 14 14:13:15 14:37:19 2M04 The Emperor Lives 0:24 0:13 0:11 Rey :11 42 15 15:26:15 17:13:05 4M04 Zucini? 1:46 1:46 43 16 17:13:05 17:22:14 5M03 Hallway Shooting 0:09 0:09 44 17 17:22:14 17:39:01 3S35 JJ Bar Source 0:16 0:16 45 18 18:42:17 19:34:04 4M06 He Won't Remember 0:51 0:43 0:08 Star Wars :08 46 19 19:35:21 19:58:14 1M06 Ren's Entrance 0:22 0:22 REEL FOUR v9 DC 5 47 1 00:53:21 02:01:13 4M11 Poe and Girlfriend 1:07 1:07 48 2 02:08:07 02:40:04 4M36 from Ep.8 Luke and Rey 0:32 0:32 49 3 02:40:04 03:39:14 4M10 Red Eyes 1:09 1:05 0:04 Kylo :04 50 4 03:51:12 05:45:00 5M01 Meddling and Poe's Crush 1:53 1:42 0:11 Kylo :11 51 5 05:54:08 08:05:12 5M03 Hallway Shooting 2:11 2:04 0:07 Resistance:07 52 6 08:06:12 08:55:13 5M05 Rey Sees Mother 0:49 0:42 0:07 Vader :07 53 7 09:07:19 11:27:03 5M06 Hard To Get Rid Of 2:19 2:08 0:11 Emperor :11 54 8 11:27:03 12:58:23 5M07 I'm The Spy 1:31 1:16 0:15 Rey :08, Kylo :04, Star Wars :03 55 9 12:59:00 15:16:03 5M08 Geneology 2:17 2:09 0:08 Star Wars :04, Rey :04 56 10 15:16:03 15:44:19 4M12 Ship Walk and Talk 0:29 0:29 57 11 15:49:05 16:11:10 4M07 Rey's Grief 0:22 0:22 58 12 16:11:10 16:28:23 5M46R from Ep.7 Kylo Stalks Rey 0:32 0:32 59 13 16:28:23 17:02:07 6M56E from Ep.7 Ren In Cockpit 0:33 0:33 60 14 17:02:07 18:19:06 5M10 Landing At ? 1:17 1:17 REEL FIVE v9DC3 61 1 00:51:18 01:15:04 4M36R from Ep.7 I Ran Into You 0:23 0:23 62 2 01:15:04 01:41:13 2M06 The Medal 0:26 0:12 0:14 Force :14 63 3 01:41:13 02:45:11 5M12 Off The Waterfront 1:03 1:03 64 4 02:57:01 03:31:14 6M02 Rey Climbs Pipes 0:34 0:34 65 5 03:52:03 04:20:08 6M02A Climbing 0:28 0:28 66 6 04:20:08 05:05:23 13M2 from Ep.6 Vader's Death 0:45 0:45 67 7 06:59:16 07:49:13 6M04 Daisy In A Veil 0:50 0:50 68 8 07:49:13 07:55:17 6M05 Leia Lies Down 0:06 0:06 69 9 07:55:17 08:18:20 6M50R from Ep.7 Han and Leia Reunion 0:23 0:23 70 10 09:52:05 11:17:23 6M07 Stop and Start 1:26 1:20 0:06 Kylo :06 71 11 11:34:21 13:36:13 6M08 Healing Wounds 2:02 1:52 0:10 Force :10 72 12 13:36:13 14:37:13 5M30 Under a Blanket 1:01 0:11 0:50 Leia :50 73 13 15:15:19 16:56:12 7M08 Father Knows Best 1:43 1:43 74 14 16:56:12 07:14:23 1M08 Approaching The Nursery 0:18 0:18 75 15 17:14:23 17:34:04 1M06 Ren's Entrance 0:19 0:19 REEL SIX V9DC5 76 1 00:08:04 00:47:01 6M12 Six Twelve 0:39 0:39 77 2 01:05:13 01:25:21 7M03 from Ep.3 The Birth of the Twins 0:20 0:20 78 3 01:25:21 02:15:00 7M05 from Ep.3 Plans for the Twins 0:49 0:49 79 4 02:20:02 02:51:12 7M01 Seven One 0:31 0:31 80 5 02:51:12 03:10:21 7M02 Rey Meets Luke 0:19 0:19 81 6 03:10:21 03:17:04 6M20 Sabre Toss 1:45 1:29 0:16 Rey :06 Force :10 82 7 04:05:17 05:03:02 7M03 Luke's Advice 0:57 0:30 0:27 Rey :13 Force :14 83 8 05:03:02 07:33:22 7M10 Leia's Sabre 2:31 1:15 1:16 Leia :15 Star Wars :15 Yoda :46 84 9 08:21:03 08:36:23 3M26R from Ep.7 You're Han Solo? 0:16 0:16 85 10 08:36:23 08:46:01 5M10 Landing At ? 0:09 0:09 86 11 08:46:01 09:39:03 6M55R from Ep.7 Council Meeting 0:53 0:53 87 12 09:39:03 10:08:23 7M04 The Meeting 0:30 0:30 88 13 10:08:23 10:46:00 7M05 March Of The Resistance 0:37 0:37 Resistance :37 89 14 10:46:01 11:10:08 8M77 from Ep.7 March Of The Resistance 0:24 0:24 90 15 11:10:08 11:42:02 6M13 Rey's Trip To P 0:32 0:32 91 16 11:42:02 12:00:07 7M03 from Ep.3 The Birth Of The Twins 0:18 0:18 92 17 12:00:07 12:56:21 1M26 Spy's Message 0:56 0:56 93 18 12:56:21 13:36:23 1M08 Approaching The Nursery 0:40 0:22 0:18 Emperor :18 94 19 13:37:01 14:57:05 7M12 Seven Twelve 1:20 1:06 0:14 Star Wars :04, Force :10 95 20 14:57:05 15:33:18 7M12A Horses #2 0:36 0:23 0:13 Force :13 REEL SEVEN v9 DC7 96 1 00:08:00 02:34:09 7M20 Approaching The Throne 2:27 2:27 97 2 02:34:09 04:09:16 7M21 Parents 1:35 1:35 98 3 04:46:01 06:52:07 7M30 More Action 2:06 2:06 99 4 06:52:07 08:36:01 7M32 Make The Sacrifice 1:43 1:43 100 5 10:59:06 12:41:10 7M36 Dunkirk 1:42 1:42 101 6 14:04:12 17:12:20 7M38 I Am All The Sith 3:08 3:08 102 7 17:12:20 18:08:21 8M07 Big Ship Blows Up 0:56 0:56 103 8 18:08:03 18:46:13 8M10 Success and Sliding 0:38 0:31 0:07 Falcon :07 104 9 18:46:22 19:37:15 8M11A Dropping The Sabre 0:50 0:20 0:30 Rey:30 REEL EIGHT v9 DC5 105 1 00:16:00 04:32:00 8M14 Ben to Rey 4:16 4:16 106 2 04:32:00 07:50:05 9M03 Bows 3:18 1:15 2:03 Star Wars :08, Force :19, Yoda :40 Rey:13 Luke &Leia :43 107 3 08:00:15 09:42:15 9M05ALT Return to Tatooine 1:42 1:42 108 4 09:48:04 10:21:21 8M15 Horn Solo 0:33 0:33 Force :33 109 5 10:21:12 22:37:00 8M16 End Credits 12:00 10:30 1:30 Star Wars :30 Rey 1:00 Total Music in Film 2:03:56 Total Thematic Material from Eps. 4, 5, 6 10:31 Total Thematic Material from Ep. 7 6:00 Total Cues from Previous Episodes 6:08 Total Source 1:20 Total Original Music (80.55%) 1:39:50
  4. 9 points
    That was an amazing concert. I went to the 18th one. I'm generally picky with european orchestra when it comes to performance of John Williams's music, but the VSO surpassed all the other orchestras in the world. As soon as the brass came in, I was literally shocked. What a powerful sound the french horns had I honestly never heard JW's music as greatly performed as it was yesterday. Lets hope for another decade of amazing John Williams's scores
  5. 8 points
  6. 7 points
    Hi all! We are very excited to present a composition project that has been a long time in the making. We have created the Potter Scoring Project, where we constructed a score for Harry Potter and the Goblet of Fire in the style of John Williams, imagining the musical continuity that could exist if the thematic material from 1-3 connected the following movies. This started with the idea of using the Voldemort motifs in the graveyard scene for his return, and we have utilized the other existing themes throughout (the first cue uses a fusion of one of the Voldemort themes with Hedwig). We've attempted to emulate Williams’ writing style to musically unify this with the first three installments. This isn’t meant as any commentary about Patrick Doyle’s score, but rather an exploration of how Williams may have developed and evolved his material farther in the series to create musical unity. There is also a thematic catalogue of the existing Potter themes for reference. We are eager to share this with the people here at JWFan who can appreciate this endeavor and who love these scores and movies! At our website, you can read more about this and we will post new sections of the score every week. You can also subscribe to email notifications for these. We would love to hear from you all, here or via email at ravendorstudios@gmail.com. Check out the first cue now! https://sites.google.com/view/ravendor/goblet-of-fire Ravendor Studios
  7. 6 points
    I was fortunate enough to have been able to go to both performances, and just came out of the second concert. It was equally amazing as yesterday, if not even better!!! I’ll gather my thoughts as soon as I have some time to put them down... right now I need some champagne to celebrate an amazing weekend!
