SyncMan

I instantly fell in love with Alien and it became my undefeatable favourite, when I bought it. So in my case  the avant garde writing of Poltergeist was not the issue. I think it was the rock hard and cold sound of the orchestra. The second score is the complete opposite: an soft and floating soundscape. I also think that Poltergeist 2 is one of the most ingenious symbiosises of synthetic and orchestral elements. The textures are great.

November 8, 2020
Indianapolis Symphony Orchestra. Justin Freer, conductor
Hilbert Circle Theatre. Indianapolis, IN
https://www.indianapolissymphony.org/event-detail/rudy
 

New booking for SW:TLJ
 
Toronto, Ontario, Canada
May 13th, 14th, and 15th, 2021
Toronto Symphony Orchestra. Steven Reineke, conductor.
https://www.tso.ca/concert/star-wars-last-jedi-concert#performance-2599

New booking for SW:TLJ
 
Toronto, Ontario, Canada
May 13th, 14th, and 15th, 2021
Toronto Symphony Orchestra. Steven Reineke, conductor.
https://www.tso.ca/concert/star-wars-last-jedi-concert#performance-2599

World Premiere:
City Light Symphony Orchestra. Thiago Tiberio, conductor 
KKL Luzern Concert Hall, Luzern, Switzerland
December 4th and 5th, 2020
https://www.citylightconcerts.ch/event/dances-with-wolves-kkl-luzern/
 

 
Finally, John Barry is getting’ some L2P love.

World Premiere:
City Light Symphony Orchestra. Thiago Tiberio, conductor 
KKL Luzern Concert Hall, Luzern, Switzerland
December 4th and 5th, 2020
https://www.citylightconcerts.ch/event/dances-with-wolves-kkl-luzern/
 

 
Finally, John Barry is getting’ some L2P love.

World Premiere:
City Light Symphony Orchestra. Thiago Tiberio, conductor 
KKL Luzern Concert Hall, Luzern, Switzerland
December 4th and 5th, 2020
https://www.citylightconcerts.ch/event/dances-with-wolves-kkl-luzern/
 

 
Finally, John Barry is getting’ some L2P love.

SW:TLJ in America, baby:
The New Jersey Symphony Orchestra, March 19-21, 2021
https://www.njsymphony.org/events/detail/star-wars-the-last-jedi-in-concert

SW:TLJ in America, baby:
The New Jersey Symphony Orchestra, March 19-21, 2021
https://www.njsymphony.org/events/detail/star-wars-the-last-jedi-in-concert

SW:TLJ in America, baby:
The New Jersey Symphony Orchestra, March 19-21, 2021
https://www.njsymphony.org/events/detail/star-wars-the-last-jedi-in-concert

SW:TLJ in America, baby:
The New Jersey Symphony Orchestra, March 19-21, 2021
https://www.njsymphony.org/events/detail/star-wars-the-last-jedi-in-concert

SW:TLJ in America, baby:
The New Jersey Symphony Orchestra, March 19-21, 2021
https://www.njsymphony.org/events/detail/star-wars-the-last-jedi-in-concert

This is the major disadvantage of streaming services over buying physical media.

Nicholas Buc unboxes package of manuscript
https://video.twimg.com/ext_tw_video/1175955877150568449/pu/vid/608x1080/a-sP4V7BAGVbPVfd.mp4?tag=10

World Premiere for Star Wars-The Last Jedi: Film Live With Orchestra will be in Tokyo, Japan on October 14, 2019
Tokyo Philharmonic Orchestra, conducted by Nicholas Buc
http://www.promax.co.jp/info/2019/101301/
 

Like anything in business there is nothing stopping people from "doing deals". Whether they would be successful or not is a different matter...
 
All I can say is there isn't a "menu" of prices, and therefor isn't a set discount for bulk buying - purchasing a couple of concert licenses is different to getting a discount on printing thousands of books. Licenses, whether for live performances, or licensing songs/clips for use in films/ads etc, are often based on what the purchaser is going to make out of it (along with a bunch of other factors) and not really a case of "well if I buy 100 of these surely you'll give it to me cheaper".
 
...But as I say, anything is possible when negotiating.
 
