Jump to content

Madmartigan JC

Members
  • Posts

    75
  • Joined

  • Last visited

Reputation Activity

  1. Surprised
    Madmartigan JC reacted to BrotherSound in The Rise of Skywalker - COMPLETE SCORE Discussion - SPOILERS ALLOWED!   
    Fun fact about the ridiculous amount of tracking in this film: not even counting tracking of cues actually recorded for Episode IX, of which there are many cases, there are 20 instances of tracking of cues from 4 other Star Wars films!
     
    The Force Awakens (9)
     
    1M1A Starry Night
    3M26R You’re Han Solo (x2)
    4M36R I Ran Into You
    5M46R Kylo Stalks Rey
    6M50R Han and Leia Reunion
    6M56E Ren in Cockpit
    7M65B Father And Son
    8M77 March of the Resistance
     
    The Last Jedi (7)
     
    1M9 Revisiting Snoke (x2)
    2M18A Holdo’s Secret Plan
    4M36 Luke and Rey
    5M48 Insert
    9M85A Insert - Rey Looks
    0M8 Saying Goodbye to the Fathier
     
    Revenge of the Sith (3)
     
    7M3 The Birth of the Twins (x2)
    7M5 Plans for the Twins
     
    Return of the Jedi (1)
     
    13M2 Vader’s Death
     
    Total: 4 films, 17 unique cues, 20 instances
  2. Sleepy
    Madmartigan JC reacted to Antonb in [Betting Poll] Will The Fabelmans be nominated for a Best Original Score Oscar?   
    wow just shows how corrupt the awards season rubbish is! Love mr williams  but this score is his worse in my opinion.  Certainty doesn't deserve to be nominated. Yes I will put my tin hat on!
  3. Thanks
  4. Like
    Madmartigan JC got a reaction from TheUlyssesian in [Betting Poll] Will The Fabelmans be nominated for a Best Original Score Oscar?   
    I think it was a pretty sure thing he'd get at least the nomination, but calling it last gave it such mistery!
    Glad to see Williams get another deserved recognition. And such a significative one, too!
  5. Haha
  6. Love
    Madmartigan JC reacted to DangerMotif in John Williams Writes New Theme for ESPN College Football Championship - OF GRIT AND GLORY   
    https://variety.com/2023/music/news/john-williams-writes-new-theme-for-espn-college-football-1235480841/
    Legendary composer John Williams has written an original theme for ESPN’s College Football Playoff National Championship, airing at 7:30 p.m. Eastern Monday night prior to the TCU-Georgia game at SoFi Stadium in Inglewood, Calif.
    Titled “Of Grit and Glory,” it runs three and a half minutes and will score a specially created series of visuals that convey “the feeling behind the night, fear and anticipation, triumph and failure,” ESPN co-director and producer Martin Khodabakhshian tells Variety.
    Williams’ new theme – previewed for Variety late Thursday – plays like a joyful overture, opening with fanfares and shifting seamlessly from martial urgency to anthemic splendor, all richly orchestrated and instantly memorable.
    Khodabakhshian and his co-director and editor Michael Sciallis of Victory Pictures had dreamed about getting the world’s most famous film composer to write music for their opening sequence. So three months ago, at the urging of lead game producer Bill Bonnell (who had worked with the composer on past Olympic events), they wrote what Khodabakhshian calls “a love letter” to Williams, outlining their thoughts and gently inquiring about the possibility of an original theme.
    “There’s no better person on the planet to write about emotions and the things that come with the biggest night on ESPN’s biggest stage, our Super Bowl, than John Williams,” Khodabakhshian says. Adds Sciallis: “We wrote about the emotions of bringing people together, not just the competition side of it, but how audiences are affected.”
    Two days later, word came back: “He’s started writing something.” The ESPN team jumped into action, conceiving a visual sequence that would feature “college football heroes and legends from all eras” but also add “the beauty of Hollywood and California,” where the game would take place, Khodabakhshian notes.
    Williams conducted a 96-piece orchestra on the Sony scoring stage on Dec. 21. And ESPN was there with seven cameras, shooting the entire three-hour recording session, parts of which will be intertwined throughout the opening segment – “so you feel the energy of those orchestra members, and of John, playing this music for the first time, so the audience gets to feel that as well,” Sciallis says.
    The “giddiness and excitement” associated with a new Williams anthem for their big college football game was palpable throughout the ESPN executive suites, Sciallis says. Yet it remained top secret until today. On Saturday, ESPN will tease the opening and the Williams score during its NFL Wild Card Doubleheader.
    Williams’ new music will be heard throughout the TCU-Georgia matchup. He recorded several takes of the main piece as well as briefer excerpts, “a re-join piece and a vamp,” Sciallis reports; “cutdowns and stingers,” shorter pieces that could be useful during the game itself, were edited in the days following the Dec. 21 session.
    “He captured the spirit of the night,” says Sciallis. Khodabakhshian confesses he broke down in tears after the recording session. “I’m so overwhelmed and grateful because he’s the GOAT!”
    This is believed to be the largest-scale musical commission ever for the sports network. What will happen with the piece after Monday night is not clear. ESPN could theoretically use it in future college football broadcasts; no plans for a commercial release have apparently been discussed.
    In terms of music for athletic competition, the five-time Oscar winner has written four Olympic fanfares, a gridiron march for NBC’s football coverage, and the score for Kobe Bryant’s Oscar-winning short “Dear Basketball.” He hasn’t written music for television since his “Great Performances” theme for PBS, which won a 2009 Emmy.
    Williams, 90, was unavailable for comment. He is currently on the Oscar shortlist for his music for Steven Spielberg’s “The Fabelmans,” and has been working for the past several months on the score for “Indiana Jones and the Dial of Destiny,” slated for release June 30.
  7. Thanks
    Madmartigan JC reacted to Holko in Restored Isolated Score: Amistad   
    Next in my series is another JW masterpiece, based on LLL's wonderful new expansion, which revealed lots of previously unknown unused tracks, alternates, and filled in major gaps in the soundtrack album as well as restoring the proper order of cues revealing a structure of a wide range of seemingly disconnected musical elements converging and coming together satisfyingly, mirroring the movie's theme of distant cultures growing to understand each other. As usual I will explain the cues' film usage where it's fitting.
     
