GoodMusician

was it truly that long ago? geeze... where's the thread that was recent about the lego music... I could have sworn I was already working in a thread like this for the TOD music specifically... sorry for the revive :-/

perhaps i'm late to this sword fight but if there is a solo ambiance file, if it's identical to the ambiance in the music file, you can layer them, find the correct amplitude and do a phase inversion. Why do I feel like i'm talking in star trek language every time I say that lol... anyway, it would erase the sfx... EDIT: I see that my post may be moot... but I see that it works to a point. Is there a looping?

Don't you hear part of the Force Theme B section in the finale to Empire? Like it starts it, and then modulates back into the main melody.

Bear said that he's always had this score in him and fought to make sure that he had the ability to use a big orchestra live rather than synthetic. He said he was a big fan of the Batman cartoon scores which held a great amount of gravitas and I can't recall her name, but he was a huge fan of the composers. He's recording on the same WB scoring stage she did as well so he felt a great honor to be doing that. As for the music, he is really excited about it. He tweeted today about how the horns 'blew the roof off' of the sound stage heh. He is, of course, a big fan of Williams Superman and is said he always felt he had this score in him and was just waiting for the oppourtunity to present itself. He won't, unfortunately and fortunately, have the diversion of dealing with the score to CAPRICA (sheds a tear) or on a few of the other shows he was working on, one of which he and most of hte production crew was fired for this season, so he will simply be able to focus a lot of effort into this score. Not that impressed with the previews, i'm not sure I'll download it (as I don't have tv) but maybe just to hear his music. The filming and set design and lighting all looks very much like that from CAPRICA so I wonder if they're all just on that show now instead. That may be a reason to watch since it was so well done. Bears Battlestar Blog: The Cape Main Title Blog entry The Cape Pilot Blog entry The Cape - Kozmo Blog Entry

They barely play the ET in the cue anymore. And they make you wait until the cue is almost empty so you literally spend maybe 2 minutes in the indoor que, just enough for you to walk from the entrance, get your Interplanetary boarding pass, and walk to the ride.

I know right? Take five days to let a person know? He could have been fixing shit by then...

From everything I've read, they only ever converted the OT to 720 when salvaging from the original masters. Its from this 720 master they produced the special editions and created a new "master" which only exists in 720. The original masters were all destroyed in the process and thus, any 'OOT' release would be from a previous iteration like the Laser Disc transfer. They upconverted to 1080 if I recall correctly for other usages of the SE: OT although what I saw on the mega screen at the Music Of Star Wars concert didn't show any lack of detail but I'm sure multiple watches will show it.

I'd have to see what he was saying cause I'm not sure I follow... then again, leave it to Thaxton to say something like that.

I like that they try to cover their buts ahead of time knowing there will be complaints that the OT isn't in true 1080 heh

I think the big thing I have to argue for Yared's score is that it was salvageable. Granted, it was NOT perfect, but no score is! But it wasn't worthy of being thrown away in weeks. All you had to do was play with the mixes, remove this or that sound, edit a few things... and you'd have the breathtaking score that would have truly hightened the film to new levels. Without it, the film faltered. I don't think the directorial eye in the film was all that great. There are hard zooms that remind of me of the old films but just look sloppy today... The film could have been a lot better. The writing and the story was great... great actors (minus Pitt perhaps) but the way we see them isn't very... glorious... it didn't glorify the images and that's a directors fault, not a composers.

Here is "The Opening" and "Achilles vs Boagrias" The Opening Here is "Achilles' Destiny" also known as "A Prince's Welcome" I believe Achilles' Destiny Again, check them out fast because WB is already all over em

I attempted to find some sort of thread and all I found was a weekly "vote" thread about it but past that, i found no thread devoted to it. Having fallen for the score recently, I felt it necessary to try to enchant others with its charms.

Here at least is "The Opening" and "Achilles and Boagrius" Watch it before it gets pulled lol [i pulled it as not to lose my account but I'm reuploading on another account. Give me a few] more to follow

You're assuming you know the placement of these. I'd argue that the directors cut is NOT the cut he scored. The opening fits the theatrical version perfectly as does Achilles Destiny and Hector vs Achiles fits... the Achiles VS Boagrius fits most of it but there's a small insert of a scene where Achilles almost doesn't fight... and that it doesn't cover. I'm making videos and will post them

My old edits are just that... old.. .they're out dated. Its what I THOUGHT at the time, given absolutely no way to check... I tried to figure out the score and I think I did a bang up job. But I got a few things wrong. The conductors score we have, every written note, is pretty straight forward. No alternates.

I've been watching some of the sync jobs people have done to the video on youtube and I don't think they all got it quite right. I only found one that was good and it was the "Sparta" source music which fits the extended cut better. The others are wrong like Opening to the extended cut... I don't think that's what it was honestly... it doesn't fit that like it does the theatrical... Out of curiosity, does anyone know if the tracks Yared put on his site were different than the ones on that promo cd?