If orchestras in the US aren't doing as many of the LTP concerts as you would like i suspect the following are the most likely reasons:
The orchestra themselves only have a limited number of weeks they are willing to commit to non-classical performances, therefor limiting what they are willing to put on. Continuing on that thought, if you only have a handful of slots, then you have to toss up what will be the most popular thing ALONG WITH hitting different demographics (if that's a goal). Constantly filling spots with stuff for the same people/demographics can sometimes go against the goals of the orchestra with these shows. Regardless of license expense (which is sizeable), the shows are hugely expensive to put on from a tech point of view. Factor in musician costs/ choir (maybe), advertising, hall hire etc etc, a large number of orchestras simply can't make the numbers work. OR, importantly, see less risk in putting something else on that might fulfil other company goals. It's important to know that the cost can be so high as to potentially risk the company going bankrupt if it failed. Not sure many arts organisations would risk that for "Star Wars" (or anything else for that matter). I personally know of many orchestras that have lost significant money on many movie shows (well in excess of six figures) - some of them MASSIVE blockbusters. Even if you see a full hall, doesn't mean the orchestra is making money hand over fist. Some orchestras can't fulfil the basics of the license ie being able to physically fit the required musicians on the stage they have access to OR not physically having enough players, of a high enough calibur, to perform with the correct number of instruments. Keep in mind that most modern movie scores involve HUGE orchestras by any standard. A lot of orchestras simply don't have that many players in the towns/cities they perform in. Some concert halls (more than you think) simply can't accommodate the screens and amplification needed to run these shows. I know of this being an issue in piles of cities.  
There are, of course, many other reasons too (including the programmers even seeing merit in these types of shows) but the above should give you a little insight.
 
 
 

Maybe among the special features is the documentary, Empire of Dreams, from the 2004 DVD set. It was never carried over into the Blu Ray set.

Why limit it to the streaming release?!?  I'd much prefer it to be on the physical release.  Likely better quality and easier to access.

Did anyone else watch the new documentary The Galaxy Britain Built: The British Force Behind Star Wars about the making of Star Wars on BBC Four this evening?  It was wonderful, not least because it included extensive discussion of the music by John Williams.  As well as showing several sections of the famous 1980 BBC documentary of John Williams working on the score to The Empire Strikes Back, it also included recent interviews with bassoonist Robert Bourton and trombonist Denis Wick who played in the LSO on the original soundtrack.  Both spoke very highly of John Williams and gave their recollections of recording the score in Denham, Lionel Newman getting the orchestra in line and much more.
 
https://www.bbc.co.uk/iplayer/episode/m000cdzt/the-galaxy-britain-built-the-british-force-behind-star-wars
 
If you have the chance to watch it on the BBC iPlayer, I highly recommend it.  A must for any Williams fans!

Maybe among the special features is the documentary, Empire of Dreams, from the 2004 DVD set. It was never carried over into the Blu Ray set.

For those of us who go to LTP concerts in New York City's David Geffen Hall:
 
This may affect how LTP concerts are scheduled during the renovation times--like how many to include in a season, what titles to select.

To attempt to answer your question: venues absolutely have very different acoustics and naturally highlight different sections. Hamer Hall, for instance, is great for woodwinds and lower brass but sometimes difficult to get strings to balance well. In General Hamer is also the "best" acoustic, however because it is so acoustically live it is also a nightmare to balance the movie sound effects and dialogue without it turning into a swamp of sound. In some ways the more acoustically dead venues like Plenary and The Palais are better for action films because you can control everything so well. I'm not surprised you enjoyed the Palais for TFA - that was a great night
 
In terms of picking a venue I must admit that the venue's acoustics are only part of the consideration (albeit an important component). Other things are:
 
- Is the venue even available when we can do the shows
- The capacity and cost of the venue compared to how many tickets I think we are going to sell (in other words, a commercial consideration)
- What the audience experience will be like there and does the venue make sense with the type of show we're doing
- Venue capability and sight lines. Some of the venues in town simply can't accommodate the screens and sound systems we need to do them
 
If you have any other questions about how these work behind the scenes I'd be happy to try and answer your questions where I can.
 
 

At this moment, the only good I can see that could come out of having another Star Trek movie out in theatres is that, maybe, the concert halls will start bringing back the Star Trek LTP concerts.  I've missed out of those when I started going to these LTP concerts in April of 2018.

The reception was phenomenal. It was quite interesting as a musician to perform while the audience reacts to the on screen action. A lot of fun.
The screen was above and behind the orchestra, and only used on the 2nd rehearsal. It’s a well oiled machine for sure. Everything went super smoothly.
the film and  music tracks were both mixed and sent through speakers. From what I’ve heard, it seemed it was well balanced and the sound quality was good. It was in a big hockey arena.
Overall it was a lot of fun, the conductor was great, he was very precise and knew the score incredibly well.
I would have liked just one more rehearsal....playing Quidditch only once through before the performance was a little nerve wracking...
Hopefully we get to do more in the future.