TitanicFan2018
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Posts posted by TitanicFan2018
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On 7/9/2020 at 6:50 PM, Gruesome Son of a Bitch said:
I don't know why people are so obsessed with film edits when it comes to this score.
Same here.
When I got the LLL album two years ago, I initially recreated all the film edits. But later as I made my custom complete score presentation, I decided that listening to Horner's intended cues without any micro edits was a much better listening experience. So I deleted my film edits album; but I reconstructed film mixes of "Take Her to Sea, Mr. Murdoch", "Hard to Starboard", "Unable to Stay, Unwilling to Leave", and "Death of Titanic" (w/o the microedits but added in things like heavier thumping bass lines, no Uilleann pipes, removal of the synth voices in some spots, etc.), and then added them into the main program of my custom complete score.
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On 5/30/2020 at 11:50 AM, bollemanneke said:
I listened to disc 1 again the other day. Fantastic score, but I would have liked the film versions to be in the main program.
Agree, but I would also have liked to not have crossfaded cues, especially "The Promenade" and "Butterfly Comb" (the latter should come after "Rose").
When I did my custom complete score, I put the film versions of the following cues into the main program (some film version cues I reconstructed myself without ANY of the sloppy micro-edits):
- Southampton*
- Leaving Port*
- Take Her to Sea Mr. Murdoch* (added in the heavy thumping bass line from the film mix, reconstructed the ending heard in the film)
- Rose* (eventual film version, taken from the film stem leak)
- The Portrait** (eventual film version, taken from LLL disc 3)
- Unable to Stay, Unwilling to Leave (pipeless version, combined the OST version with jointy95's rip from the film along with a small section taken from film stem leak to remove dialogue echoes)
- Death of Titanic (combined the OST version with the alternate version in places)
- A Promise Kept* (combined the OST version with the alternate cue)
*denotes a cue where I put its OST counterpart with the additional music and alternates while putting the film versions in the main program
**For "The Portrait", I put Horner's intended cue with the additional music & alternate cues
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On 7/3/2019 at 11:28 AM, bollemanneke said:
I still think the film version is getting too much negative criticism. It's obviously a mess from start to finish, but when I watched the movie for the very first time, I hardly noticed any of it because I was too wrapped up in the story and because the sound effects hide everything pretty well.
I do have to admit that the live experience sounded chopped up at times. But was there ever any alternative? I mean, would it even be possible to match Horner's original cues to the picture in most cases? I can see things like Relics and Treasures working pretty well, but as I can't find any videos with restored score excerpts that preserve the movie's dialogue and sfx, I can't be sure.
I can think of at least a few examples
- The "Leaving Port" film version cue (track 8 on LLL disc 3) perfectly fits the sequence where Jack and Fabrizzio race towards the ship just as she is about to depart; they could've used that cue in the live performances instead of the butchered Heaven Help us music.
- In the transition to 1912 sequence, the entire "Southampton" film version cue would've perfectly fit that sequence without any of the micro-edits or tracking in other cues (Promenade, Trailer).
- Trapped on 'D' Deck - live performances ought to play the passage from 3:02 to the end from the burst of water sweeping away Jack & Rose to them narrowly escaping through the gate.
- Use "A Building Panic" during the panic in third class sequence in the live concerts, rather than tracking in "Trapped on 'D' Deck" and "Hard to Starboard"
- and yes, "Relics and Treasures" should be used in the scene where Rose discovers the artifacts from her stateroom.
If I were in charge of these Titanic Live performances, I would've used Horner's intended cues at least for some scenes as the film edits are a jarring listening experience.
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On 11/5/2019 at 11:04 AM, bollemanneke said:
What a great presentation this is.
Totally agree, but then again LLL could've put the film versions of certain cues (e.g. Southampton, Leaving Port, Take Her to Sea, Rose) into the main program instead of their OST counterparts, and they also could've not gone with crossfading some of the cues.
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Updated my custom complete score just fairly recently but just a couple of changes:
1) I added the film version of "Unable to Stay, Unwilling to Leave" into the main program.
2) In "Hard to Starboard", from 4:11 to 4:20, I added in the film mix part of the passage in which the clarinets and percussion are dialed out (heard during the cut to Mr. Andrew's stateroom to a flooding watertight compartment, until it cuts to the crow's nest and one of the officers saying "Jesus" under his breath).
3) Took the film mix of "Rose" from the film stem leak and put it into the main program.
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On 7/30/2019 at 5:10 PM, Dieter Stark said:
I thought the only difference was the additional bit at the beginning and then the end of the track where you see the ship stopped after the accident.
We're talking about "Hard to Starboard (Extension)".
