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Cerebral Cortex

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  1. Like
    Cerebral Cortex reacted to Disco Stu in THE COWBOYS (1972) - NEW! 2018 Varese Deluxe Edition   
    More importantly it means that this great score isn't limited anymore to a small population of existing super fans, but open to budding and casual John Williams fans to discover in Spotify or wherever.
  2. Like
    Cerebral Cortex reacted to BrotherSound in RESTORED ISOLATED SCORE: Star Wars Saga (Unused Music Restored To Picture)   
    Despite being the Star Wars film that had the most music recorded—an astonishing 226 minutes!—The Rise of Skywalker must set a new record for tracking in the Star Wars films, borrowing over 7 minutes of music from 4 other episodes. There's more than 3 minutes from TFA, over 2 minutes from TLJ, about 1:30 from ROTS, and 0:45 from ROTJ. And even though there was already 6 minutes of tracked music in the November 11th cut, still more was added afterwards.
     
    I recently realized that part of the scene of Rey healing the snake appears to be tracked with 0M8 Saying Goodbye to the Fathier from The Last Jedi. Oddly, the excerpt in TROS is actually at the correct pitch; it was raised a half-step in TLJ (from the written C major to C-sharp). Here's a comparison:
     

     
  3. Like
    Cerebral Cortex reacted to Falstaft in RESTORED ISOLATED SCORE: Star Wars Saga (Unused Music Restored To Picture)   
    Brilliant work, @BrotherSound. 
     
    Heard in the right context, like this, you can really tell how much Williams knocked it out of the park in TROS when it came to emotionally satisfying, musically coherent long spans of densely thematic underscore. 
  4. Like
    Cerebral Cortex reacted to BrotherSound in RESTORED ISOLATED SCORE: Star Wars Saga (Unused Music Restored To Picture)   
    I was surprised to discover how much longer the OST version of 'We Go Together' from TROS is, even accounting for how the two parts (2M6 The Medal and 2M7 Ship Trip) were separated in the film, though it seems pretty clear the original intention was for them to overlap as they do on the OST.
     
    I'm fairly certain that unused march section was meant to accompany a brief deleted scene of Maz and Leia watching the Falcon depart: this exact dialogue is found in both the novelization from Rae Carson and junior novelization from Michael Kogge, and—in my opinion—seems to fit this bit of music perfectly.


    I'm less certain about the longer first section: there's a brief exchange between Rey and Rose here in Rey Carson's novelization, yet it's still longer than seems to fit. I've cut quite a bit of it out. The title of 2M6 The Medal is also a mystery, because there is notably no shot of Han's medal anywhere in this scene in the finished film. My speculation is that perhaps that opening flourish accompanied a shot of it. Notably, a similar flourish accompanies the appearance of Leia's saber much later in the film (in 7M10 Leia's Sabre, the last part of 'Destiny of a Jedi'). Or maybe the medal was glimpsed later when Rey and Leia say their goodbyes.
     
  5. Like
    Cerebral Cortex reacted to BrotherSound in RESTORED ISOLATED SCORE: Star Wars Saga (Unused Music Restored To Picture)   
    So, I’ve added a few seconds before and after the deleted bit to provide better context how it would have fit: 

    And here’s the raw original scene without music, including with Vader dialog still spoken by David Prowse and some very squeaky droids wheeling about: 
     
    This footage ended up being repurposed for the infamous Star Wars Holiday Special, for which James Earl Jones recorded new dialog.
  6. Like
    Cerebral Cortex reacted to ragoz350 in RESTORED ISOLATED SCORE: Star Wars Saga (Unused Music Restored To Picture)   
    While I was trying to sync all Battle on Naboo stuff to the movie, I found fun thing. If the Gungans retreat scene is divided into two parts (split at the moment when Jar-Jar is on the tank), and in the first half a sketch is cut out where JJ is running from the cannonballs, then the scene is well syncing (as it seems to me) with the second half of 6M6 Up the Wire cue.
    If this is true, then the scene has been heavily reworked, and now it's impossible to neatly cut it (balls appear out of nowhere), but I like this sync. In this video included the ending of 6M5 Droid Battle, 6M6 Up the Wire and 6M7 The Great Dual (partially my mockups).