    The spotting is certainly not wall to wall, though since I didn't restore even the source music found on the LLL set, let alone all the "needledrop" recordings used in the film, it's a  tiny bit misleading if we'd want to look at purely music, not score:

    The state court scenes are mostly left unscored, but nearly all of the final 40 minutes are scored all the way through.
     
    Starting with this project, I'm doing something some previous ones like Presumed Innocent could've benefited from: burning subtitles into the video to help with cues for dialogue-heavy scenes where the sync points aren't necessarily for shot changes or physical actions but for a specific line that changes the tone or topic, of which there are several in this movie.
     
    Syncing up cues helped me appreciate many cues in a new light or a deeper way - like Discovering the Bible, really seeing how the initially 2 disparate textures start melding and come together by the end; or Adams' Address to the Court, where I was initially confused by the usage of obvious synth voices in this fantastically varied choir-heavy score - the first one scores Isabella's complaint letters about American courts, probably illustrating her "unnatural" views of courts as mechanical toys to play with, to do as she says, instead of idealistic independent entities, the second, darker one scoring Adams reading aloud the article about how slavery is the natural order of things, hopefully no need here to describe why the usage of "unnatural" synth voices instead of a real choir could be appropriate.
     
    Thanks to @Jay for helping with the selection and answering some background information questions!
     
     


    Introduction is actually a wild vocal take the music people used here, but I included it because why not.
    Retribution is fully unused, and to be honest I can see why, even if it's a great piece. If synced up to the final film footage (the opening may have been extended), the percussion and flute scores Cinque's struggle as it's starting to bear fruit, the male choir scores him lifting the nail, the choral Cinque's theme scores his newfound chance, and things start to escalate as he frees himself. The rhythm kicks up as the captain picks up his musket and Cinque approaches him, then it fades out when the new captain removes his Excalibur from the old captain's body like he removed the nail. I removed the second wild humming take that's included in the film and LLL since it would overlap with the next cue,
    July 4, 1839, which is mostly unused. The dark soundscape scoring the uncertainty (unused) temporarily clears up as the helmsman states he'll head for Africa. JW's emotional shot-specific scoring for the night scene was replaced by a choral take of Cinque's theme, dropping the twinkles for the stars, its descending variant scoring the turn, and the Seven Years in Tibet/RotS strings with added choir scoring Cinque desperately taking over and correcting the course himself.
    Steering East is again unused, and in my opinion should be here where the title doesn't describe it very well, for the scene of the new crew landing on what they think are African shores, gathering water and coming across a man on a proto-bicycle. (For an alternate sync idea that might actually work better, see this post.)
    The Capture is mostly used, only a small portion was edited out when the ship lands (the film was edited down a bit at this point too), and the ending was replaced with one of the wild solo humming takes, removing the only musical representation of the Queen of Spain coming from JW, since the rest of her scenes contain source music at most.
     
