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John Takis

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About John Takis

  • Birthday August 3

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    Never Never Land

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  1. Nothing egregious caught my eye, although I admittedly haven't parsed it that minutely.
  2. This should be "While you are wandering, if you are wondering..."
  3. Nope. It's the same performances, just edited down.
  4. I suppose I disagree with your premise that it doesn't sound like a cimbalom (or at least a decent approximation of one). It sounds sufficiently "cimbalom-ish" to my ear. The actual instrument has quite a wide range extending into the higher registers.
  5. If you subscribe to Film Score Monthly Online, it's this month's "Score Restore" video! (That's Volume 28, No. 12, December 2023, for future reference.)
  6. Performing the melody? I believe so. There's actually tastefully deployed synth throughout Hook ... for example, I believe it's usually a synth celeste. Glad you enjoyed the essay, @mstrox!
  7. Nothing is missing on the new release. The track "Granny Wendy" on the OST is a combination of two different cues, "Forgotten How To Fly" and "Wendy's Entrance." You'll find what you're looking for on CD 1, Track 10!
  8. Yep! The media dubbed it the "Heidi Bowl." It had a big impact on how sporting events are broadcast. Also, it's worth adding to the conversation that while these films certainly were made to be broadcast on American television, Delbert Mann agreed to direct in large part because he would be given the budget and scope to shoot them as big-screen features for theatrical distribution in Europe. They are thus very "cinematic" in execution and Williams scored them accordingly. It's absolutely criminal that they are only available in shoddy, bootleg-quality home media releases. Assuming the negatives still exist, I'd pay very good money for a proper Blu-ray restoration of the whole Mann/Brogger literary classics series from a company like Powerhouse/Indicator!
  9. No. Mr. Rochester signs an excerpt from The Beggar's Opera, a 1728 work by librettist John Gay and composer Johann Christoph Pepusch.
  10. Williams was very actively involved with SOLO. Not only did he provide thematic material, but he spotted the film with Powell and made suggestions. He also heard and approved the final cues. He seems to have such a strong affection for Daisy Ridley and Rey that I wouldn't be a bit surprised if he asks to be involved with this new film, so long as his health and schedule permit. (For that matter, I'd actually like to see Powell get another bite at the Star Wars apple! When I interviewed him for the recent Intrada release, he seemed very taken with the notion of getting to do something with the Force theme, which he loves but had no opportunity to use in the Jedi-free world of SOLO.)
  11. Yes, once you have listened to the songs, the internal logic of certain theme choices during the score really comes into focus. (Debuting the "Believe" melody alongside Peter's first panoramic view of Neverland, for example.)
  12. Yes, the alternate performance of "To Thornfield" (along with the other extra tracks from JANE EYRE) comes from the newly unearthed partial session masters that Mike talked about on FSM. It's a real treat to hear "new" interpretations of these cues from the maestro's own baton! And HEIDI sounds so much better because Mike was able to go back to an earlier-generation source (½″ four-track masters) than was used for previous releases, which also happily had the cues separated in such a way as to enable a chronological presentation. Don't worry, Thor, it plays beautifully this way! Even better than before, when we had to deal with cue combos that had been created not for purely musical considerations but to conform to the Capitol Records album narration. We addressed that to a degree on the old Quartet disc, but our hands were tied in a few places. That wasn't the case this time around! Mike was prepared to consider resequencing things, given that this is not the complete score. But when we lined everything up in film sequence, we felt that the program had a lovely ebb and flow and made for a very enjoyable and balanced listening experience. The Capitol album with narration also sounds better than ever, by the way! Mike gave this program the same meticulous attention as the score-only tracks. If you just skip to the two tracks that were recorded specially for the album, you'll miss some lovely performances by Sir Michael Redgrave and Jennifer Edwards.
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