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crumbs

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Everything posted by crumbs

  1. Maybe John was just exhausted by the end of the sessions and sheet music was the least of his priorities? The sessions ran late and the album went down to the wire, so he probably hasn't had the chance to think about it. Maybe he wants to write some other concert suites that he never got the chance to do during the sessions? After all, he wrote Adagio and The Jedi Steps after TFA was finished, then Han Solo and the Princess after TLJ.
  2. I have a Last Jedi cover art coming up in the next few days if you want to hold off, in the same vein as the TFA ones I posted last week.
  3. So on a scale of 1 to 100,000 how likely is it that the isolated score was taken down due to imminent soundtrack expansions, and Disney not wanting to cannibalise their profits? I'm gonna say... –99,999
  4. I could look at photos of JW touring overseas museums all year round! It's so heartwarming seeing him outside the US and exploring unfamiliar lands (especially with the rich history that Europe holds). I wonder what inspiration he will take from this trip and apply to his work, moving forward?
  5. That's amazing! So those are the original handwritten manuscripts from Beethoven, Mozart and Bach?! I knew there was no way Williams would go all the way to Vienna and not explore the rich classical music heritage of the city. Must be surreal being that close to something so historically precious, belonging to an artist he reveres... one wonders what motif he would write for such an artifact were it an Indiana Jones McGuffin? I wonder if he might detour via Bonn on the way home and visit Beethoven House?
  6. If it was the film, it would've leaked online by now, IMO. EDIT: Is this the picture? Amazingly this photo is over a month old. EDIT 2: Nope, looks like you were spot on! It's the film itself, judging by this photo: Each copy must be uniquely watermarked to disencourage piracy.
  7. Would Mike get access to that type of thing? I think he gets an isolated score for some projects so he can match the exact takes to the film music track where they weren't correctly logged or notated (especially for older analogue scores; I'm sure the digitally mixed scores could just spit out a detailed spreadsheet of every item on the film's music track, complete with take numbers). The clips from each version of the film have to exist because Williams conducted to them via his podium monitor. Presumably that vision gets synced to each take recorded (otherwise Ramiro wouldn't be able to keep track of Williams' intentions).
  8. It definitely didn't help, and judging by the early trailers it was a last minute change (the sequence appeared to be washed with the golden glow of a sunset/sunrise). The VFX guys must have been pulling their hair out. It's visually indistinguishable from the battle at the end of TFA. Abrams clearly isn't the most inspired filmmaker.
  9. Didn't David Arnold post on Facebook that he only just received his copy of the FYC around the same time the nominations were announced? That would imply a physical copy, not a download link.
  10. Don't forget the bizarre, blink-and-you'll-miss-it integration of Rose into the climactic battle. She gets all of 2 inexplicable shots near some transport atop the Star Destroyer (wasn't she staying behind at the Resistance base?!), then Finn has a bizarre telekinesis moment where he seemingly talks to her via the Force to tell her something, which is never explained. Then she vanishes from the rest of the sequence (and I think she only re-appears in the background during the reunion sequence). But before I could even comprehend what was happening there, suddenly there's Sith Troopers flying around on jetpacks (remember how they were built up to be crucial characters, only to appear in 3 shots?) and everything starts exploding. The whole climax is like an epileptic seizure captured on film, leaving you dazed and confused. Probably the worst directed and edited sequence of any major Hollywood film in recent years. Were JJ and his editor smoking crack when they signed off on this? Dislike Rian's story choices in TLJ all you like, but that film is superbly directed. At no stage are you utterly dumbfounded by a total lack of context and geography for the events unfolding before your eyes.
