SyncMan

And still DisneyConcert won't issue a Live-to-Projection concert of TPM, this year... ...or maybe I'm bitching to soon.

Here is that video of the new end-credits roll featuring the Superman march and the complete Love Theme cue with the “dedication” clip spliced-in after the credits. Oh, brace yourself: I decided to use the RSNO recording over the video. If this concert does come up, you might as well get use to the idea that any orchestra that will play this score at a concert will not have that LSO sound. The sooner you accept that, the better. I left a 23-second space between the march and the love theme cues so that the audience can give a cathartic applause, for which I’ve added the sound of that to realize the imagination. After the orchestra plays the march at the concert, I figured that the house lights would go up for the applause as the conductor takes his bow. Then, the house lights would go off to signal the conductor in leading the orchestra to play the love theme cue. In alerting the audience that the love theme piece will follow after the march, the conductor, at the start of Act Two, can simply tell the audience that they’ll be an encore piece as the credits continue. For the dedication clip, I’ve copied the names from the Michael Coaste’s History, Legacy & Showmanship column, Verisimilitude: Remembering “Superman: The Movie” On Its 40th Anniversary   and I’ve added some other names to the list (see if you can spot the one’s I’ve added). This article was posted last December and you would be shocked at the names that Coaste overlooked. If you want to see, right away, how the dedication clip plays-out, go to the 8:07 mark. I am open to any changes on this. I realize that the dedication wording is hokey, so, any better wording is welcomed. Also, if you, guys, know of anyone that worked on the film-—gaffer, assistant sound/music engineer, the guy that claps the slate for every shot of the movie, whoever, that pasted away in the 40+ years since the film wrapped, let me know and I’ll add it. Thanks.

Believe it or not, we’re less than 4-weeks short of being half-way through Superman-The Movie’s 40th anniversary and I am upset that there is no announcement of a Live-to-projection concert. I can only hope that… 1) the “talks...” involving this concert “… are continuing.” 2) I’m making this rant too soon of the announcement. With that being said, I would like to expand on this idea I’ve expressed, back in a December post, about restoring the Love Theme From Superman cue to its unaltered form so that it can be heard in the film’s end credits via the L2P concert. I’m currently making a video on this idea which I’ll upload soon. First, let me set all this up for you. As you may recall, the love theme cue, as heard during the theatrical cut’s end credits, was trimmed. In the director’s 2000 cut of the film, the end credits were extended by over 15 and 3/4 seconds. The extra length came from the ‘Film Restoration’-credits clip that is joined after the end of the theatrical end credits. However, the love theme cue heard in this version is the same edit from the theatrical cut, plus portions of the cue’s coda—a horn solo over harp and sustain bass strings—were duplicated to make the music fit the edit. That’s because the music elements that were used at the time of the 2000 cut were the 6-track elements that were edited for the theatrical cut. Since no multi-channel music elements of that complete music cue were available, a loop in the cue’s coda had to be made in order to stretch-out the duration of the cue. The multi-channel music elements of the complete score, as it was written and recorded, would not be discovered until after the 2000 cut was completed. Meanwhile, in most of these live-to-projection concerts, the orchestra is performing the music of what is reflected from the final-edit’s music track. That means some material of the original score is deleted while others are repeated. It is unavoidable because the edits of the film have changed after the music recording was done. However, such a piece that has been written to be listened away from the film’s narrative should not have to be trimmed, if something can be done to a sequence in the film, like the end credits. Some of the film titles for these concerts have made some alterations in the end credits. The two that I’ve seen, Jurassic Park and Star Wars: The Force Awakens--both John Williams scores, had the end credits sped-up because Williams replaced each of the film-edit’s music cues with shorter versions. My idea would be that in order to have the Love Theme from Superman cue be played, live, in its entirety, the film’s end credits can be extended, even further, by inserting a dedication clip at the film’s end. This clip would be a roll-up displaying the names of the cast and crew members that have passed away after the completion of the production. PS: I figure that this project is the best time for me to show you why I’ve chosen the username, SyncMan.

Single ticket purchases for this event is now on sale to the general public. No subscription s**t. Same for these others: Psycho Harry Potter and The Sorcerer's Stone If you want the seat of your choice, get them now.

I would read the fine print on that event. It is being held at a stadium--the kind where college football games and marching bands are held. Pass.