  7. Like
    Cerebral Cortex reacted to BrotherSound in RESTORED ISOLATED SCORE: Star Wars Saga (Unused Music Restored To Picture)   
    I had a go at restoring 'The Speeder Chase' from The Rise of Skywalker, filling in missing footage with some concept art and storyboards as placeholders:
     
    https://drive.google.com/file/d/17-D5f9NIfu6U4UCH8RcjfTT5RYMNPRJy/view?usp=sharing
     

  8. Like
    Cerebral Cortex reacted to ragoz350 in RESTORED ISOLATED SCORE: Star Wars Saga (Unused Music Restored To Picture)   
    Anyway, I decided to collect all cues from Battle of Naboo sequence in one video. In fact, there is nothing new here, just wondering how it looks and sounds all together. All unrecorded/unreleased fragments are my mokaping. Many thanks to @Permanent Waves for the restore videos (especially for Take To Your Ships, I wouldn't have guessed how to sync it).
    Important notes:
    The most unclear sync of the second half of the 6M4 The Big Army cue (the appearance of Darth Maul), this scene has clearly been heavily reworked. I had to skip the beginning of the duel, because it's not clear what should be between the 6M4 and 6M5 cues.
    I also used 6M11 End Of Darth Maul cue, which is a new ending for the 6M10 cue, and was already written for the final cut. The earlier version lacked a short scene with the gungans, and the Maul's death underscores in much more optimistic way.
     
    6M1 The Armies Face-Off (-2:06) 6M1X Randy's Forest Mist (0:29-0:50) 6M2 Lazer Fight (2:08-3:15) 6M3 Take To Your Ships (3:15-4:46) 6M4 The Big Army (4:46-7:06) 6M5 Droid Battle (7:11-9:42) 6M6 Up The Wire (9:42-10:21) 6M7 The Great Dual (10:21-13:14) 6M8-9 Qui-Gon's Noble End (13:14-15:34) 6M10 Blowups And The Death Of Darth Maul (15:40-17:10, w/o original ending) 6M11N End Of Darth Maul (17:09-end)
     
    Btw, I just realized that the 6M1 insert (Randy's Forest Mist) appears to have been written for a different version of the cue (which sounds in the movie), but I don't know the truth.
  9. Like
    Cerebral Cortex reacted to ragoz350 in RESTORED ISOLATED SCORE: Star Wars Saga (Unused Music Restored To Picture)   
    Now The Rise of Skywalker...
     
    Here is the mockup of the 2M1 Cockpit Dialogue, which was one of the first cues written for the film. It's believed that the cue is an early version of the Falcon Flight, and I thought so too, but judging by the sync hints in the sheets, this is not quite the case.
    I, of course, cannot be sure, but it looks like in the early cut (when there were 9 reels) there was some scene with a Poe and Finn's flight BEFORE getting the spy's message and lightspeed skipping. At the same time, Skipping itself, apparently, was cut out at that moment. Then they decided to greatly reduce this scene, but return the chase. Again, this is speculation, but I like this theory.
    Anyway, Williams moved some ideas into the Falcon Flight (same tempo, tremolo strings, Heroics theme). At the same time, 2M1 cue seems to have been recorded, since some bits can be heard in the film. In this case, it turns out that the Falcon Flight had 2 versions, and 1 insert, and they were all recorded for the first reel.
    Unfortunately, I have no idea how to fill in a lot of the missing video material, so I just inserted the hints from the sketch. Also, towards the end, some shots don't sync well (in particular, when TIEs arrive).
     

     
    Also, many thanks to @BrotherSound for breakdown the cues, and their hypothetical chronological order.
  10. Like
    Cerebral Cortex reacted to ragoz350 in RESTORED ISOLATED SCORE: Star Wars Saga (Unused Music Restored To Picture)   
    The Rise of Skywalker again...
     