     


    Introducing John Quincy Adams is used as is.
    Meeting of the Minds is a strange case - it's more like semi-wild mood music than specific scoring adhering to sync points, and it runs longer than the scene, where it's only partially used.
    Counsel Meets Client, The Ship Remembers, Visiting Adams and What Is Their Story? again are used as is, but Learning To Count is the same case as Meeting of the Minds - not really specific and runs a lot longer than its scene.  
     


    Tale of the Lion's Tooth is used as is.
    The Capture of Cinque and The Crossing are complicated - for this video I had to shorten the storm/birthing scene and entirely remove the feeding scene between the suicide/lashing and the mass drowning scenes. In the film, parts of Capture of Cinque are looped over these and other parts of the same track, and even mostly in place of or over The Crossing - only the opening minute and the Spanish guitar part remains from it, edited, then the ending's replaced by solo humming again.
    Tales of Horror remains untouched except for a percussion overlay coming from The Ship Remembers (if you don't count that the original take's ending was replaced by the second revision, replicated here instead of sticking with the LLL edit), same with Discovering the Bible.  
     


    After a long unscored section, including the victory on state level, The Letter to Massachusetts and Cinque's Legal Mind are used as is.
    The footage for African Violet had to be edited very slightly.
    Adams' Address to the Court and Adams' Summation are used as is.
    The Verdict is edited slightly in the film.
    Liberation of Lomboko is used as is, Going Home starts with the choir only mix, the soloist only comes in starting with the Civil War shots. The film starts the credits with a third solo humming take, then used Dry Your Tears, Afrika as is on the LLL, with more obvious Lomboko tracking edit points and the ending cut short - if we use only it and The Long Road to Justice like I did here, they fit the credits' length well.  
     


    The Capture (alternate) is basically a different mix of the main program version.
    The Ship Remembers (alternate) is a slightly different take with different percussion overlay usage.
    What Is Their Story (alternate) is the original take, featuring another Adams rendition in place of the revision's DYTA.
    The Crossing (alternate) was written for an even shorter cut, I couldn't really come up with a good way to edit it down.
    Tales of Horror had an original take with Cinque's theme scoring his outburst, more as a low moment where he can't hold in his despair any longer - I had to shorten this footage for this original ending. The first revision doubles down on this idea and utilises the longer edit to add in another statement that helps the theme climax, still scoring Cinque's despair. The second revision, ultimately used in the film, takes the first revision's structure but pulls Dry Your Tears, Afrika onto it, making it a moment of uplifting triumph, where Cinque stands up for himself and demands the justice he'll ultimately receive. The third revision keeps the DYTA idea, but tones it down significantly, more as a quiet release than a triumphant climax.
    Discovering the Bible (alternate) is a different original approach - while the revised film version starts with representing the Africans with percussion, the Bible discussion with harp and Cinque on flute, and the church scenes with semi-religioso strings and brass, and eventually starts melding them, moving Cinque to different instruments and stops changing styles with the latter back and forth cuts, this version represents the Africans with sad strings (probably coming off of one of the Cinque versions of Tales of Horror), the Bible scenes, while still prominent in harp, are also scored with strings and multiple kinds of woodwinds while the church is mostly brass-based - they still meld but the cutting back and forth is not so obvious. I had to extend the ending a bit so Cinque's theme entering would sync up with the cut back to the jail.
    Cinque's Memories of Home, a revision of Cinque's Legal Mind, sets the "communication" theme on cello, solo vocal humming and percussion - IMO moving the material a bit too far to the east from the US, possibly why it wasn't used.
    Going Home (alternate) is the choir take without the solo vocal, as it is partially  used in the film.
    And finally, an idea by @BrotherSound: Cinque's Theme (solo flute) is also 2:06 long, like Going Home, why not try to see if it fits. In my opinion, it kind of does, many of the percussion hits and phrase borders match with shot changes.
  8. Like
    Madmartigan JC reacted to Pawel P. in [Betting Poll] Will The Fabelmans be nominated for a Best Original Score Oscar?   
    I want Williams to be nominated because: a) the score deserves it, it's beautiful, mature and classy, b) Williams would not have 52, but 53 nominations, c) Williams would be the oldest nominee in history. And d) It's Williams.
     