Those of you who want to buy tickets for a Star Wars L2P concert during the 2019-20 Season and not go through this 'subscription' s**t (where you have to buy 4-6 concerts in one purchase), I'm finding a few venues that are selling them to the general public now, as a 'Star Wars Day' promotion. So, far... New Jersey Symphony Baltimore Symphony St. Louis Symphony Orchestra Minnesota Symphony--only Wednesday, Oct 2nd ...are selling them now. Check with the venue/orchestra near you for these deals. So, if you want good seats, buy them now.

Attended the concert in Cleveland, OH, last Sunday. I forgot to mention this in my San Francisco notes: There was music over the scene at the air-traffic control tower that didn’t exist in the previous cuts of the film. The music begins just as one of the pilots, over the tower’s speaker, reports one of the scout ships, “heading right for my windshield.” Description: sustained low-woodwinds with quick rustling bass strings. Later, high sustained strings coming in that grows louder. I couldn’t find this music cue in my LaLa Land CD. Could it be another music cue that Williams’ originally wrote for the film that was abandoned later and decided not to include that cue on the CD release? If this is true, I can understand why—that cue is short and are variations of that cue already in the rest of the score, such as in “Roy’s First Encounter”. Another observation: when John Williams' name came up at the end credits, the audience didn't applause. After watching other Williams L2P concerts, like Star Wars, Jurassic Park, and Harry Potter where The Maestro's name gets cheers at the end, this one was a little awkward. At Severance Hall, the only Williams-related trinkets that their gift shop had were The John Williams’ Greatest Hits (1969-1999) CD, and a CE3K DVD.

Columbia-Artists, not DisneyConcerts. How come DisneyConcerts seemed so receptive in giving the concert rights away for this SW film?

I guess the ones in the audience who are having the best time with all this are the ones who have not seen the film or experienced any of this music. On the other hand, these ones are in for a rude awakening when they see the film on DVD or at a theatre, to re-live that night at the concert, and notice all the extra music from the concert isn't there in the film sound-mix. I can picture someone listening to that "Back In Time" song that starts the end credits and say, "What is that crap doing there? I know I didn't hear that at the concert! WTF!"

This concert from The San Antonio Symphony Orchestra has been cancelled since March. I found out about it this morning. As you'll discover from the link above, there is no information or images on that page...not even a notice that the event was cancelled. I spoke with someone from the orchestra's Marketing department and he said that during the latter half of March, they have sent e-mail notices about the cancellation to the patrons that purchased tickets for this concert. I purchased mine back in February, but I never received an e-mail notice, however I did get a refund. Is this the same with any of you that bought tickets to this concert--no email notice?

Here are some notes from this CE3K concert by the San Francisco Symphony. The one I’ve attended was the second show. I don’t know whether Spielberg or Williams attended the first show, as they promised they did way back in 2013. For the opening credits sequence, the audience were on their best behavior in their not applauding at any of the names in the credits. Spielberg was wise in not putting Williams name in the opening credits because I know that the audience would have given big cheers for the maestro. Any applause, however well meaning they are, would have destroyed the ominous, building mood that the music was creating for that sequence. The sudden transition from pitch black to brightness: In RAH premiere, there are two crashing C-natural notes (at 1:32 mark), as it was done in the film. However in the San Fran concert, only one crashing C-natural note, as Williams used in his concert suites. The entire Trucking cue has been performed on stage, but in 2 parts. As Disco Stu demonstrated in this video, Trucking / Roy's First Encounter / Encounter at Crescendo Summit / Chasing UFOs the first part does begin where the headlights, shining in the back of Neary’s pick-up truck, move upward, however the music ends at this video’s 48 second-mark where Neary sees the swaying mailboxes. The remaining was used for the entr’acte as we’ve seen. There was no chorus singing the “EEEE”s during any of the scout ship flyovers. For the Chasing UFOs cue--the footage where Neary and the police cruisers are chasing the scout ships—there was a bass drum playing over the urgent brass and frantic strings. At first, I thought Williams added that extra percussion for the concert but when I heard the cue on the CD, that instrument’s sound was mixed very low beneath the brass and strings, so, you could barely hear it. We also heard the ending part of that cue with that sustained major string chord as the lights and power where being returned to the town. I don’t mind people coughing during a concert. It’s intermitted and normal. However, during the final minutes of the concert—especially over the credits—there was this one guy coughing repeatedly. I’m thinking, “Dude, if you know that you have this intense cough, maybe you should have not gone to the show.” It almost ruined the evening. Maybe the next performance of CE3K in Cleveland this month will make up for it.