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Wasn't "Hard to Starboard (Extention)" intended to be crossfaded into the larger "Hard to Starboard" cue, or did LLL crossfade them to create a more concert-like listening experience? The extension cue continues the high strings that the larger cue ends with.
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Just in. The new theme music for the CBS Evening News is actually a rearranged version of the 2016 theme, not an entirely new composition. And it's played at a faster tempo.
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16 minutes ago, Dieter Stark said:
Why does CBS change their news jingles so often?
That i'd like to know. The longest running theme music package CBS used for their evening news broadcasts lasted from 1991 to 2006.
12 minutes ago, Disco Stu said:CBS has never had especially effective musical themes. Not even Horner's.
The only instance I can think of is the melody from the 1987-1991 theme being carried over into the 1991-2006 theme. Other than that, the music packages that CBS has used are completely different compositions. Only NBC and ABC have been using effective musical themes. ABC updated the classic Kalehoff theme several times, and then Hans Zimmer came along and wrote a completely new piece which sounds more like a movie score cue. NBC has been using "The Mission" to this day, though it was slightly rearranged in 2004 when Tom Brokaw retired.
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As many of you probably know, Norah O'Donnell is making her debut tonight on the CBS Evening News. And from what I read, the current theme music package that was composed by Joel Beckerman back in 2016 during the late Scott Pelley era and was carried over into Jeff Glor's tenure will be retired. I read somewhere that the new music is a slow orchestral composition, and I was wondering about these possibilities. One thing, they may revive the 2006-2011 theme music package (composed by James Horner) from the Katie Couric era. Another possibility is they hired another film score composer to write the new theme because the producers wanted a more cinematic sound again.
I wouldn't be surprised if they revived the James Horner theme music package because when Scott Pelley took over the anchor desk in 2011, they revived the 1987-1991 music package after retiring Horner's music. And it wouldn't be another five years until there's a completely-new music package.
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On 7/3/2019 at 1:34 PM, NL197 said:
Jim Henrikson said there was never any plan to because the film was cut so much that Horner's intended score doesn't fit the final version anymore, with few exceptions.
So they were literally stuck with having to recreate the butchered edits.Regarding Horner's intended cues, I would say they would've worked only a few spots in the film:
- "Relics & Treasures", in where Brock Lovett says "claim was for a diamond necklace whose son Caledon bought his fiancée, you", continues as old Rose is presented artifacts recovered from her stateroom, out where Lovett asks Rose "Are you ready to go back to Titanic?"
- The entire "Southampton" film version cue without any micro-edits, the beginning of "The Promenade" not being added in, no slower strings and chimes from "Trailer". I started the cue when old Rose says "Titanic was called the ship of dreams" and the camera pans from her to the bow section of the wreck for the transition to 1912.
- The film version of "Leaving Port"
- "Rose Frees Jack" for the entire sequence Rose goes back down to the flooded corridor with an axe and then breaks Jack's handcuffs
- "Unable to Stay, Unwilling to Leave" without any micro-edit (I noticed one in both the film and the film stem leak)
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Here's another note I'll make regarding the film stem leak.
"A Building Panic" - In the film, it begins with "Intro to Building Panic", then segues into "Trapped on 'D' Deck", and then into "Hard to Starboard", "A Building Panic", and closes with the "Intro to Building Panic" cue. But there's one difference in the film stem leak: the "Trapped on 'D' Deck" section is replaced with more "Hard to Starboard". Was it meant to be played like that in the live concert or does the live concert play it exactly as heard in the film?
"Trapped on 'D' Deck" - for an unknown reason, there are two places where it has the thumping bass line from "Take Her to Sea, Mr. Murdoch". It wasn't even heard like that in the film, and I don't think it works there anyway.
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NL, perhaps can you do the same for "Rose Frees Jack", using that cue for the entire sequence where Rose goes back to the flooding corridor with an axe and then breaks the handcuffs?
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I definitely would've preferred this over that butchered Heaven Help Us cue. Now, if only the Titanic Live concerts were to play some of Horner's intended cues (e.g. the entire Southampton film version cue without any edits, Leaving Port), that would be a much better listening experience than those sloppy film edits. Most of the film edits suck, even when performed live.
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I have yet to go see a Titanic Live performance, but good thing that there's one coming soon. It's always a different experience when you're seeing a movie and you have the score being performed live versus when you go to the cinema or you watch it on DVD/BluRay/Netflix.
Perhaps the LLL album is in stock to coincide with the upcoming Titanic Live concert.