  8. 5 points
    The second one was even better if possible. John is in so good condition, that I hope he will do this again. I will definitely be there, so wonderful!!
  9. 5 points
    Ready to board the plane! Here I come Vienna and John! #excited😅
  10. 5 points
    Great to see Williams looking well in Vienna! What a joy to see him in good health. I assume this is his first time visiting the Musikverein? Cool to think that upon arriving in Vienna, one of his first engagements is popping out to the theatre for a performance of Verdi's Requiem.
  11. 4 points
    Maybe I'm naive or down to earth, but this is totally what I expected a soloist at such mixed concert to do. But yes, ASM was great in conduct in every way. She played great, and when a bowstring broke, she corrected the bow between notes and played flawlessly till the end of the piece despite the dangling bowstring. She also clapped for Williams (so did at least one more musician as well) and even did a little "woo" at one point. Can't wait for some description in what ways will the concert today (it started 10 minutes ago) differ, whether in playing or audience reception. P.S. The one thing I still cannot wrap my head around is that Williams conducted for over 2,5 hours yesterday, all standing. At the age of 88! And he did it with so much energy as if he was middle-aged again. The fact that it started snowing beautifully right before the concert reminds me of the story of a thunderstorm when Beethoven died. Only this time, it was real!
  12. 4 points

    RIP Christopher Tolkien

    A 96-year old friend of mine died in October, half a year after he'd released his memoirs. He told me "Now I have said everything I've wanted to say. Now I can go quietly." I believe with "The Fall of Gondolin", Christopher Tolkien had seen every major piece of his father's writings through to publication. An astounding achievement. He, too, could now go quietly, I guess. They don't make 'em like CJRT anymore. Namarië!
  13. 4 points
    Thanks so much! That's the dream. Very glad to hear this! New themes will definitely be introduced, and added to the theme catalogue for reference. In terms of existing scores vs. MIDI, we mixed in sections from the La-La Land collection throughout if we wanted to quote directly (or slightly modify tempo/pitch/additional orchestration as part of the new cues). Everything else that was written and orchestrated by Ben was then edited by Molly, adding rubato, dynamics, and reverb to blend with the recordings as much as possible and remove some of that aggressive MIDI unmusicality, in the hopes that the synth quality will not be too jarring while listening.
  14. 4 points
    Woke twitter be like For what its worth - not a bad story. Somewhat more intriguing than the movie we got. Some potentially interesting beats - the beacon call, Palpatine's teacher, Kylo training sequence, Rose and Finn lead a revolt. All these would have made more interesting scenes than we got in the actual film.
  15. 4 points
    This is the coolest bit of JW nerdery I've seen maybe ever! It's like simultaneously giving 2005-era Williams a Time Turner (so he'd have room for one more massive score in his schedule) and putting him under the Imperius curse (so he'd be forced not to abandon his own great motifs). I especially appreciate the commentary on your use of themes and the incredible theme catalog. You guys should be working for a label!
  16. 3 points
    So, no jaws. The only disappointment. Besides that, marvellous beyond words. I would have preferred less Muller and more Williams.
  17. 3 points
    Am I the only person who read the thread title and thought Williams had signed on to write more Potter music?