    Does he have a chance to win? After 2005, I lost my hope a bit, but I always keep my fingers crossed. That would be something! But the nomination itself is already an award. No one is really losing here.
     
    Answering the question ...I strongly believe The Fabelmans will be nominated for a Best Original Score.
  9. Like
    Madmartigan JC reacted to KK in [Betting Poll] Will The Fabelmans be nominated for a Best Original Score Oscar?   
    100% it will get nominated, even if it means backtracking on their own rules (which they have done time and time again when convenient)!
     
    The PR narrative around Spielberg's swan song, and John Williams final gift to his longest standing creative partner is just far too juicy to ignore. The Academy loves a good story and Hollywood loves to pat itself on the back.
  10. Like
    Madmartigan JC got a reaction from Sandor in [Betting Poll] Will The Fabelmans be nominated for a Best Original Score Oscar?   
    Leaving this here, in case there are any members of the The American Cinematheque around.


     
    THU JAN 12, 2023
    6:00 PM
    SPIELBERG/WILLIAMS — 50 YEARS OF MUSIC AND MOVIES
    $25.00 (members-only)
    Writers Guild Theater | A Conversation with Steven Spielberg and John Williams. Moderated by Jon Burlingame.
    Priority ticketing access currently available only for Patron, Silver Screen, Marquee, and Movie Palace-Level Members before they go on sale to all American Cinematheque Members in early 2023.
     


    https://www.americancinematheque.com/now-showing/spielberg-williams-50-years-of-music-and-movies-1-12-23/
  11. Confused
    Madmartigan JC reacted to Not Mr. Big in [Betting Poll] Will The Fabelmans be nominated for a Best Original Score Oscar?   
    Hook didn't deserve a nomination 
  12. Sleepy
  13. Like
    Madmartigan JC reacted to Manakin Skywalker in Am I reading this right- a new ending for Indiana Jones 5 and which needs to be scored?   
    Aaaand you've officially lost all credibility with this post here.
     
    Are you a mushroom farmer? Because that's a shiitake!
  14. Haha
    Madmartigan JC reacted to Brando in Am I reading this right- a new ending for Indiana Jones 5 and which needs to be scored?   
    Serious question, do you happen to be related to other forum member Mattris? I’m starting to think you two are either one and the same or this is a father/son tag team. 
  15. Like
    Madmartigan JC reacted to crumbs in Am I reading this right- a new ending for Indiana Jones 5 and which needs to be scored?   
    For someone with industry experience you don't seem to understand the realities of modern filmmaking. Pick-ups have been commonplace on big studio films for decades now. 
     
    This could be as simple as Mangold deciding the final scenes needed a few extra shots, necessitating inserts or extensions for cues Williams already recorded. The fact they're bringing him (and the entire orchestra) back to re-record the music is a good thing, considering the alternative is editing his music to fit a revised edit of the finale. 
     
    You know, like The Last Crusade... 
  16. Thanks
    Madmartigan JC reacted to Bellosh in Am I reading this right- a new ending for Indiana Jones 5 and which needs to be scored?   
    it's definitely a burden on a small business like Disney.
  17. Haha
    Madmartigan JC reacted to Manakin Skywalker in Am I reading this right- a new ending for Indiana Jones 5 and which needs to be scored?   
    I really don't want to believe that you're trolling, but you're making it so incredibly difficult...
  18. Love
    Madmartigan JC reacted to Yavar Moradi in Am I reading this right- a new ending for Indiana Jones 5 and which needs to be scored?   
    This is not a Rise of Skywalker situation. All that’s being newly done is the ENDING, based on what Williams said.
     