That photo of Williams, Dick Donner, Chris Reeve, Eric Thomlinson, and Ilya Salkind: great find, @TownerFan. ...and without a Caped Wonder watermark on it.😍 EDIT: Thanks for sharing that photo.

Oh @TheMagicFlute, if you want to catch SW:ESB sooner, The Dallas Symphony Orchestra will be doing it this August, but you are going to have to wait until April 17th to buy tickets if you are not a subscriber to that orchestra.

@TheMagicFlute, I envy you in your first discovery of enjoyment from Star Wars and Williams' music. Have you been to any of the Star Wars Live-to-Projection concerts? There is one for Star Wars: A New Hope coming to Houston this weekend by the Houston Symphony Orchestra from Friday into Sunday. This same orchestra will also be doing Star Wars: Empire Strikes Back this November. Our forum has more details about the Star Wars Live-to-Projection concerts. Just click here.

I think the remaining music for the end credits sequence would have been an edit of portions from body of the score, as it is the standard for movies of today. I fell that the Grand Rapids Symphony Orchestra did great service to the audience by not playing any more of this music, even it is bits and pieces from the score.

...and in Wichita, KS by the Wichita Symphony Orchestra on April 18, 2020 https://wichitasymphony.org/events/apollo13

I saw this in originaltrilogy.com and I thought I would share it here: This benefits folks in and around the Indianapolis, IN area. https://www.indianapolissymphony.org/event-detail/star-wars-empire?utm_source=wordfly&utm_medium=email&utm_campaign=3-13-19SWPush&utm_content=version_A&uid=639352&sourceNumber=0 In ISO’s upcoming 2019/20 season, they are doing SW:ROTJ this September 27, 28, 29. Play your cards right, and wait a while, you may get a discount days before that concert, too. They did a similar offer for SW:ANH back in November where you get 20% off the ticket price just days before that concert took place.

The San Francisco Symphony Orchestra does Apollo 13 in their 2019/2020 season on July 2nd and 5th , 2020 https://www.sfsymphony.org/Buy-Tickets/2019-20/Film-Apollo-13

I'll start this topic off by informing all that a Live-to-Projection concert program was made for this Oscar-winning, 2017 film. It made its world premiere in Washington, DC at the Kennedy Center on September 20, 2018. The composer, Michael Abels , conducted the National Symphony Orchestra. http://www.kennedy-center.org/calendar/event/NSPPI#tickets The second performance of this concert will be made this October 30, 2019 by the San Francisco Symphony Orchestra in their 2019/2020 season. https://www.sfsymphony.org/Buy-Tickets/2019-20/Film-Get-Out I’ve attended the DC premiere. The most fun part of the program was during the beginning. The orchestra performed Run Rabbit Run accompanied by a solo baritone, followed an experimental playing during the opening credits where the chorus sung the lyrics in Swahili, then gets R and B with a performance of Redbone.

At the 44:01 mark of part 2 from TownerFan’s Legacy of John Williams podcast covering LLL’s Superman 3CD set, Mike M. said that a Live-to-Projection concert of Superman-The Movie is “under discussion” and “those talks are continuing.” To give my speculation on this, my first thought would be that the concert production company FILM CONCERTS LIVE would handle it. They, practically, have the ground floor on this. One of the producers of the company, Jaime Richardson, is with The Gorfaine/Schwartz Agency (GSA), the management agency that represents John Williams. Richardson is one of the few trusted people that Mike M. has shared the news of the film’s first generation music score audio elements. Mike M. said on Feb. 21, ‘19 on this page of from this FSM thread Meanwhile, the other co-producer of FILM CONCETS LIVE is Steve Linder of IMG Artists. Before joining Jamie Richardson to form FCL, Linder, through IMG Artists, have created Live-to-Projection concerts of their own, some from Warner Bros’ properties such as Casablanca, The Wizard of Oz, West Side Story, and The Adventures of Robin Hood. So, GSA has access to John Williams while IMG has access to Warner Bros. At the time of the master tapes’ discovery almost a year ago, I am sure that Mike M. must have mentioned his intentions of doing a newly-remastered CD release of Superman from these elements to the FCL producers and to have it released on the film’s 40th anniversary. The wheels in the concert producers’ heads must have been turning. All they needed is a license to do the concert from Warner Bros. However, Warner Bros may not grant the license to any concert production company. Instead, they could make a Live-to-Projection concert of Superman, themselves. I wouldn’t be surprised if they did go that route, like what Disney is doing by creating a separate division for making concerts out of their own properties, like the Star Wars Concert series. Warner Bros was probably kicking themselves for signing the Harry Potter concert rights to CineConcerts. Every concert venue in the world has done or will do a Harry Potter Live-to-Projection concert. Warner Bros joins Fox in the “Damn! Why did I sign over the rights to that” support group.