  18. 3 points
  19. 2 points
    I actually thinks this works pretty well! It's not a parody or anything, but an honest attempt to turn Williams' theme into the chorus of a popsong. I find it captivating, endearing and creative at the same time.
  20. 2 points
  21. 2 points
    So did that henchmen with the toupee!
  22. 2 points
  23. 2 points
    The Personal History of David Copperfield by Christopher Willis So turns out this Willis fella is no one-hit wonder. There's a lot of sophisticated writing here. This time he's moved from Shostakovich mostly to John Adams for his modus operandi (lots of Shaker Loops all over the score). The whole thing has a bit of an identity crisis, stylistically, but nice to hear some uncompromised writing for film again. EDIT: Haha only seeing your post now @publicist! Total coincidence!
  24. 2 points
    I find solace from it. I now know I to can kill my father and find forgiveness for it someday.
  25. 2 points

    STAR WARS Custom Covers thread

    I've designed 1997 Special Edition logos for the sequel trilogy, if you'd like to give them a try?
  26. 2 points
  27. 2 points
    春暖的花开 带走冬天的感伤 微风吹来浪漫的气息
  28. 2 points
    They should've brought A-ha back.
  29. 2 points
    A Desplat Bond score would be classy and stylish AF. I say bring it on! A Zimmer Black Widow would perhaps involve ScarJo acting in a PR video where she gushes about how incredible the score is and how it really elevates her character and wow, what an incredible sound he wrung out of 450 string players and 2 dozen detuned concert grands.
  30. 2 points
    I guess... it fits: https://drive.google.com/file/d/1qDv6HInKt47RGhAQlTLhDG9_RNM0u4QL/view
  31. 2 points
    A teen vegan advocate whose one album to date begins with the sound of her slurping saliva from her Invisalign braces and deals with themes of drug addiction, climate change, mental health and suicide. I'm suddenly very nostalgic for the likes of Shirley Bassey.
  32. 2 points
  33. 2 points
    Mr. Bellamy has entered the chat.
  34. 2 points

    THE POST - SCORE Thread

    Complete cue list for The Post, courtesy of the BMI database. The only FYC track that isn't represented here is FYC 'Ben's Living Room' (which is the same cue as OST 'Scanning the Papers'). Having verified with the film the cue list is in correct order (and no cues went unused) but the split between the final 3 cues (and the contents of 'Redo') remains unclear. I could only find one "courtroom" cue before Court's Decision and End Credits, which is partially included on the OST at the end of The Presses Roll. Music on the FYC or OST is delineated green. Film Cue List Papers Various Presidents Reading the Paper Richard The Base First Class Seat Scanning the Papers McNamara Photo Wild About Harry Let's Publish Lawyer Talk Dad's Note Setting the Type Presses Roll Courtroom to Court Building (partially released) More Courtroom (unclear) Court's Decision and End Credits Redo OST Tracks Nixon's Order (which is the cue Reading the Paper) Mother and Daughter (which is the cue Dad's Note) Deciding to Publish (which is a microedited combination of Wild About Harry, Let's Publish and Lawyer Talk) Two titles struck me as the missing source cues. Anyone with a better musical knowledge who might understand what For Chester with Love is referring to? Source Music Booth at Chasens For Chester with Love Oak Room 1971 Two Martini Lunch
  35. 2 points
    I re-watched the movie last night (which was better than I remembered) and there is SO MUCH good unreleased music in there. In fact I don't think there is a single bad cue in there. Pity you can barely hear some of it. Karol
  36. 2 points
  37. 2 points
    Year Two of "The Baton: A John Williams Musical Journey" has begun, and I am giving you TWO new episodes today. The first is a fun and lively discussion about the score to "E.T. The Extra-Terrestrial," including those amazing final 15 minutes. The other episode focuses on the drama "Monsignor," which marked John Williams' first straight dramatic film in eight years and featured a very un-romantic love theme for Christopher Reeve and Genevieve Bujold. I have already recorded episodes 58-60, and those will be released over the next three Wednesdays. I am looking forward to bringing you the final 55 episodes of this podcast, and thanks to everyone for being a part of this journey with me!