Id argue its a slightly different type of composing for film. Not as intimate, true, but not entirely out of place. If anything, it seemed to try to make up for the film at times and heighten what little background detail there was to develop a slight depth to the film, more so than it rightly deserved.

dunno why i was thinking pain of glass was attached to it lol... my point in mentioning that the cue was recorded that way was that perhaps it was recorded as two halves or they closed the small gap in sound between the two by a little because in the film the gap does need to be a moment longer.

I will say I refused to see Troy when I heard they were making it for the same reasons I saw Alexander only once... Did you know that Achilles and Petroclus (which some authors have called a second cousin, others a close friend, and still others a lover) had both of their bones mixed in a singular tomb. Alexander and Hephastian saw themselves as the reincarnation of these two heroes and while in Sparta I believe, they paid homage with their army watching to the tomb of the two, signifying their love for eachother, and belief in the love of Achilles and Petroclus? Anyway, I knew the film was glossing over it so I didn't want to see it and even now, I abhore Brad Pitt in the film as much as i can barely stand Colin Ferrel as Alexander. So its only recently I watched it (honestly, not until after I HEARD the Yared score which I had no knowledge of. I remember when the film came out hearing the Josh Groban song and just being so disgusted by the Horner score I wasn't interested at all in the film). As for the score, it IS too good for the film. That was the bigger issue. The scores not perfect, but who's is? Williams missed a great opportunity in Star Wars when he scored "Binary Sunset." It took Lucas to convince him to write something else that we got whats in the film today and I think thats probably the bigger issue. The director went out on a limb to get Yared, and one of the easiest things to do to a film to change the tone is get a different composer... so that's what they did. I love the score honestly and the more I see it against the film, the more I like the the film lol.. it really raises it up. The "Helen and Paris" and "Achilles Destiny" as well as "Sacking of Troy" are all aMAZING cues.... I just am so disgusted by horner...especially since he almost completely copies Yared's score for most of the film...taking the same percussive ideas, same instrumentation, just different themes...even same performers lol The opening of the yared film has the ethnic voices, which Horner adapts and then uses again in the opening of AVATAR so its kinda funny to notice that as well heh

There's been some on again off again conversation about this score on this forum in various threads but I thought I'd post a thread specifically about it to really get people interested in this score. If you haven't heard it, I suggest you find it. There are certain 'Mos Eisley" esque forums where it is available. I actually had the oppourtunity recently to speak with Gabriel Yared about the score so I'm gonna include a little bit of that information he provided as well. To those unfamiliar, here's the story: TROY is based on the Epic Poem "The Iliad" by Homer. One of the greatest things about the film, however, is not that it tries to follow the exact story telling, but that instead, it tries to present the events as if they were real. In "The Iliad," Homer makes great use of the Gods and Godesses of the Greek Pantheon, intervening and interceding in the lives of those who were fighting the war. The greatest of the Aeneas (Greeks) was Achilles, of which many myths have been created. He, and whom the film controversially calls his cousin, Petroclus, fight with the Greek army to over take the great city of Troy. The reason for this is because while in Sparta, creating peace with the Greeks, the Queen Helen stowes away with one of Troy's ships due to her love of prince Paris. Upon arrival at Troy, she is immediately taken in as "Helen of Troy" and it is her "face that launched a thousand ships." Greece, eager to over take Troy, sends a thousand ships to fight this war and in the end, most of the characters fight for love (Paris for Helen, Hector for Troy, Achilles for Petroclus). Upon this backdrop, the film is based in the mode of the great classic films like Ben Hur with a distinctively modern flare of Gladiator and the like. Having been brought onto the project a year earlier than most composers, Yared began working on themes and writing source cues for dance numbers within the film and when it came time to score the film, Yared had developed a rich tapestry of themes and techniques for building the sound to be the biggest and most epic sound possible. This is not to say the score is without its tenderness. The love affair between Paris and Helen has great tenderness and warmth with quiet winds and harp. With all this praise and appropriateness, the story takes a dark turn. I'll let Yared speak for himself on what happened next: So it then came to pass that the score, being judged in two test screenings, was dubbed too "old fashioned." In the mean time, James Horner had been contacted about the doing a rescore before they even had decided to do so. Here's an interview with him: I took the liberty of highlighting all the arrogant, rude, crass, or down right disgusting things Horner said about the score and the experience. Between these two, I can honestly say that Yared is a very upstanding man, while Horner is a complete child. Horner says Yared had free reign, and moments later says he did exactly what the director wanted. Horner acuses Yared of plagarism. "Honey I Shrunk the Kids" anyone? Horner says that Yared knows nothing about film scores--I will argue that. Horner then complains that HE wasn't first choice for Troy or the next film. Horner also argues that Yared was bitchy on his website: he's talking about the first quote I posted which is far from being bitchy. I've been listening to the score as of late and must say I'm completely impressed by it. I cannot speak too highly of this score honestly. It is a glorious score. In the interviews, I was curious exactly how much of the score was recorded and finalized so I emailed Yared. Here he talks about what was and wasn't finished. So from that, it would seem the score had been fully recorded excepting rescores and any and all music he posted would be the finalized mixes. He only posted about 18 tracks which equates to a little over an hour of the score. But honestly, having listened to this score, I don't see HOW it could have been rejected. There are small moments... moments... that could have easily been edited out. "The Mourning Women" cue for instance would need some editing as its kinda...weird at moments... and there are small moments where it goes slightly too big... btu honestly... Williams has moments like these and they get edited out. Almost every Spielberg film has microedits. They wouldn't be difficult to fix at all. I recommend anyone who has the ability to get a hold of the score, to listen to it and if they can, try to sync it up with the film. Here are some time codes: The Opening - [03:54] Opens with opening of the film. [00:35] should sync with the reveal of "TROY" which is a little over [00:35.5] into the film so almost right away. Achilles and Boagrius - [03:45] The cue begins as the King of Thessaly calls out "Boagrius" at [04:19]. There are obviously some micro edits in this sequence but syncing isn't too hard, just gotta pause the film briefly in moments and vis versa. Sparta - [01:55] This is the source music to be heard as the dancing begins after the announcement of drinking to peace. It would be heard in the background of the following Paris and Helen scene. It starts a little later than where Horners almost direct interpretation begins in the film so it starts more around [10:16] or so. I've been trying to get it to line up with the finishing of the source cue in the film. There are probably some micro edits here too. Helen and Paris - [01:41] This is one possible placement of this cue. It would begin just as Paris raises a pearl necklace to offer it to Helen at [12:30] into the film and ends at the cut his ship returning to troy. Achilles Destiny - [05:38] Meant to line up with [23:22] as we transition from Achilles and Petroclus being asked to join the war against Troy ( who's theme plays ominously in the background) to Achilles mother searching for seashells, this cue has some beautiful depth to it, exploring the virtue of fame and glory vs family. As his mother tells Achilles his possible fates, we learn of his choice to go to war (knowing it would mean his doom) and the music glorifys him as we pull out further and further revealing more and more ships. There is also a fanfare that syncs up with cuts to Paris and Helen in the chariot along with a soft melody playing as Hector and his wife embrace and she shows him his son. Helen and Paris (Possibility 2) - [01:41] It would start at the cut to Helen over looking the sea at [30:40] and continue to the end of the scene. If this isn't the placement, based on the rest of the score, a similar derivative would have gone here. A Thousand Ships - [03:31] I still can't quite find the sync point of this. I can only guess it was havily edited.I thought maybe it was once the bells started tolling so the fanfare would hit once you see the ocean and the ships small in the distance but it didn't seem to fit much past that. But editing may have changed it greatly. As I track more in i'll update this