  11. That's dumb, just leave the existing logos as is! That old fanfare is iconic!
  12. Yes, this is a very short 25 second cue that accompanies a scene with Graham reading a newspaper article that mentions McNamara, then looking up to see a framed photo of herself with Ben on the shelf. Wouldn't be surprised if this is buried in the OST somewhere. EDIT: Yep, knew I'd heard this before. It's in OST Setting The Type between 1:34-1:58. So this cue is released, albeit without a clean opening or ending. Interestingly, this music (or something similar) follows McNamara Photo in the OST track Setting The Type... so Setting The Type is another composite track with multiple cues. The breakdown: 0:00 - 1:07 Setting the Type 1:07 - 1:36 Unused (I think, unless it's used elsewhere in the score?) 1:37 - 2:01 McNamara Photo 2:01 - 2:33 Another variation on that 'impending deadline' cresendo Now that we've identified this track as a composite of multiple cues, I wonder if that last 30 seconds is actually 'Redo'? It's similar to the music tracked into the film during the court sequence that ends Presses Roll.
  13. It's amazing how so many film cues are revisions. It feels like Williams scored the whole film twice.
  14. And there's even an early alternate of the cue as well, that we might never hear... I'm too lazy to check but presumably these instances aren't covered in that leaked spreadsheet? Considering that version of the film is dated around the same time Falcon Flight was actually recorded, which means all this tracking occurred in the dying weeks of post.
  15. Boy, we could use an FYC of this film right about now... thanks a lot, Disney. That said, there might have been issues with credits on this score, considering Powell extensively used Williams' themes throughout the score. The Academy has convoluted rules when it comes to co-composers.
  16. Call me cynical but I highly doubt the millions of dollars they're getting paid for Bond will be evenly divided relative to the work completed. First and foremost HZ will take his percentage in exchange for acquiring the property and the use of his name in all the marketing, then the rest will be split among the team of composers writing the bulk of the score (on a scale relative to their position in the RC hierarchy).
  17. No worries @Jay. I notice in your spreadsheet you've allocated those two (presumably) source cue titles as the two included on the OST. Are you sure about that? The film is filled with unreleased source music (not just in the two restaurant scenes but also the party at Graham's house, which are presumably not Williams compositions?) so I figured those two new cue titles represented other source music Williams omitted from the OST, as the other two are represented in different entries. On a side note, the source tracks included on the OST are far shorter than their film counterparts, so they're heavily microedited. You nailed that Richard The Base is actually the last half of Nixon's Order on the OST. I hadn't realised that track is comprised of two cues (seamlessly done by Williams). As for Courtroom to Court Building, this is probably the (poorly titled) penultimate cue of the score. The complete cue is 1:33 long and it's partially included on the OST from 4:07 - 5:00 of The Presses Roll. The first 40 seconds is unreleased. It ends on the wide shot of the court building, hence the title (but it begins over a TV interview of the character who stole the papers). I have two theories for More Courtroom: It's Williams' cue title for Court's Decision and End Credits, and the latter is just the BMI entry for the OST track title (just like the entries for Nixon's Order, Mother and Daughter and Deciding to Publish, which aren't cue titles but OST track titles) It's actually 2:52 - 4:07 of The Presses Roll (OST) as that music covers a montage of courtroom scenes in the film, and it seems pretty obvious Williams may have split two cues at that point (there's an obvious mood/rhythm change) EDIT: Looks like I've found the Redo! Compare 3:47 onwards of FYC Presses Roll with 3:23 of OST Presses Roll. The latter builds to a far more bombastic ending, while the former (complete with obvious edit point) is comparatively subdued. Unless someone can confirm this is tracked music, it would appear to be an insert (and Williams included his original intentions on the OST while the FYC features the revised insert, so we have both versions!) Sorry for the essay but if all my speculation is correct that means we're only missing one and a half cues from the score, plus whatever source music Williams recorded but didn't release.
  18. Well the Movies Anywhere version is freely available, but the brief chance I got with the Disney+ version on my PS4 sounded glorious (sounded like a HD master audio stream to me, far better than the existing iso copy I had).
  19. I doubt he's too upset when the more talented composers branch out and go solo. He can always replace them with younger composers desperate to break into the industry, happy to work for a pittance (while HZ receives all the credit and lion's share of the profits).
  20. @hornist Interesting to see if the Score Only version launches in other countries. So far as we can tell, it's been removed from the AUS and US markets so far (and nobody has confirmed its status in other markets).
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