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karelm last won the day on December 31 2022

karelm had the most liked content!

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  1. 4 out of 5 of them are represented by Kraft-Engel. 3 out of 5 are USC scoring alumni.
  2. Yes. It's the pinnacle of his golden era (1975-1984).
  3. Congratulations to Steph Economou who made history yesterday by winning the very first grammy for a video game soundtrack! She won the Best Score Soundtrack for Video Games and Other Interactive Media award for Assassin's Creed Valhalla's Dawn of Ragnarok. It's crazy its taken so long to formally recognize game music as a category in the grammys. There is so much amazing music being written for games.
  4. Oh wow, that's cool! I've performed there. It was the Cocoanut Grove at the Ambassador Hotel from 1921 to 1989 and was also the location where Ben (Dustin Hoffman) scored in The Graduate and sadly was where Robert Kennedy was assassinated. Today, it is an arts school, and the Cocoanut Grove is the auditorium at the school.
  5. John Williams told my class, I really have no advice for how to make it now, things have changed so much since when I started, I doubt I would make it today. Yes.
  6. I won't name the project even if I'm allowed to. I have no idea what future projects might exist.
  7. I'll explain this scenario that soured me. I was hired a year ago to score an animated film and given a relatively nice package. The music would be challenging and I got to work on it right away not yet having seen any of the film because it was CGI animated/semi animated so what I would see were just green screens and concept art. I composed very good music (if I can say so) that I was proud of and saw a rough cut of the film (maybe 25% of the cgi/animation were in place. I then got word that the team had fallen in love with royalty free temp score that they edited to but wanted to retain me but now adapt the royalty free music. I said, but wait, I would charge you the contractually agreed fee regardless if they use my music or not because I created it even though they went the free route. I was now competing with generic free music and told I had to compose exactly like that music because it was approved already. So in what scenario would they pick my full price music that was already composed just for them but not like the generic royalty free music if they got what they needed for free music and any original music would have to follow the exact same rhythm, beat, style, of the temp? I did it for one cue and said screw this - it was zero joy just to write music exactly like what they were getting for free but mine would be the full price we agreed to. They would just say for each cue, we'll take the free one instead because mine would be just like the free one but cost alot more. I told them, I'll let them off the contract and let's go separate ways and the original music I composed is fully mine to do whatever I want with but this issue of having to compete with very generic royalty free music is becoming more and more common and far less creative or interesting for the composer. Something very similar happened to Davis on Matrix where DJ music was brought in replacing some of his music and he was told to merge his style to blend with them. At the very least, it was insulting, and he didn't take it well, plus very uninteresting to the composer. This sort of approach is more and more common now. There are some composers through various methods (maybe they have a music production team or are improvisors), but for those of us who want to sit at a desk and craft a well-conceived score that helps tell the story, it's frustrating and very unnerving that at any moment, even if they haven't heard the score, they might say the direction has changed and they're going with the generic free music. For some people who are fine with this being a business and they produce a product, it's probably not that big a deal but others actually love music and prefer working in settings that are more collaborative and supportive of that goal. I spent the rest of last year working on personal projects and very specific collaborations that were far more rewarding than doing the grind of writing music directly for directors then having it tossed for something easy to edit to or someone else had just gotten used to. I hope that explains the scenario better.
  8. That's a major difference though, ghosting and orchestrating, your client is a composer. The composer is the one handling the business.
  9. I don't think he got black listed, I think he just doesn't enjoy film scoring. Except for a handful, maybe just one person, it's really a business and that scene is not for everyone.
  10. Well here is the Star Wars theme for String Quartet. This string quartet play the most thrilling version of Star Wars you could imagine - Classic FM There are tons and tons of arrangements for various ensembles. I've seen E.T., Jurassic Park, others for String Quartet. Have done some for brass quintet, lots of arrangements.
  11. Wow, that looked great! Like a new TNG theatrical movie. I couldn't make it through S1 episode 1 but might have to start watching.
  12. I think at this stage of his life, he doesn't have to think about it all because maybe 50 or 60 years ago he said "this sounds interesting...why is that interesting? What are the characteristics that make this work yet sound fresh?" By now it's probably automatic because he's been scratching his head over it for so many years. One doesn't get this point of it being natural or automatic without years and years of grunt work, head scratching, and challenging yourself to push deeper.
  13. That's a really good point about M7. I think this harks back to his jazz history.
  14. For those of you who've attended a Star Wars live to picture, how are the source cues handled? For example, in ANH, are the cantina band sequences played by the orchestra musicians?
  15. I doubt it. I think he just didn't like scoring films where you have to take your orders from someone who might not care that much about music or end up asking you to follow the temp and maybe just replace much of it with a DJ. It's a business and not that pleasant if you aren't given substantial creative liberties with directors who adore you and your contributions like JW. So more like Goldenthal who seems to only compose his personal projects or Julie Taymor projects.
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