    I know what my hope is… this film was shot before Ke Huy Quan returned to acting after decades away from it. Maybe this reunion at D23 led to some last minute conversations to take advantage of the extra buffer time before this film’s release, and give a very powerful onscreen relationship (easily the best part of the generally-problematic ToD) some lovely closure of some kind…
     
    Just a hope, but I can dream. Obviously it’s far too late for him to be integrated into the movie. “Another ending” seems like it might just fit.
     


    I’m surprised more people’s minds aren’t going to this hopeful possibility, but then I guess the men’s rights “they shall not replace us” trolls really do have their panties in a bunch about Phoebe Waller Bridge being in this, and they’re the loudest voices on the internet. 🙄 
     
    Yavar
  19. Really Sad
    Madmartigan JC reacted to BrotherSound in TLJ "The Battle of Crait" Score Reduction   
    It’s nice to see a lengthy action sequence with JW’s music basically intact (other than the odd nip or tuck to slightly adjust some timing), in sharp contrast to oh, say…The Rise of Skywalker.
  20. Love
    Madmartigan JC reacted to Ricard in After reading this, who still thinks 'Dial of Destiny' will be Williams' last score?   
    Original article (in Italian):
    https://www.corriere.it/spettacoli/22_dicembre_10/02-spettacoli-texxcorriere-web-sezioni-a4a6c670-789d-11ed-826e-c8ce3b8cd17b.shtml
     
    Translated version:
    https://www-corriere-it.translate.goog/spettacoli/22_dicembre_10/02-spettacoli-texxcorriere-web-sezioni-a4a6c670-789d-11ed-826e-c8ce3b8cd17b.shtml?_x_tr_sl=auto&_x_tr_tl=en&_x_tr_hl=en
  21. Love
  22. Thanks
    Madmartigan JC reacted to Jay in AMISTAD (1997) - NEW! 2-CD 25th Anniversary Expanded Edition produced by Mike Matessino (2022)   
    Here's how busy Williams was from late '96 to early '98
     
    November 26-27 '96: "Victory Celebration" recorded for Return of the Jedi: Special Edition (film opened March 14 '97) December 1,2,4,6 '96 - Rosewood score recorded (film opened February 21 '97) (unknown date) - Seven for Luck composed for soprano Kathleen Battle intending to debut some time in 1997 in Washington (ultimately debuted July 25 1998 with Cynthia Haymon instead) March 18-21 : First half of The Lost World recording sessions March 24: 69th Academy Awards ceremony ("Best Original Dramatic Score" nomination for Sleepers, lost to Yared's English Patient) March 27,28,29, April 2 - Conducting Boston Symphony Orchestra at Symphony Hall (includes The Five Sacred Trees) April 18-22: Second half of The Lost World recording sessions (film opened May 23) (unknown date) - DreamWorks SKG logo music composed and recorded (debuted with The Peacemaker, September 23rd) May 23,24 - Conducting Boston Pops at Symphony Hall (includes "A Twentieth-Anniversary Celebration of Star Wars") May 29,30,31 - Conducting Boston Pops at Symphony Hall June 3,4,5,6 - Conducting Boston Pops at Symphony Hall ("The Lost World" concert debut) July 5,6 - Conducting Boston Symphony Orchestra at Tanglewood July 12 - Conducting Boston Pops Esplanade Orchestra at Tanglewood (includes Star Wars celebration) July - Seven Years In Tibet score recorded (film played September 13 at TIFF, then opened October 10) August 5 - co-conductor for Tanglewood On Parade night at Tanglewood August 29-30: Hollywood Bowl "Star Wars 20th Anniversary" concert (unknown date)  Elegy for Cello and Piano composed, and performed at the memorial service by John Williams on piano and John Waltz on cello October 6-26: Amistad score recorded (film opened December 25) December 27-28: Conducting Boston Pops Esplanade Orchestra at Symphony Hall February 21-23 '98: Saving Private Ryan score recorded at Symphony Hall (film opened July 24 '98) May 22-23 '98 -  Conducting Boston Symphony Orchestra at Symphony Hall ("Dry Your Tears, Afrika" concert debut)  
    Amistad was recorded almost a year after Rosewood, and only 4 months before Saving Private Ryan
     