    This time I tried to "restore" the full cue 1M8 Approaching The Nursey (orig: Approaching The Emperor). In fact, this cue is still partially used in the movie in the right scene, though with a lot of editing. Also, in a very abbreviated form, this cue is present in the second part of the first track of the OST.
    The scene has undergone many changes, in particular, the Palpatine's speech has been shortened, and his off-screen lines (in the first half of the scene) doesn't match the sync hints in the JW's sketch. 
    Also, it looks like some shots of the fleet in the middle of the scene have been added (in the movie Imperial March from 1M15 Vader's Castle sounds).
    The second half of the scene is difficult to reconstruct, since the material was obviously re-shot/re-edited/re-dubbed, so I decided to leave almost only the sync hints (sorry for such kind of "restored" video, but this is a TROS).
    Interestingly, the first appearance of the Psalm of the Sith in the unused part of the cue can be found. There is a similar but abbreviated string rendition in the "Join Me". The next rendition (horns and low string tremolos) is in the "Anthem of Evil" (I don’t know what cue it actually is).

  11. Thanks
  12. Like
    Cerebral Cortex reacted to mrbellamy in Steven Spielberg’s West Side Story (2021)   
    I like most musicals, I like La La Land, I will probably like this. It's everlasting material of course and the music is A+ as we already know and Newman/Dudamel will hardly fuck it up. I'm sure Spielberg will find stunning things to do with the camera and choreography and so I'm excited to see that and I also think Tony Kushner is a great writer who will probably find some interesting perspective to this story. 
     
    But I also think this has always seemed like a lame idea from the outset and I feel like Spielberg's definitely gotten himself in that grandpa zone which many masters have found themselves in where he makes perfectly sophisticated and literate cinema that somehow just has like...no relevance lol. Even when he's responding very directly to current events like The Post, that movie tried so hard to say something and came and went like a wisp, it's weird. Scorsese has at least gone back and forth where he thinks he's making Hugo for kids lol (a movie I loved) but then he comes out with Wolf of Wall Street and it's like oh fuck, this guy still knows what's up. You kinda wanna see Spielberg make one of those, in his own way. I'm pleased he can still have a reasonably big hit like Lincoln and Ready Player One, the former I think is actually a great movie and the latter is pretty solid and entertaining garbage, but I'd love to see him make something that can really strike a vein. What's interesting is that probably Spielberg's most notable contribution to cinema in the 2010s was Daniel Day-Lewis's performance in Lincoln, one of his major performances and a pretty big reference point now, and Spielberg's really taking a backseat. Rylance, Hanks, Streep all did very beautiful understated work in the last ten years of Spielberg too, that's what defines it for me.
     
    But so I don't know, I feel like he's doing something with this one about cultural/racial disputes and it's just not gonna resonate, and I say this as someone who thinks he's still got the most brilliant eye and finds all of his movies human and worthwhile to some degree. Kushner's adaptation could be brilliant, who knows. Maybe Moreno will join the above actors as a great Spielberg performance. 
     
    And obviously I wish Spielberg were putting out literally anything else that would include a John Williams score and that's frustrating. So you know, whatever.
  13. Like
    Cerebral Cortex reacted to Potter Scoring Project in New Project: John Williams Potter Scoring   
    Hi all, here are some little emotional cues for our troubled teens at Hogwarts. We hope you enjoy Cue No. 22: Hermione and Harry and Cue No. 23: Malfoy and the Vanishing Cabinet!
  14. Like
    Cerebral Cortex reacted to Aenae in Here is what other composers are saying about John Williams   
    Steven Stucky, the late Pulitzer Prize-winning composer on John Williams (this guy: https://en.wikipedia.org/wiki/Steven_Stucky):
     
    "Loved Star Wars: The Force Awakens. But it absolutely stars John Williams! What a genius this guy is."
  15. Like
    Cerebral Cortex reacted to Jay in John Williams returns for Indiana Jones 5   
    It is expected JW will write and record The Fabelmans score starting sometime late this year or early next year, finishing up his duties to that film before his big Carnegie Hall night in April 2022, then write and record the Indiana Jones 5 score after Carnegie Hall, before that film opens in July 2022
  16. Like
  17. Like
    Cerebral Cortex reacted to crumbs in Indiana Jones 5 (James Mangold, June 30 2023)   
    Come on guys... obvious clickbait is obvious. The "source" is the Daily Mail -- a dumpster fire of tabloid trash.
     