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Did another experiment: I played "Rose Frees Jack" over the sequence where Rose goes back to the flooded corridor with the axe and then breaks Jack's handcuffs. And I believe the cue was meant for that sequence; in the final film, much of it is replaced with "2 1/2 Miles Down", and then you have a little chunk of "Rose's Suicide Attempt" for when she breaks Jack's handcuffs. Also I wonder if music was intended to be used in the earlier sequence where Rose looks for Mr. Andrews and asks him for directions, the room where Jack is handcuffed is flooding, and Rose eventually finds him there. The film edit consists of "A Building Panic" and "2 1/2 Miles Down".
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On 3/6/2019 at 8:19 AM, bollemanneke said:Wow, the LLL set seems to be selling well. It was back in stock around two weeks ago and is now out of stock already!
It's still in stock as of this day. Again, I hope someday it'll be released digitally once the sets are sold out.
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On 3/1/2019 at 2:42 PM, Jokerslb said:
Hello, finally I have some free time....and I "return" to this thread....what do I miss???
Today, I was listen to promise kept (film mix), and I notice some kind of a choir/voice effect over a promise kept track, and it seems that is missing from this lll release. So has anyone know what I'm talking about, and what is that track. It could be from other James Horner work, like they use braveheart for teaser trailer.....well, I'm going to listen some albuns to see if it matches.
Another question, the tracks that says REVISED, it's just the alternate version, right?If you were hearing choir effects in a couple places before Michael Stearns "The Beacon", then it was probably my recreated "A Promise Kept" film mix. The two choir-like synth overlays, I recreated myself and added in.
And like NL just said, any cue with "Revised" in its title was relabeled as "Alternate" on the LLL album.
Also to point out when I did my custom complete score, I relabeled some "Revised/Alternate" cues as "Film Version" and put them into the main program (esp. Southampton, Leaving Port, Rose). But with "Take Her to Sea" I relabeled as "w/ Alt. Ending" and used the cue with the film version ending (alternate and OST combined) in the main program, and labeled as "film version". I also labeled it such because I added in the heavier thumping bass line.
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I've noticed some cues that have 'alternate' don't have a recording date (e.g. Rose, Hard to Starboard). "Hard to Starboard (Alternate)" is also mixed different from the OST/extended version on disc 1 (though LLL opted to insert the OST mix of the trilling trumpets and low-brass iceberg leitmotif), but I believe it's the same recording as the OST version. I don't know about "Rose".
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Death of Titanic recorded twice? That's interesting because I thought that the alternate cue on LLL disc 3 was the same recording as the OST version on disc 1 but without the synths; and the alternate version was also the film mix I think.
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On 2/17/2019 at 3:00 AM, NL197 said:
Useless trivia:
"Take Her To Sea, Mr. Murdoch" was the first orchestral cue of the score to be recorded. Obviously the trailer had been done prior along with some of the synth work, but that was the first cue the orchestra had to play for the score proper.I wonder if the ending for "Take Her to Sea, Mr. Murdoch - Revised" was recorded after the main cue. The revised cue is the same as the OST version except for the ending (features octave strings, cymbal crashes, and ends with a brass fanfare).
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At one point a few years ago, there was a fan-made recreation of the Southampton film version cue (but just the first minute of the cue) on YouTube where the original uploader used a sophisticated composition program (like Logic Pro). And it sounded just like the real thing.
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My idea for a revised Titanic OST
1. Main Title
2. Distant Memories
3. Southampton (Film Version)
4. Leaving Port (Film Version)
5. Take Her to Sea, Mr. Murdoch (Film Version)
6. Rose (Film Version)
7. Hard to Starboard
8. A Building Panic
9. Unable to Stay, Unwilling to Leave
10. Trapped on 'D' Deck
11. The Sinking
12. Death of Titanic
13. A Promise Kept (Film Version)
14. A Life So Changed
15. An Ocean of Memories
16. My Heart Will Go On / Post
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Oh, and by the way, "Take Her to Sea, Mr. Murdoch" reminds me of Enya's "Book of Days", the section with the synth choir and thumping bass line, and especially if the bass line is bumped up (like in the film).
James Cameron initially looked to Enya to compose the music for Titanic, but then Cameron called upon Horner to write the score. And Horner incorporated Enya's style in some of the cues.
Toy Story 3 Score
in General Discussion
Posted
I've listened to this score, especially after having watched the movie. And I can definitely point out some references to classical composers in some of the cues. In Track 9, Bad Buzz (the cue is actually called "Sunnyside March"), the first part of the cue sounds a lot like Shostakovich (i.e. when the reset Buzz says "prisoners sleep in their cells..."). Track 14 also sounds like Shostakovich from 0:38 to 0:49.