    Looks like its another score he would have written while living in Massachusetts for a month for Tanglewood season
     
     
    Looking at this again, it seems crazy that Spielberg was even able to fit in Amistad in between The Lost World and Saving Private Ryan!
  23. Thanks
    Madmartigan JC reacted to Jay in AMISTAD (1997) - NEW! 2-CD 25th Anniversary Expanded Edition produced by Mike Matessino (2022)   
    I've been assisting Mike on various titles since 2016, so far all of them John Williams titles.  Amistad will be the 20th title released that I contributed something to.  You'll see my name in the booklets under Project Consultant, Project Assistance, Production Assistance, or Special Thanks, depending on the title and what my contribution was.
     
    How I've helped has been different for every project.  It ranges from just proofreading the PDF of the booklet at the very end of things, to being involved before the audio work begins to help make sure everything is accounted for.  In other words: in a perfect world, the material that the studio sends over contains everything recorded, and Mike has time to listen to every take of every cue and assemble a new album containing the the main version of every cue, and every interesting alternate he heard as well.  But we have learned that sometimes what gets provided is not entirely comprehensive, and more up-front work has to be done to track down all the material needed to hopefully make a release definitive.  Also, some projects have very tight schedules, so Mike does not have the opportunity to spend time listening to every single take of every single cue, and instead has sometimes sought my assistance to figure out what music should be attempted to be located and included.
     
    In between those extremes, there could be other things, such as proofreading the official excel file that has to be filed for every title; listening to a first pass mastering of some tracks (or a final mastered album) and providing feedback; having some back and forth discussion about how to present a wealth of material in the best way (WOTW had a lot of this); discussion of track titles; researching dates or articles/interviews about scores; loads of other things.
     
    For the Jurassic Park reissue, Mike brought me on board the project to see if we could make it as definitive as possible.  This led to him making new builds of 2 cues that had been a little different on all prior albums compared to the film (Journey To The Island and Dennis Steals The Embryos), and also a dive into unused takes for a variety of cues to see if anything interesting was recorded that could be included.  For that I relied on the knowledge of some JWFanners who had found differences in the sheet music compared to the final versions of some cues, and made sure they got thanked in the booklet.  In the end, none of the differences seen in the sheet music were recorded, so they all must have been worked out and changed during rehearsals - but it was great to know that definitively.  I then provided feedback on the new mastering, and made some proofreading passes of the new booklet.
     
    For Amistad, I was not brought on board until after Mike had already assembled and mastered the album, but I provided feedback on volume levels - I can't remember if this was before or after he had sent it to JW for approval.  For one track that needed a new title, Mike used one of my suggestions for it.  I gave feedback on the excel file.  Much later, I contributed something else I won't reveal just yet, and proofread at least two passes of the booklet.  I also chose the samples that will be posted on Tuesday, and assisted with the official press release wording.
  24. Love
    Madmartigan JC reacted to Jay in AMISTAD (1997) - NEW! 2-CD 25th Anniversary Expanded Edition produced by Mike Matessino (2022)   
    ANOTHER WILLIAMS/SPIELBERG MASTERPIECE...
     
    RELEASE #4
     
    AMISTAD: 25th ANNIVERSARY EXPANDED LIMITED EDITION (2-CD SET)
    LLLCD 1612
    Music by John Williams
    Limited Edition of 5000 Units
    RETAIL PRICE: $29.98
     
    ORDERS BEGIN TUESDAY NOVEMBER 29, 2022 AT 12 PM PST
     
    In celebration of John Williams‘ 90th birthday and the 25th Anniversary of the acclaimed feature film AMISTAD, La-La Land Records, Paramount Pictures, DreamWorks Pictures and Geffen Records present AMISTAD, a special 2-CD remastered and expanded release of Academy Award-Winning composer John Williams’ (E.T., SCHINDLER’S LIST, SAVING PRIVATE RYAN) original motion picture score to the renowned 1997 big-screen historical drama directed by Steven Spielberg and starring Morgan Freeman, Anthony Hopkins and Djimon Hounsou. Maestro Williams’ masterwork encompasses the depths and heights of human experience, unleashing unforgettable moments of anguish and uplift as it supports the film’s true chronicling of the 1839 African slave ship revolt abord the La Amistad and its subsequent landmark U.S. court case. 

