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GoodMusician

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    Indiana Jones Unreleased Music Resource

    in JOHN WILLIAMS

    Posted

    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?

    The Cape

    in General Discussion

    Posted

    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

    Star Wars Saga Blu-Ray Movies Announced

    in General Discussion

    Posted

    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.

    Troy: Gabriel Yared

    in General Discussion

    Posted

    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.

    Troy: Gabriel Yared

    in General Discussion

    Posted

    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.

    Troy: Gabriel Yared

    in General Discussion

    Posted

    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

    Troy: Gabriel Yared

    in General Discussion

    Posted

    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?

    Troy: Gabriel Yared

    in General Discussion

    Posted

    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.

    Troy: Gabriel Yared

    in General Discussion

    Posted

    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

    Troy: Gabriel Yared

    in General Discussion

    Posted

    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:

    The Score of Troy — A Mystery Unveiled

    by Gabriel Yared

    For the many people who have contacted me through email and other means, I would like to summarise and present the facts which led up to the rejection of my score for the film Troy, after nearly a year of great and very fruitful collaboration with the director Wolfgang Petersen.

    I first met Wolfgang Petersen in March 2003 when he presented to me the idea of working on the score for Troy. We got off to a great start and he explained that he'd come to me to bring a deeper level of emotion to his film, and that although he knew I wasn't well known for writing big epic scores he told me he was confident from the things he had heard from my previous work that I would be more than capable of delivering a great score that would have a great original flavour.

    In April 2003 I began work on the source music which needed to be pre-recorded as it was featured in the film. This was a great challenge as it required the creation of a convincing and effective ancient sound. The scenes included dances, funerals, mourning women, and even drinking songs. In order to recreate the wailing and crying of the mourning women I used a Bulgarian choir and some Eastern European soloists to make what turned out to be a great sound, very evocative of the setting. These mourning women pieces also gave me some great ideas that I would later incorporate into the underscore and soundtrack as a whole. It was also at these sessions that I met a young Macedonian singer, Tanja Tzarovska, who was to later go on to feature in the score and the song.

    Later in this year I started to think of the score and I knew there would be a lot of music (in fact Wolfgang spotted just over two hours of music). I knew I had to have a good overall plan and structure in mind. After much research, writing, rejecting, and revising I finalised the thematic ideas for each of the important characters, groups, and locations, ensuring that these thematic cells could be related and readily combined, expanded, merged, or superposed.

    My overall concept was to create a classic-yet-modern score, epic and yet subtle and emotional. Classic in its elaborated harmonies, architecture, and structure, harking back to classic forms (such as the fugue based on Priam's Trojan theme). Modern in the way it was shaped and moulded to the action, and also in the sound of the score. I decided to supplement the large orchestra with a 25-piece brass section to provide a different colour, and a large choir which was sometimes triple-tracked to give support and drama in the large battle scenes, as well as to provide colour and give an overall feeling similar to that of an epic Cantata. The choir would say meaningless, invented-but-sonorous words written to enhance colour and emotion, as the choir of an ancient Greek tragedy. I also had a group of six percussionists who would overdub many interesting ethnic and conventional sounds and rhythms to work with other sampled percussion created by my sound designer Nathaniel Mechaly. The other significant colour would be based on the Bulgarian and ethnic vocals inspired by the source music. I would use a phrase of the Bulgarian choir to act as a distant siren (as in the very opening of the film and the ending), and then at certain important moments of the film I would use Tanja's voice (sometimes accompanied only by percussion), like a "voice of destiny" (for instance in key moments such as the fight between Hector and Achilles). So this was the vision and plan of the score that came through after many approaches and much help and support from my team.

    Having settled on the overall ideas and concepts I then set to work writing each cue in detail and providing demos so that Wolfgang could hear what I was doing and become familiar with the themes and concepts. In November 2003, working together with Kirsty Whalley, I provided a very detailed, orchestrated demo with full orchestra, choir, percussion, and even vocal samples for every single cue. Wolfgang was genuinely delighted with everything we sent to him, he loved the big epic sound, powerful and yet still moving and emotional. Of course he had some comments here and there which we always endeavoured to fix straight away. I also composed and demoed a beautiful song based on the love theme of Helen and Paris. Tanja Tzarovska, who was to sing the song, also wrote lyrics in Macedonian.