    Kathleen Kennedy + female characters are guaranteed triggers for basement dwellers worldwide.
     
    We went through this same confected media-driven outrage with Shia in Indy 4. These days it's even easier to manufacture outrage with female characters instead.
  18. Thanks
    Cerebral Cortex reacted to Falstaft in Analysis of John Williams Violin Concerto No. 2   
    Hi everyone. I thought it might be useful to put together a listening guide of sorts for Williams's second violin concerto. This struck me as appropriate given how it's going to be heard in performance again fairly soon. Also, the piece, particularly its first movement, is fairly difficult to grasp on first listen!
     
    I've only put together a guide to the first movement (by far the most challenging), but if this is indeed helpful I'll consider doing the other three--or maybe someone else would like to. It's quite difficult to do this without a score, to put it mildly, so take everything here as provisional. I'm surely missing quite a lot of important details...
     
     
    Listening Guide for John Williams, Violin Concerto 2
     
    MOVEMENT 1: "PROLOGUE" 
    Overall, the most formally loose and spontaneous-seeming movement, fitting given Williams's striving for a "quasi-improvisatory" character. Not a truly non-repetitive piece, however: there are both aspects of inner-movement unity and some subtle prefiguring of material to come, particularly the concerto's principle "leitmotif" introduced in the 2nd Movement. The unpredictability of the music on a measure-to-measure level is compensated by an extremely clear division of 6 large-scale sections, summarized below.
     

     
    More in-depth account:

    SECTION 1 – INTRODUCTION 
    0:00    Quiet, slow introduction showcasing harp, supported by bed of strings. Shape of opening harp melody (D3-E3, D3-E3-C3-A3-D3) vaguely anticipates some later motivic details. First harp-based subphrase tonally centered on B♭-lydian, with contrasting Gm6(♭13) in middle.  Second, string-based subphrase more dissonant, melodically disjunct. The third, once again harp-based subphrase coalesces on Dmaj6/min chord. 1:11    Introduction of soloist. Violin begins with repetition of note F4, giving bluesy quality to faint D-major tonality maintained by strings/harp. Melodic D tonic flanked by tritones A♭4 & G♯3 above and below. Progressively expands range upward, with what will become a quasi-motivic repeated note figure, here on B♭4 and E♭5. Thinner texture and new harmonies (F♯m and A-dim) and octatonic scale-fragment in violin at 1:50, followed by downwards chromatic cascades and melodic peak of E♭6. Unaccompanied violin sags glumly back downwards.  
    SECTION 2 – FAST AND TURBULENT 
    2:24    Pulsing, agitated pattern in orchestra midrange on dissonant harmony (A3+B♭3+C4+ D♭4), supported at unpredictable intervals by rising bass-figure starting on low D. Violin gathers energy with repetition of Eb4, proceeds to a flowing, unpredictable musical thought, up to the first of several big orchestral swells marked by dissonant chord and percussive punctuation that swallows up soloist. 2:46    Violin reasserts itself over motivic rising bass-figure. Pace of textural and melodic change speeds up considerably, and music becomes increasingly key-less, violin and orchestra exchanging frenzied, short-lived ideas. Particular prominence to harp, timpani, clarinet. Low-strings trace downwards arpeggio of important Gm9 chord, echoed by violin (3:09), and Em9♭5, F♯dim7. 3:16    Lighter but more dissonant texture. Spiky, progressively accelerating violin writing against unpredictable staccato wind and pizzicato bursts. 3:33    Arpeggiating eighth-note figures in low strings resume, now upwards (D2-B♭2-D3-G2-C3-E♭3, etc.), quickly losing tonal focus as another dissonant tutti swell overtakes violin, followed by brief timpani solo (3:44). 3:46    Purely orchestral climax. Dissonant pitch pyramid assembled over B pedal. Similarly vaulting bass figures under now unified upper strings in octaves on urgent melody, arching upwards in successive swells. Pulsing/sustained brass and string melody help refocus tonality onto D, and downwards chord progression (D--C--B), while dissonant, can be referred to D-center. Ends on a shrieking tutti cluster, similar to opening sonority of section but greatly intensified.   
    SECTION 3 – SLOW  AND TRANSPARENT 
    4:23    Dreamy extended-tertian sonorities, starting with and centered on Gm13 (chord anticipated at 3:11, arpeggiated texture anticipated at 3:33). Violin enters with comparatively lyrical theme with pronounced downwards-moving trajectory. Tonality shifts to Dm, moving stepwise to Fm. Melodic shape heard in passing at 5:00 (F5-E5-G♯5-C5) seems to anticipate the recurring “leitmotif” of movements 2  & 4 -- you know, the one that sounds a bit like "Moonlight" from Sabrina. 5:10    Clear sense of tonality dissolves, violin becomes more agitated, emphasis on dotted rhythms, brief mini-solo of dissonant stops (5:18-5:22). Followed by dense, highly dissonant wind-ensemble writing, drawn from immediately preceding violin solo and segueing back into it. 5:39    Deep, dark minor chords (C♯m--Caug) prepare a catchy but ominous melody for solo violin built on double-stops (parallel minor 6ths), again with contour (A♭4-A♭4-G4-B4-C4) that anticipates shape of recurring leitmotif from mvts 2 & 4.  5:50    Busily spinning passagework for violin and glittering accompaniment, foreshadowing movement 2, recedes to background to allow brief flute solo (B♭4-A4-E5-G5-F♯5-F♯4) in E-minor, suggestive but as far as I can tell not motivically derived from anything else. Violin follows-through with flute melody, seamlessly moving to a… 6:20    Pre-cadenza for violin and harp, again with elements of flute melody (G6-F♯6-A5…B♭5-D♭6-C6-C5)  
    SECTION 4 – CADENZA
    6:50    Succession of contrasting technical and expressive ideas, not a huge degree of thematic connectivity with preceding sections though fairly consistent within its own scope. (Substructure: Downwards Em/B♭ chords—leaping octave pairs—compound melody (E6-D♯6-B5-A♯5, D♭6-C6-A5-G♯5)—trills—resigned droop—gathering energy—ascending melody over pedal—arpeggios—trills—melody reminiscent of VC1—ascending passagework maxing out at A6—descending, harsh stops, ending with repeated D4.)
     
