Edmilson

Liner notes writer @Kaya says
 
Happy album release day!

store.intrada.com/s.nl/it.A/id.12880/.f

If you know me, chances are I talked your ear off about the score for The Rock. This bombastic action thriller from Michael Bay came out when I was 9-years old, and even though it’s just an over-the-top action movie to most, to me it was a gateway into another world. It was the first R-rated movie I was allowed to see, and it imprinted itself into my brain instantly.

I didn’t know what a soundtrack was at 9, all I know is I wanted the “music from the movie”. The three names on the front cover of my cassette didn’t mean anything to me until I started realizing that the other music I ended up loving had these names on them too. Strangely, I never once got an itch to pursue music. It was the marriage of image and music that spoke to me, and that’s what set me on the filmmaking path.

This project would have never gotten off the ground if it weren’t for the support and trust of Nick, Hans, Harry and Steven. And the cherry on top was I got to do it with my good friends Stéphane and Maxime. It’s crazy how we bonded over our love for Hans’s music back in the early days of the internet and today we get to help make sure The Rock is properly taken care of to be presented to the world again in the best presentation possible.

All 3 of us live and breathe this film and score, and the liner notes are a result of all of us dissecting and discussing. We learned new things we never noticed before, and we poured over the thematic structure to realize how brilliantly crafted this score really is. It was so much fun. And being able to inject new quotes from Nick, Hans and Harry into it was pure joy.

Nick and Hans, thank you for helping even though you were in the middle of a gigantic tour on the other side of the planet at the time. Harry, thank you for opening up and talking about those early days in your career when Nick and Hans pulled you into this film. I can’t tell you how much it means to me to be able to make sure the liners present your guys’ whirlwind journey in making this score. I hope this score can still go out and find some young soul to awaken to show what the power of visual storytelling with editing and music can be, even in pure popcorn flick fashion.

Thanks to Douglass and Roger and the whole team at Intrada that helped get this project off the ground and worked to get everything cleared and approved.

Thanks again to Nick, Hans and Harry, you guys indirectly helped me find my path while you were on yours. I know it seemed like a fever dream that is now a distant memory, but goddamn you guys cooked up something special. Please grab a copy and enjoy. Plus the timing worked out where we’re releasing on Nick’s birthday! Happy b-day, Nick!

My only complaint is that we didn’t opt for the old Turkish key art for this release. I dunno I just kind of like it better for some reason. 🤔
 
#therock #intrada #soundtrack #nickglenniesmith #hanszimmer #harrygregsonwilliams #michaelbay #jerrybruckheimer #welcometotherock #90s #90smovies
 

 
https://www.facebook.com/kayasavas/posts/pfbid0TyEJXhzGe11oUpr8FnXToVtaTK8cH79Jn3zrRh7g2AbEvNH2QqQwCU3sfrQecKtul

I don't listen to Horner.

Alan Silvestri has been posting on his social media pictures of his recording sessions. Does anyone know what score he might be working on?
 

 

 

See here (3:55 to 4:02):
 
 

See here (3:55 to 4:02):
 
 

His biggest contribution on the first Toy Story was probably stealing one of Horner's motifs from Balto (which he orchestrated, and probably co-wrote a bit as well) and turning it into Buzz Lightyear's theme... Or was it the other way around? lol
 
Anyway, IMHO the best RN Pixar scores are Monsters Inc, Toy Story 2 and especially A Bug's Life (which desperatly needs an expansion).

Only the first and third Toy Story films.

Alan Silvestri has been posting on his social media pictures of his recording sessions. Does anyone know what score he might be working on?
 

 

 

What's in the box? What's in the box? Ah, what's in the fucking box?!

According to the same thread on hans-zimmer.com, Trevor Rabin also doesn’t care about expanded releases… so we are never gonna get Armageddon 

Disney Music logic: Make physical copies of the score almost impossible to buy, release high resolution digital copies for free.

It's called Perseverance for a reason.
 
Karol

And Kingdom of Heaven.

There goes my hope for Sinbad… 

30 years ago yesterday, the lead story on the front page of Variety was announcing George Lucas' intentions to make a prequel trilogy, which he stated he intended to film back-to-back-to-back over the next four years
 
https://www.deseret.com/1993/10/3/19068970/lucas-says-star-wars-prequel-is-on-its-way
 
Funniest part of the article:
 
If he doesn't speed up the pace a bit, it will be 2017 - and Lucas will be 73 years old! - before we see the final trio in this series.
 
Ended up being pretty close!

Helena's Theme for Cowbell and Orchestra

Stéphane has provided more info at the same link:

Nick & Hans basically gave me carte blanche. It was cool to have Harry Gregson-Williams' support & interest as well (unfortunately, HGW isn't really interested in the whole "expanded" topic so don't expect any of his scores to be expanded. But he was cool with The Rock. Hoping one day we'll change his mind ! :)). Kaya Savas wrote the liners, if you want to read more from the composers about their experience & the production of that score).
 
We got big help from RCP & the film's music editing team to get material. My friend Maxime Marion (who knows the score inside & out as much as I do) engineered & mastered it. We took great care of it. Douglass Fake from Intrada usually handles mastering for most of their releases but they were happy with what we came up with so I guess we didn't disappoint. Quality is top notch, besides a few of the demos (more on that below).
 
The score presentation is pretty straightforward. Cues were assembled where it made sense, Nick & Marc Streitenfeld's assembly from 1996 was a blueprint to start with but it also had a few things that needed corrections.
 
It was a surprise that among the material RCP kept they had old synth mock ups of the score, not always in the best shape though. That's the only downside here, the Chase demos didn't come in great quality (fear not, nothing on the level of the almost unlistenable The Lion King Legacy Collection score demos lol). But there was never a question not to include them : they're just too good & too much fun, and a great case study of a sequence rewritten to death developing to its final version just days before the film's release (it was the last approved cue !).
 
Oh and if you ask why more of Nick's early sketches are not released, it was technically impossible for the most part as some bits got reused elsewhere in other scores later.
 
Out of all that material, we had Bob Daspit's great guitar solo from Naval Weapons Depot, so it was cool to remix it and end the album with that "heavy guitar version".
 
Hope you'll enjoy it !!!

Shawn Murphy Strikes Again

Raiders of the Lost Ark; E.T.: The Extraterrestrial The Lost World; Temple of Doom; Empire Strikes Back; The Last Crusade; Return of the Jedi; Prisoner of Azkaban; Empire of the Sun; Chamber of Secrets;  
Honorable mentions: The Patriot (may enter top 10 once the expansion is released), every Prequel score, Superman, The Last Jedi, gosh... There are so many classics, making a top 10 is so hard!

Fixed. Since he was not credited anywhere (I think), then he was a ghostwriter.
 
Isn't it weird that now we have two scores by rising female composers for Disney movies (Captain Marvel and Encanto) where they had the help of a much more established male composer (Giacchino and Powell) in a few cues? And that such help went unnanounced by everybody, and the only way to know about it is looking into databases like GEMA?

yay
 
 

Shawn Murphy Strikes Again

Shawn Murphy Strikes Again

Unfortunately it's not about Nosferatu