I went to the Live-2-Projection concert of Pirates of the Carribean-The Curse of the Black Pearl with the Grand Rapids Symphony Orchestra in Grand Rapids, MI, last Saturday. When I decided to go, I thought that a large orchestra would make the score sound a little better. It didn’t. I should have listened to Eric Woods’ review. Conductor John Varineau introduced the audience with a pirate accent and saying, “Arrr.” He encourages them to cheer at the screen by saying, “the more you react, the more we play.” Despite that, there was very little crowd reactions, even at Jack Sparrow antics, which I liked. Having not seen the film, it was entertaining. By the time the end credits came, the orchestra stopped playing, but the remainder of the credits resumed. Frankly, I didn’t mind that the performance ended that way, because I really didn’t like the music. Perhaps I’m been spoiled by all the John Williams Live-to-Projection concerts that I’ve been to that I didn’t enjoy this one. A question: After the conductor and the orchestra filed-out of the stage, I peeked at the conductor’s video monitor, positioned just above the lactern, where a separate verson of the film is shown with sync-patterns to help the conductor stay in sync with the film. As you can see in this video I took, there are sync-patterns shown in-front of the end credits, but all the musicians are gone. Not that I would lose sleep over this, but has there been any performance of POTC-I where music for the remainder of the end credits was played? https://drive.google.com/file/d/12lMPSmGFua5ktwhsw3U5zdI4NQ3MXGvN/preview

I was in Grand Rapids, Mi to attend a L2P concert of Pirates of the Caribbean with the Grand Rapids Symphony and to pass the time, I checked out this Family Dollar store on Michigan Ave, off of Fuller Street, just for the hell of it. As luck would have it, there were a few of those Varese CDs left...for $3.00, this time. The titles I saw were: Shrek the Third The Kingdom As You Like It Lions for Lambs Evan Almighty The one I bought was Live Free or Die Hard and I saw only one copy

Since no one corrected me on this, I thought I'd do so publicly. DisneyConcerts announced the Star Wars Concert Series in February 2017, not April. All I had to do was read the date of the first post of this thread. Duh! That means that DisneyConcerts didn't stick with the same pattern by not announcing a new Star Wars L2P concert on that same time. However, I still have hope that they can surprise us between now and May the fourth.

Something I noticed in the end credits from the Jurassic Park-L2P concerts. When Williams replaced his film version of the end credits with his public concert version, it was shorter the film version. In this YouTube except of the RAH performance of a JP-L2P concert, this concert version of the end credits ends at the 8:04 mark, but notice the credit-roll continuing. In later concerts, the film's end credits was altered--it had to be sped-up to match the duration of the replacement music cue. Here, at the 5:24 mark of this except from a later JP-L2P concert, the music ends right at the end of the “Amblin” logo clip.

The end credits music cue for the L2P concert version of SW:TFA was, also, shorter than the film version. If one were to sync this L2P concert version of the end credit music cue to the theatrical version of the end credits, the L2P concert version would end before the film version would. This would mean that the end credits on the screen would speed-up—increase the duration—so that the music and the credits would end at the same time. This was done the same way for the end credits in the Jurassic Park L2P concerts where Williams replaced the music for the end-credit-film-version with his public concert version, which was shorter. In this YouTube except of the RAH performance of a JP-L2P concert, this concert version of the end credits ends at the 8:04 mark, but notice the credit-roll continuing. In the 5:24 mark of this except from a later JP-L2P concert, the music ends at the end of the “Amblin” logo clip. Getting back to SW:TFA-L2P concert, the Lucasfilm logo clip and the Bad Robot logo clip were not displayed after the end credits were finished when I saw this in DC.