    SECTION 5 – BROAD AND CLIMACTIC
    8:38    Rather spooky melody for violin (F♯4-D5-B♭6-F♯5) over brief suggestion of B-minor.  Quickly yields to new material for orchestra, with massed brass, strings in octaves, and thick, repeating wind quasi-fanfares, all grounded over low C-pedal (C-A♭-D♭-G chord?). Classic JW concert music stuff (c.f. For Seiji, Soundings, Heartwood, etc.). Much of this seems to respond vaguely to material introduced in the Cadenza. 9:00    Almost aleatoric sounding passage for harp, solo high winds, pizz strings. 9:09    Emphasis on low winds and strings. Recollection of ascending bass figure from 3:33 (now E2-B2-D3, F♯2-B2-E3) 9:14    Climax building really starts in earnest. Wind chords seem to outline violin’s spooky melody from start of section, against aggressive massed-string section counterpoint, ending on bright, dissonant wind chord.   9:25    Violin solo reasserts self, now more actively interacting with rest of orchestra. Strong sense of rhythmic and harmonic acceleration, climax building pauses after timpani interjection (9:40). 9:48    Final, rapidly attained climax, fastest solo violin writing; impression of huge sweeping motions from whole orchestra, culminating on a huge tutti chord of characteristically JW-dissonant flavor (A-C-E- F-A♭-C♭)  
    SECTION 6 – AFTERMATH AND CODA
    10:11    Instantly quiet, clear duet for harp and violin. Clear reminiscence of beginning of Section 3, via repeated harp arpeggio of extended triadic sonority, this time F♯m11(b♭13) instead of Gm11(nat13). Meditative violin solo above, not clearly connected to previous themes. 10:40    Quiet upwards scurrying from violin, reaching high B6, followed by abrupt, staccato motif (second phrase accompanied by four dissonant pizzicato chords from rest of string section). 11:03    Violin settles on sustained low A♭3, against resonant F2-A1 bass support on harp. Full fade-out by 11:16.
  19. Like
    Cerebral Cortex reacted to igger6 in THE ADVENTURES OF HAN - 2018 John Williams theme for Solo: A Star Wars Story   
    The Film Symphony Orchestra just debuted their performance of AoH, and it rocks! Give it a look and fall in love with this piece all over again! These guys should do a Blu-Ray…
     