    A breathtaking fusion of orchestral Americana with African percussion rhythms and vocal chanting, this important John Williams score finally gets a definitive release with this deluxe 2-CD presentation, meticulously produced, edited and mastered by Mike Matessino, in consultation with the composer and director. 

    Remastered in high resolution from studio master elements, Disc One and Disc Two of this program features the film Score Presentation, which expands the original 1997 soundtrack album by almost double its length, including cues not used in the film. The score presentation is followed on Disc Two by 50 minutes of bonus tracks including source music, concert arrangements, and alternates - some of which offer completely different approaches than the film versions. The exclusive, in-depth liner notes are by writer Jeff Bond, with the packaging’s elegant design by Jim Titus. This is a limited edition release of 5000 units. 

    TRACK LISTING:
    SCORE PRESENTATION 1:45:04
    1 Introduction And Retribution 4:40
    2 July 4, 1839 4:04
    3 Steering East 1:27
    4 The Capture 5:00
    5 Introducing John Quincy Adams 5:15
    6 Meeting Of The Minds 3:58
    7 Counsel Meets Client 1:36
    8 The Ship Remembers 5:32
    9 Visiting Adams 1:32
    10 What Is Their Story? 3:44
    11 Learning To Count 1:57
    12 Tale Of The Lion’s Tooth 5:48
    13 The Capture Of Cinqué 4:03
    14 The Crossing 4:41
    15 Tales Of Horror 7:40
    16 Discovering The Bible 5:05
    17 Prisoners’ Song 1:33
    18 The Letter To Massachusetts 2:09
    19 Cinqué’s Legal Mind 2:26
    20 African Violet 5:33

    Disc One Time: 78:10
     
    DISC 2 
    SCORE PRESENTATION CONT’D
    1 Adams’ Address To The Court 7:21
    2 Adams’ Summation (Film Version) 3:01
    3 The Verdict 5:10
    4 Liberation Of Lomboko: Dry Your Tears, Afrika 2:17
    5 Going Home 2:05
    6 Dry Your Tears, Afrika (Reprise) 3:37
    7 The Long Road To Justice 3:19

    ADDITIONAL MUSIC 49:53
    8 Cinqué’s Theme 4:13
    9 Introduction (Alternate) 1:12
    10 The Capture (Alternate) 5:02
    11 Harbor Tavern 3:05
    12 Cinqué’s Theme (Solo Flute) 2:07
    13 Meeting Of The Minds (Instrumental Version) 3:45
    14 The Ship Remembers (Alternate) 5:26
    15 What Is Their Story? (Alternate) 3:33
    16 The Crossing (Alternate) 4:23
    17 Tales Of Horror (Alternate Excerpt) 3:19
    18 Discovering The Bible (Alternate) 5:11
    19 Cinqué’s Memories Of Home 2:39
    20 Going Home (Alternate) 2:06
    21 Dry Your Tears, Afrika (Alternate) 3:35
     
    Disc Two Time: 76:50
     
    Total 2-Disc Time: 2:35:00
     
    This is a CD format release.
     
    https://www.facebook.com/lalalandrecords/posts/pfbid02C5KU3xb3nP4WCT7WxYTaESVxuT8ft2jsQpkeBUvMYQbwm9BhcWkYhFUiDFJKFUn4l
  25. Love
    Madmartigan JC reacted to Thor in New Podcast Series: The Complete John Williams Television Music Walkthrough   
    This has taken me a whole year to prepare and produce, decades if you count the research and accumulation of material. But I thought it was the appropriate time to create now, as a tribute to my favourite film composer in his 90th birthday year.
     
    A complete walkthrough of all of his television music (with the available material and data that we currently have), presented as a podcast series over multiple parts. I hope you tune in and follow it. I will start working on Part 2 soon.
     
    http://celluloidtunes.no/celluloid-tunes-73-the-complete-john-williams-television-music-walkthrough-part-1-24th-international-edition/
     
     

×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.