  38. 2 points
    Like anything in business there is nothing stopping people from "doing deals". Whether they would be successful or not is a different matter... All I can say is there isn't a "menu" of prices, and therefor isn't a set discount for bulk buying - purchasing a couple of concert licenses is different to getting a discount on printing thousands of books. Licenses, whether for live performances, or licensing songs/clips for use in films/ads etc, are often based on what the purchaser is going to make out of it (along with a bunch of other factors) and not really a case of "well if I buy 100 of these surely you'll give it to me cheaper". ...But as I say, anything is possible when negotiating. If orchestras in the US aren't doing as many of the LTP concerts as you would like i suspect the following are the most likely reasons: The orchestra themselves only have a limited number of weeks they are willing to commit to non-classical performances, therefor limiting what they are willing to put on. Continuing on that thought, if you only have a handful of slots, then you have to toss up what will be the most popular thing ALONG WITH hitting different demographics (if that's a goal). Constantly filling spots with stuff for the same people/demographics can sometimes go against the goals of the orchestra with these shows. Regardless of license expense (which is sizeable), the shows are hugely expensive to put on from a tech point of view. Factor in musician costs/ choir (maybe), advertising, hall hire etc etc, a large number of orchestras simply can't make the numbers work. OR, importantly, see less risk in putting something else on that might fulfil other company goals. It's important to know that the cost can be so high as to potentially risk the company going bankrupt if it failed. Not sure many arts organisations would risk that for "Star Wars" (or anything else for that matter). I personally know of many orchestras that have lost significant money on many movie shows (well in excess of six figures) - some of them MASSIVE blockbusters. Even if you see a full hall, doesn't mean the orchestra is making money hand over fist. Some orchestras can't fulfil the basics of the license ie being able to physically fit the required musicians on the stage they have access to OR not physically having enough players, of a high enough calibur, to perform with the correct number of instruments. Keep in mind that most modern movie scores involve HUGE orchestras by any standard. A lot of orchestras simply don't have that many players in the towns/cities they perform in. Some concert halls (more than you think) simply can't accommodate the screens and amplification needed to run these shows. I know of this being an issue in piles of cities. There are, of course, many other reasons too (including the programmers even seeing merit in these types of shows) but the above should give you a little insight.
  39. 2 points
  40. 2 points
    I love scores that start with a mini score within the score. Like the Young Indy sequence from Indiana Jones 3, or the Big Market sequence from Valerian
  41. 2 points
  42. 2 points
    I’m sure Koray has pre-declared it the greatest show ever made.
  43. 2 points
    Ha, ha! That's a laugh! Balfe "composing". Next you'll be telling me that Johnson has been elect- oh, shit!
  44. 1 point
  45. 1 point
    Half the locations are from the PT and TCW. Big red flag. My bullshit-detector-ator is going haywire!
  46. 1 point

    Alexandre Desplat's BLACK WIDOW (2020)

    Imagine if Desplat got Bond, and Zimmer got Black Widow!
  47. 1 point
    I really could not disagree more. While Escape is indeed 4-5 cues stitched together, they're written in such a way that each cue gradually builds upon the previous one with added tension and heightened desperation, all before the dramatic crescendo as Paige makes her sacrifice. It's operatic, even apart from the film, while also fitting the film itself like a glove (shame the film version is so hacked up). That he accomplishes this dramatic arc across 12 minutes is astonishing. Oh, and there's really only one "obvious" instance of temp-track love in the whole opening sequence -- the Resistance march for the bombers approaching (which is musical perfection anyway). The constant stream of one-off musical ideas that Williams introduces then discards contributes to the choppy, unfulfilling aspect of the TROS action music. It's actually a perfect metaphor for the film itself. One thing gets introduced and before you have a chance to digest it, he's moved onto the next thing. It's musically infuriating to have brilliant moments like the choral outburst that close Approaching the Throne introduced then dropped after ten seconds and not develop into something more satisfying. The same is true of Battle of the Resistance, which just... ends, likely due to a scene change. We get a spine-tingling rendition of Rey's Theme at 1:41 of The Force Is With You, and it cuts off abruptly right as you're screaming for it to resolve fully. Same with the Emperor's theme moments later. He's setting up brilliance constantly but never gets a chance to see it through, all because the bloody film is in such a rush to end. It'd be like the Dark Side Beckons from ROTJ being interrupted halfway through the big choral moment just to have half a fragment of Vader's Theme or Luke's Theme. These films used to breathe enough that he could establish and develop these ideas to their musical potential. TROS feels like an endless parade of brilliant ideas that never reach their fullest potential (on album and in film anyway -- who knows what was actually recorded). I'm so glad we got at least one film in this trilogy that allowed his music to breathe and develop in long-form, thanks to a director who actually had a vision for their story, and didn't need to hack their movie up endlessly until it resembled one.
