Smeltington
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Posts posted by Smeltington
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Yeah, I'm really enjoying them and it would be great to collect them all in one place.
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Similarly, the use of music from Attack of the Clones may simply be the remnant of a cue used on the temp track. This has probably happened before on at least Return of the Jedi and Home Alone 2.
It also happened in HP1, with the music for the troll fight resembling a cue from HA2. So it's likely that similarities between CoS cues and other, non-HP Williams scores are part of Williams' contribution to CoS, since Ross would have only been looking at HP1 for material.
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2002 was a very busy year for JW. He scored four films in a row. He planned to score Chamber of Secrets in late Spring/early Summer 2002. However, since Spielberg asked him to start working on Catch Me If You Can earlier than planned, he had to devise a method to score the Potter film faster than initially scheduled, as William Ross points out in the interview linked above. Williams spotted the film with Chris Columbus and music editor Peter Myles in late spring 2002. Here, he and Columbus agreed to reuse some materials from the first film's score in a number of scenes merely as a time-saving procedure for JW. Enter William Ross here, who was handed spotting session notes (along with Williams' manuscript from the first score) with instructions on where and how to use cues and pieces from the first score into the scenes of the new film, while at the same time Williams wrote as much new material as he possibly could, including four brand-new themes and all of the pivotal sequences. Scoring sessions were held at London's Abbey Road in late Summer 2002 with William Ross conducting the LSO, as Williams wasn't able to fly over and conduct himself because he had to stay in Tanglewood to score Spielberg's Catch Me If You Can.
Hey Maurizio, can I ask where you found the info on the spotting sessions? It would be great to have for my Scorepedia article
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Do you believe Ross composed any of the new material?
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Listening to the complete score, it's usually pretty clear which material is new and which is from the first film, and that is probably the dividing line between the work of Ross and Williams. The only thing that makes them harder to distinguish is when a cue is made up of some new and some old material.
I would have liked to make an edit without any of the recycled stuff, but cues like that make it difficult. Plus some of the new material still rehashes, say, the Stone motif, which I would otherwise have liked to just edit out and pretend it wasn't used.
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Cool video BloodBoal! Thanks for putting these together! Makes me think how great it would be to have isolated scores for the films.
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It's amazing we have multiple interviews with Ross discussing this, and none with Williams. So far I haven't found a single interview where he discusses Chamber of Secrets at all, except for a very brief couple of comments on the DVD special features.
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It's familiar territory for Williams, but I wonder how this came about. For him to take on a non-Spielberg project, it could be that he found it particularly inspiring. The prospect of JW working with a different director is certainly more exciting than American Sniper with Spielberg was.
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Blah, Nazi Germany again! Oh well, I'm excited for any Williams score, and especially one with a new director!
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What the heck!!! Really?? What is this movie?
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Black Widow says "He killed 80 people in two days" so apparently people were dying, we just didn't see them all onscreen. Maybe mass murderer is an exaggeration, but killing 80 or more might make it hard for him and Thor to reconcile.
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I really want Loki and Thor to end up being friends!
Now Loki became a mass murderer in Avengers, there may be no chance for redemption
I do think he needs to come back regardless, since he was so central to the first Thor movie, and his relationship with Thor (and Odin) feels like a major thread that's still unresolved.
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It's actually really good, if I had a wall, that poster would look great on it.
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Amazing!! Can't wait, I loved the first one.
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Yeah, the last thing AUJ needs is an even longer running time, honestly.
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Even if there's no new music for the EE, there's still tons of unreleased music to pine for.
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Yeah, I wouldn't rate it as high on a list of his own works, but I still enjoy it nearly as much, and sometimes I'm just more in the mood to listen to a modern JW score than an older one. He somehow manages to bring something unique to each score, and make each one captivating.
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Your guides are always great! I would certainly encourage you to do one if you're so inclined.
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Ok, thanks... I guess it's been too long since there have been any new developments with those scores.
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Jason, has anyone ever put together a guide to the OT scores with this type of info, similar to the Indiana Jones music site?
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I wouldn't count Doug's quote as confirmation that new music was recorded for the EE.
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The only music that stuck out to me on my first viewing of the film as being more or less tracked/rerecorded from LotR were Hobbit's Understanding and the Nazgul theme. At the time, the former bothered me because the scenes where it was used didn't reach the emotional heights of the ending of FotR, though it was not thematically inappropriate. Just a very liberal use of a piece of music that shouldn't be used lightly.
As for the ringwraith theme, as Incanus points out it does meet the needs of the scene in terms of mood, but it's extremely jarring since there are no ringwraiths around.
Yes, well said, Incanus. I think that sums up the frustration many of us felt who appreciated the thematic complexity of LotR.
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This is great news!! I can't wait
I have to admit I had the same thought as King Mark... now we'll have three more scores to edit endlessly
But it'll all be worth it!!!!!!! This is SO WIZARD
Gladiator Live // Royal Albert Hall
in General Discussion
Posted
Sounds amazing, are there plans to bring it to other cities? I get that impression from the website.