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Everything posted by Skelly

  1. Here's a copy! Also, "Soundtrack!" magazine did an interview with him when The Phantom Menace came out. (But ignore his response to the Municipal Band/Emperor question -- I think he and Ford were talking past each other.)
  2. Is that something you can see online or was it from one of the seminars Smalley sometimes does?
  3. With the AFM it's a chicken-or-the-egg situation. For 25 years film score fans have been complaining about how prohibitive the AFM's new use fees are, but over that same period of time those royalties have been becoming more and more precious to the musicians. In 1999 Local 47 wages totaled almost $50 million and by 2013 that total had sunk to barely $15 million. For most musicians that's not livable, and so they get their most important paychecks through residuals. If even that isn't enough to make ends meet, you have little choice but to be a "scab" and hope the only people who hear about it
  4. I did an "isolated score" for Azkaban a while ago (all three actually) to get a better look at how the movie was scored dramatically compared to the first two. Editorially I don't remember anything very interesting dropped out, mostly it just seemed like fat was trimmed from busy fx sequences. According to one anecdote Williams got an outdated cut of the movie to begin with.
  5. The 180-degree turn at 2:02 was evidently added in later, since Wannberg or whoever looped music specifically for the duration of that shot. I guess Williams scored a cut where Voldemort didn't explain the unicorn blood.
  6. I'm not sure about that since this movie doesn't use establishing shots very often just to pass time (there are two, maybe three instances; the sequel has plenty though). Usually it's the way it's cut now where even if the shot starts static, the action rolls in quickly. This was my approximation. But I'm a little doubtful that I got it right since the flutes obviously collide with Hermione.
  7. I wonder if that cue was inspired by a different ending to the mirror scene where Harry asks what Dumbledore sees in the mirror, and he says a new pair of socks. It's a shame that so much music was dialed out in the last scene you posted, because it shows Williams's knack for scoring dialogue. But by that point there'd already been so much music and I think they wanted to avoid underscoring muggle scenes. Plus it makes the Dursleys more comically evil than was maybe intended.
  8. Yeah, I got it working again just as those last few minutes were playing. :/ Keep an eye on his label's YouTube channel I guess, they post random performances there. Maybe October Light will show up one day.
  9. I think expecting Williams to do a tell-all at his age and with his consistent outlook about the idea ("My life isn't interesting enough") is wishful thinking. But he's donated his old scores and has given his blessing for expanded CD releases so that's something. On the other hand he was happy to speak at length about Conrad Salinger a few months ago, so if someone really wants to get him to talk then asking him about his experiences with other people is the way to do it. I think any personal legacy he wants to leave behind can be found at the end: If they're playing Superm
  10. .... Well I hope someone else was recording it since my internet crapped out right in the middle of it. Seriously. If not, sorry guys. Edit: Here's as much as I was able to get, including a short introduction by Goldenthal. Even though descriptions say the piece is 8 minutes I think it really was more like 12. No clue why my internet died when it did, but maybe one day he'll release it through his label or something. Also, here's a long discussion with Goldenthal and St. Clair about music and life and things.
  11. Tomorrow night, for anyone who needs a reminder. I'll record it if I can.
  12. wanna know subtle motif switcheroo... Peter Pettigrew's theme (or, what I guess was the standard "danger" motif before all the music editing made it his theme) is just the Nimbus 2000 Theme with the last two notes switched around. who knows if that's intentional or not.
  13. Re: the choir in the Quidditch cue -- I agree with crumbs that dropping the choir makes the Grim's looming image more eerie. That little section was chopped in half in the final cut (there's no giant "Double Trouble" statement anymore) so maybe there was something in the editing or length which Williams was responding to that we can't see anymore. And with that in mind it kind of "breaks" the music if choir suddenly comes and goes without that Double Trouble there to tie it back to the rest of the track. Another reason they nixed it might be because choir is the trademark sound of
  14. On paper it is, but you can put in any random postcode and it lets you through. Or at least, it lets me listen live. I still get error messages when I try to listen to old programs. Not sure if that's just me or related to the geo-blocking.
  15. Even if no one records it live (I'll try to), there's an option for all their other programs to "Listen again", so I guess that'll be the case for the Williams show as well. https://planetradio.co.uk/scala-radio/schedule/
  16. It reminds me of an anecdote Conrad Pope told about some Oliver Stone film they worked on. The first thing they recorded was the main title and Stone loved it. Williams told Stone he thought take 3 was the best of the bunch, but Stone disagreed; take 1 was the best. Williams recognized what was really going on was that Stone still felt the buzz of excitement from hearing the music for the first time, and was attaching that feeling to the first take. So instead of arguing he just said, "Let's talk about it later"; and in the end they used take 3 because by that point Stone couldn't remember or
  17. Sure, if it wasn't stimulating he wouldn't be doing it. All the same, in interviews he describes the life of a pencil-and-paper guy like him as hermetical and lonely, usually in a soft-spoken, thoughtful tone of voice. That's how he wants to spin it for the public, even if in reality the pencil-and-paper process might be more fulfilling or invigorating than he admits. He describes the day-to-day schedule of his writing period as very challenging, very private, and through the decades he's more or less kept it that way for his listeners and fans -- even though some interesting morsels slip thro
  18. I don't think he likes talking about his work as much as people wish he did. Because that's what it is: work. There's no excitement in sitting on your ass 10 hours a day looking back and forth from a monitor to a slowly-filled sheet of paper, hoping for a eureka moment that will speed things up a little. The real satisfaction comes from when he can finally stand up and conduct some extraordinary musicians. In that Times interview posted yesterday, he doesn't say a word about how he dug deep into the music of Waxman, Korngold, Steiner, and whoever else to almost single-handedly create something
  19. Classical KUSC will be airing "October Light" again next month on August 16th, 7PM PST.
  20. Probably for practical/logistical reasons. Flying and all that heavy travel gets harder on your body as you get older and Williams is in his eighties. Plus the schedule for those movies was a little weird; on "The Last Jedi" for instance, instead of recording the score all at once like you usually do, he would write maybe 45 minutes of music, record it, then spend a few more weeks writing another 45 minutes, record it, and did this for three or four months. With that schedule it was much easier to stay home instead of traveling for such a long time. In a perfect world I think JW wo
  21. The shawm and tambourine tracks are interesting because they're examples of how Cuaron blurs the line between underscore and diegetic music (or even sound effects) in a way that hasn't been popular or standard pretty much since the 1930s. Like Hitchcock famously asked, "Where is the music coming from?" The shawm is ostensibly coming from somewhere in the pub, but then it slides into orchestral underscore and for a moment the two are laid on top each other. The Dufay track seems to be normal underscore at first as Buckbeak nuzzles Harry, but suddenly one cut later it's paranormal music that con
  22. You can get a pretty clean copy if you play with it enough https://clyp.it/ii3urvna?token=a618b4472874f54494e3fe135eba2294
  23. Thanks for sharing that! Is there another copy of that interview you posted up there in 2013? The video has since been removed.
  24. One of Williams's go-to anecdotes for the press was that he doesn't like to read scripts before he works on a movie, but that in this case he read the book before he even knew a movie was in production.
  25. It sort of sounds like an extension of this bit... ... but one where the evil climax is suppressed and the energy is sucked out of the room. Who knows how finished the VFX were on the cut Williams was working on, but it sounds like he was trying to capture the idea of Harry bearing a huge shield and using it to force the Dementor back into its trunk. Less like a victory and more like a tension has been relieved. In the end it looks less physically demanding than that, and I think Cuaron wanted the concept of a patronus to be more psychological anyway. That way it ties into Harry
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