  48. 1 point
    If it fit they wouldn't have cut it out. My guess - JW wrote a version of the speed chaser cue for an earlier version of the scene. JJ then tinkered with the scene and recut it. JW adapted to it. JJ again recut it. JW is like fuck it - I am going to my original sketch and writing a concert arrangement for album. JJ baby you can use pieces from it or track music from other places as is your desire anyways. Both agree. JW records his concert arrangement for album. JJ out of respect uses a tiny portion in the film. All sides happy. JJ can fuck the hell off. And we can get a great new piece in the vein of asteroid field. -- Also listen to the full statement at 46s It is basically a full theme - not just an action figure. It has a full 4 phrases in this statement - that's almost too much for what is supposed to be an action figure to use in a chase scene. JW couldn't possibly hope to include such a broad statement in the scene specially when he is competing with loud FX. Methinks this might be an expansion of his original sketch - fleshed out for a concert setting. There is another full statement of the theme at 1:43 - first 3 phrases are intact, 4 has evolved a little bit this time. Again at 2:32 there is a full statement of the theme - first 3 phrases are intact, 4th again has evolved. (And honestly the theme is good enough to be an actual character theme for some other composer. It is good and memorable enough to be the heroic identity of the action hero character in a swashbuckling film for example. It is so easily malleable that the possibilities are endless.) So if you are to consider it a concert setting - this is how the theme is stated - A. Teasing the first 2 phrases B. 1st full statement of theme C. 2nd full statement of theme with some changes D. 3rd full statement of theme with some changes E. last 2 phrases taking a bow in a concert ending setting The piece itself is also just begging to be performed in concerts. It would make an exciting, fast paced and entertaining and fun little performance piece.
  49. 1 point
    Mike Matessino probably has the recording sessions on his iPod.
  50. 1 point
    I don't know if this question was meant for the peanut gallery, but I'm willing to take a stab at it. In my mind, form has a lot of impact on how interesting and involving a musical work is and can affect how I receive a piece emotionally or intellectually. It can reveal a lot about a composer's ability to manipulate his/her material and get mileage out of it, so to speak, and it can show a great deal about pacing and architecture, and how everything fits together. Form affects everything, from how the piece's building blocks (whether it's melodic material, textural, harmonic, or rhythmic devices, etc.) are established, and then how those building blocks get rearranged, elaborated on, varied, combined, and so on. I actually agree with @TGP that it's hard sometimes to argue with that criticism when it's applied to Williams. A good example to me is the first movement of the cello concerto or the corresponding movement of the viola concerto, where Williams lays out his material fairly quickly, gives the soloist a little room to ruminate on it, but Williams places what other composers might use for a climax comes so quickly that there isn't really anywhere else to go. That's not to disparage the orchestral scoring or the melodic material in either case, and Williams gets into and out of the climactic passage material skillfully, but it feels out of place and as far as I'm concerned the rest of the movement is wheel-spinning punctuated by occasional moments of interest. By contrast, the first movement of The Five Sacred Trees is a formal structure that works much better. It's a really artfully constructed build, from the solo bassoon opening through to the various passages for orchestra without soloist and that feature the soloist weaving in and out of the orchestral textures, and the climax of the movement comes naturally and comes at just the right place--it's related to the material that got worked over throughout the movement, and it still allows for the soloist to have a denoument, in literary terms, before the movement comes to a close. This kind of criticism doesn't necessarily apply to his film work, where there are discrete cues that allow material to come and go as necessary and get developed in a different way over a longer time with shorter sections. If that makes any sense. If any of this makes any sense. I admittedly don't have the vocabulary to discuss music in the way I would like, even though I love it and have opinions about it that I can't always put into words well. As an aside, if his longevity is being discussed, I think the bassoon, horn, and harp concertos stand a chance of lasting. I'm not fond of the cello concerto, and although I like the violin concerto I don't know that will take a huge place in the repertoire when violinists have so much else to choose from. I think it would be the same situation if he chose wrote a piano concerto.
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