     
     
  20. Like
    Cerebral Cortex reacted to Trumpeteer in John Williams Returns to the Hollywood Bowl, Sept. 3, 4 & 5, 2021   
    I was at the Sunday concert and it was a lot of fun. Of course, since I have finished my podcast, I knew there would be no new film music for me to hear, but that was fine. The Overture to the Oscars was new, I think? I have to look it up, but it sounded like the music that opened the 2002 Oscars when he was co-musical director. 
     
    I enjoyed seeing JW looking so lively at 89 years old. I spoke with a woman after the show, and after I told her John Williams was five months away from turning 90, she said, "He looked like he was in his 70s!"
     
    But the highlight of the show was meeting Eduardo Victoria, who was a cohost on my podcast for the "War of the Worlds" episode. It was the first time meeting one of my cohosts in person, and we had a wonderful pre-show conversation.
     
     

  21. Like
    Cerebral Cortex reacted to SteveMc in John Williams Returns to the Hollywood Bowl, Sept. 3, 4 & 5, 2021   
    A wonderful experience of a lifetime it was for me.  Still processing it, can't quite believe it.  I saw John Williams at the Hollywood Bowl!
    I love how in tune the orchestra was with JW on selections like Olympic Fanfare and The BFG.
    It's like, David Newman is a very competent conductor, and the orchestra sounded great under his baton (especially Sabrina, which is a lovely score to hear live), but when John got warmed up, it was just electric.  There were moments where you felt he was getting exactly what he wanted, just the right balance during the high points of the Olympic Fanfare, clarity in the rapid intricate wind passages in The BFG (it was astonishing to see how vigorous he got at that point), and the rousing and precise end to Adventures of Han.
    I love how he seemed to want the audience to really like BFG, he appears proud of the work.
     
    Of course the encores were incredible.  The music itself was very familiar, but the way he drew on the crowd's excitement and love and infused that energy into the orchestra was just thrilling to be part of.  
  22. Like
    Cerebral Cortex reacted to Brando in John Williams Returns to the Hollywood Bowl, Sept. 3, 4 & 5, 2021   
    It was a marvelous performance!! 10/10 would definitely do again. After he finished his set he walked away 3 times before returning each time to an encore. Just seeing him on stage was magical. At one point he roasted BFG. He was talking about how he was going to perform a piece from it and he goes “it was a movie not a lot of people went to see” and everyone laughed. At one point my wife, upon seeing him walk around as he does, goes “he’s a cute old man” haha. At the end Newman brought him a lightsaber and he practiced his golf swing with it. The entire night was a blast and I’d love to do it again!
  23. Like
    Cerebral Cortex reacted to lairdo in John Williams Returns to the Hollywood Bowl, Sept. 3, 4 & 5, 2021   
    My sister, cousin and 6-year old niece went to the performance last night. My niece has been to the bowl before, but not to see John Williams. Her review is succinct:
     
    ”I had no idea idea this would be so magical. I wish this night would never end.”
     
     
  24. Like
  25. Like
    Cerebral Cortex reacted to PokeDocMatt in John Williams Returns to the Hollywood Bowl, Sept. 3, 4 & 5, 2021   
    JW looked spry and anticipating the orchestra and music rather than following. (I last saw him in Chicago and Boston about 3 years ago and he looked fatigued/distracted.) Typical recent concert fare. Three encores. The highlight of the evening was the ‘84 (?) Olympic theme set to recent highlights of winter and summer games. This was truly phenomenal video editing and synchronization. The audience loved it. I would love to see it released. 
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