    14th February and the next stage was to join my friend and engineer Peter Cobbin at Abbey Road Studios for the recording of the score. The next three weeks of recording were very tough and tiring with very long days of intense work, recording a 100-piece orchestra for two sessions a day followed by evenings of overdub sessions. It was a wonderful time, however, of creation and realisation and much enthusiasm from Wolfgang and the producers and production team. Wolfgang was over the moon and could be heard in the corridors of Abbey Road Studios singing the main themes, he was enchanted with the music and began to wonder about the temp music he'd been using thus far for the test screenings. So it came that Wolfgang used all his charm to persuade me to allow him to use some of our unfinished monitor mixes to replace the temp music. Despite my misgivings he seemed so keen and proud of the music that I agreed, providing he promised that it would be used just to help him for the previews and would not be judged at all since it was work in progress — completely unmixed and often without all of the final overdubs. So, it fell to Allan Jenkins (music editor) to work tirelessly to conform all of these monitor mixes to the appropriate cut at very short notice whilst we all continued with the work of finishing recording the score. The monitor mixes, however, were very well received by all the sound department working at Shepperton Studios, and Wolfgang was delighted with the way in which the music worked at the temp dub. Indeed, after the run-through in the theatre the evening before the preview Wolfgang called the team at Abbey Road from Sacramento to say how great the music sounded.

    After the test screening on 10th March, though, everything had changed. The focus group at the preview decided my music was "overpowering and too big, old fashioned and dated the film." Thus in this 24-hour period my score was completely rejected by director and studio, and a collaboration of one year came to an end, despite the fact that it was unfinished work and that the dub was temporary and, although good, not always perfect. What shocked me the most was that I wasn't given the chance to fix or change my score or even to answer to any of the questions or accusations being leveled at my work, despite the fact that I had sessions booked to redo some cues to the new picture and new versions of other cues. Indeed, the decision to replace me had been taken and meetings with other composers had already taken place before I even spoke personally to Wolfgang. I was later informed that it was "...a problem with the writing" and that the score was beyond the hope of being fixed and they were happy to have a new composer write the whole score just a month-and-a-half before the worldwide release on the 14th May.

    Throughout the whole project I had felt that my relationship with Wolfgang was very strong and I am convinced that he was more than happy with my score, he was very supportive and enthusiastic and attended nearly every recording session.

    In the end I am proud to say that with the great help and support of all my team I succeeded in producing what I firmly believe to be my finest score. It is original, musical, and every single cue is crafted with a great deal of thought, heart, and inspiration in a way that I feel works fantastically with the picture. I feel that my score lifted the picture and gave some depth and emotion to many of the scenes which gave another element to the film as a whole in amongst the terrific and exciting action scenes. My music was fantastically recorded and mixed, and the detail of each overdub layer gave a great and characterising sound which was completely up-to-date, but with the scale and class of a great epic.

    I apologise to those reading this who will never get to hear this score. Unfortunately it is not my property, so I will have to hope that one day it will get a commercial release, albeit in this unfinished form. As they will not be credited in any formal way I would like to thank my team for their fantastic skills, support, and indefatigable and enthusiastic hard work. I would also like to thank the wonderful musicians, not only for their fantastic performances, but for all of them who came to visit me (after they heard the bad news) to give their support, and for the respect and affection which they always show me. The messages of how they enjoyed performing the score and how much they enjoyed playing it to the picture on the big screen mean so much to me, this and the support of my team is the best award I could have.

    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:

    DANIEL SCHWEIGER: Now, two films, two recent films that you've scored that I imagine were very challenging were Troy and The New World.