This may or may not change how things line up, but there are some small microedits in the sequence of music from "Heading North' until "Whompi's Wrench." I'm gonna try to give a tiny break down. "Heading North"s opening minute is omitted in the film. I also think that it was recorded in two segments becuase right as the next start opens you hear the opening click associated with the opening of a take. Williams will on occasion do this in cues (record them in pieces) even though they're written as one. Good Example of this is how ' Saving Sarah' on the album is only a fraction of the actual cue "Truck Stop" but it obviously has a clean opening. The reason I bring that up is if you give just an extra moment, and let that first minute sync up with Roland and ludlow talking, then continue the cue after the briefest of pauses as Roland puts on his hat (earlier than in the film). (You can watch the proper syncing of a video I made here: JP Legacy "Company of Death" ) The importance here is to sync up the dramtic music as they look out the helicopter and see the rex. Then also, the shot of Ludlow staring up at the helicopter had been extended so it had to be shortened slightly. As the cut then moves to the "InGen" shot, 12m3 "Ludlows Speech" should start immediately, and not late. This would mean that the cue would end slightly earlier than in the film, giving some more room for the ending of the cue. If we had the actual recording, we could then sync it up to the film and see exactly where "Whompi's Wrench" begins. I also wonder if maybe they are just simply alternate's of eachother. "Whompie's Wrench being something that could be used instead of the extended ending to "Ludlows Speech" (ie: everything after how it ends in the film).

You can find all of them in various Toto releases, I found them all except American Girl. I found this set of Toto albums and all but that one was in it. I can't find it anywhere though.

I love the score honestly. I've played around with it and hybridized the Mike mix with the bootleg to bring out some of the higher registers it lost in the dehissing and adding in the williams intro/outros lol... I really like it. The 6 min source cue makes my day hehe... And the sound is good even if it's not a "genuine" stereo, but if you toy with it a bit, you can get some of the more natural room sound out of the mix so it's a pretty good mixing job. There's one cue that I don't like the reverb but I fixed it. Simple phase inversion fixed it heh

It makes me wonder if it was even recorded in stereo...as dumb as that sounds... I mean, in the film, it doesn't have any definition at all. It's purely mono. I had been tempted to rip the credits from it to only find that they were just as mono as the boot. Not being privy to such things, It does make me wonder. I know films have been recorded/filmed in stringent ways before... and if anyone would do it, it would be Hitchcock.

Wasnt there one Hitchcock album that had Family Plot credits in stereo? an original recording...