    Now, on Troy, you were coming in as the replacement composer for Gabriel Yared and you had already done The Perfect Storm for the director, Wolfgang Petersen. In a way, was it as hard as it was easy? Because, I think you've got two to three weeks to do this score, but because there is like no time for you to do it, that there isn't gonna be the kind of studio second guessing that may have, you know, messed up the first score that was done for it.

    JAMES HORNER: Uhm, let me see where I start with Troy.

    Wolfgang is very opinionated. And a very proud man. And he wants everything to be huge. The biggest ever, the most grand. "We've never had a shot of 5,000 people or 50,000 army before - look at the shot of the ocean and you see 5,000 ships - that's the biggest shot in history!" I mean, he's very much into this huge old-fashioned grandure, and I think that he was making what he felt was the best film of the decade. I think that was his mindset.

    And I wasn't asked to do the original, which was sort of - at the time - a bit of a twinge for me, because I did such a nice job, or he seemed so pleased on The Perfect Storm. Even though everybody, including myself, very very vocally begged him to take down the ocean water sound effects, which he wouldn't do in The Perfect Storm. And I think ultimately it didn't do as well, because people just got overwhelmed by the constant barrage of noise. So it didn't do as well as it was supposed to or as it was promised and hyped to. And I think he felt that he probably could do better musically.

    So he started Troy with Gabriel, and of course Gabriel is very well known in Europe. He was going to make this huge Movie of the Decade, the Trojan War, you know, very dramatic. And he worked with Gabriel and gave Gabriel free reign to do whatever Gabriel wanted, without thinking of how an audience might react, or whatever. And the two of them worked, and Gabriel dutifully did whatever was asked of him by Wolfgang, and Wolfgang's musical tendencies are to overscore everything, like a Wagner opera. He's not into subtlety. At all. Not in the slightest. And emotion to him is a 3,000-pieced orchestra playing a sappy violin theme.

    I mean, I'm being nice, but not being nice. I'm being - this is what I mean by being direct.

    He's a lovely man. These are only issues that become issues when you're in the trenches and you're really working on a film and it has to be stunning and these are the issues you come up with another -- with your employer, or your -- somebody you're working closely with.

    So, Wolfgang gave a lot of instructions to Gabriel that were hugely wrong. And just so old-fashioned. And Gabriel dutifully did his job and Gabriel also brings to the project a certain quality that is not necessarily the most cinematic, but perhaps is a little more operatic, and didn't have the experience of scoring a big action movie. His movies are a little bit more refined.

    And, you know, his previous, The English Patient, was really very much based on Bach's music. I mean, if you listen to Bach's preludes and fugues and those things you'll hear Gabriel's score. And I suppose I could say you would have to be a trained musician or a musician with some sort of education to know that, but when you hear the two things you think: "That's Bach."

    I don't say that to denigrate Gabriel, I only say that to give you an example of how Gabriel was not familiar with this big action movie thing that Wolfgang wanted. And Gabriel and Wolfgang made the score together, fifty-fifty.

    So what happens is, they have The Score from God in The Movie from God and they're in London doing post-production. Gabriel has a huge choir, huge percussion, huge this, huge that. And, before they put the chorus on, they brought it to California to preview - the studio insisted on a preview. And Wolfgang was so sure of himself he thought, "Oh my God, you wait until you see the reaction to this movie." And Gabriel hadn't even put the choir on. The choir was doubling some of the string stuff, and it was going to make it more massive, okay?, and he had lots of sort of Middle-Eastern stuff and --

    The audience -- They played it for an audience in Sacramento and took the usual focus group and the cards, and there were lots of comments about flaws in the movie, but to a man, everybody said the music is the worst they had ever heard. To a man. I mean, 100 percent take out the score. I'd never heard of a preview where people are so in tune to the music that they even notice it, much less demand that it ruins the movie for them. And in the focus group, the same reaction, they all said, "it's horrible music. Who did this music?" And, you know, I hadn't seen the film. I didn't -- this is all sort of in hindsight, cause I hadn't -- I didn't keep up with the movie.

    They previewed it again with the same result, and Wolfgang was white. Completely shaken. Totally lost his confidence. Warner Brothers asked me, I guess because I had experimented with so much music of different cultures in various films, but somebody suggested me, and they approached me, and said, "would you look at the film and tell us what you think? And do you think you could do this if we took out the score?"

    And I looked at the film, and it was -- I don't even know how to describe how atrocious the music was.

    It was like a 1950's Hercules movie.

    And it wasn't because Gabriel's not a gifted writer, it's because he just doesn't have any knowledge of writing film scores. Real film scores like that. And it was like -- It was so corny. It was unbelievable.

    And apparently it made the audience laugh in places during serious scenes. And this combination of this "please do it bigger and bigger and bigger" and "more is better" from Wolfgang and Gabriel's, you know, not knowing what cinematic, big cinematic action music should be, they both came up with this score that was absolutely dreadful. Absolutely dreadful.

    And I looked at it and I said, "when do you need this score?" And they said, "well, they're dubbing it now, they basically need it -- you have to be finished nine or eleven days at the very most." So I didn't even have the two or three weeks that you alluded to before. I had nine or ten days to do it.

    And I met with Wolfgang, and he of course, is completely cowed out, apologetic, emberrassed, everything. Gabriel, meanwhile, in Europe, is furious. Because -- And he's going on his website saying he was cheated and short-changed and they put his music in the film without the chorus and the chorus makes the differenc. And you know, you're saying to yourself, "this guy just doesn't get it." The chorus would have made it worse. If the problem was it was like thick, thick, black loudness over everything. And corny at that. But they hadn't completely -- I hadn't taken on the assignment yet. And I met with Wolfgang, and he was very emberrassed, and said I would be allowed to do whatever I wanted - would I please, please, please, do this, as a favor? And how grateful he would be at that trouble.

    Well, that's Hollywood talk. I don't ever expect people to be grateful. If it happens, it happens. Usually it happens with the low-budget filmmakers, because they truly are grateful. But with the big guys, when they say how grateful they are, I, it's not something I put on the bank and put in my pocket. And the example is that, of that is that he didn't ask me to do the next movie he did. He, after all the work we went through, I would not have done - what was the movie he just finished? - the one with the wave that turns the boat over.

    SCHWEIGER: Oh, Poseidon.

    HORNER: I would not have done Poseidon Adventure if you'd paid me 10 million dollars. I would not have done that movie, honestly. But before I even knew what the movie was, he asked another composer to do it. So it shows you how, after all we went through on Troy, it shows you sort of how people's minds work. They're really not really grateful. They just want you to do it, help them out, and that's where it ends.

    So I took it on as a challenge, because I didn't know if I could do it in nine days, I had never done -- well, I'd worked on very short schedules on Paramount films and Disney films, which had very short post-production, Patriot Games and some of those films that, you know, Paramount. But I thought it would be a real challenge for me as a writer to see how much music I could write in nine days.

    And I promised that I could do, you know, 75 minutes. I didn't know if I'd be able to do 95 or 100 minutes. I would do my best effort. But I was contractually bound to do 75 minutes. The film needed, when we went through it and spotted it for where the music went, it needed actually close to 118 minutes.

    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.

    Hi Bernard,

    My office in Paris has forwarded me your email .

    Thank you for your thoughtful words .

    Actually I have recorded the whole score but, since there was some re-editing going on, some of my cues have not been updated to it , only that .

    To make the story very short : at the time my score had been rejected in a despicable way, I had decided to put many excerpts on my website along with a personal statement explaining the whole story, and this ended up by Warner threatening me with legal procedure if I didn't remove it immediately . I did !

    I don't see any possible future for your offer to release my complete score . I'm truly sorry .

    Thank you again and Happy New Year !

    Best

    Gabriel

    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

    Complete Cue List: The Lost World: Jurassic Park

    in General Discussion

    Posted

    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).

    Varese Sarabande releases Family Plot!

    in JOHN WILLIAMS

    Posted

    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

    Varese Sarabande releases Family Plot!

    in JOHN WILLIAMS

    Posted

    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.

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