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karelm

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Everything posted by karelm

  1. I really enjoyed this program and the presentation! That must have been thrilling to be a part of.
  2. His early stuff was Beethovenesque. Richard Strauss' early stuff was Brahms rip off. Elderly Brahms was interviewed in the book "Talks with Great Composers" around mid 1880's before Richard Strauss had written any of his famous works. His style at that time was very conservative and influenced by Brahms. When asked who the next great composers were, after some hesitation, he listed some names none of which have stood the test of time except for a then young Richard Strauss who was known for pastiche of Brahms and his entire reputation exists in a mature style he hadn't yet developed. Cameron is a very talented composer and very modest and nice guy. I love everything I've heard from him and his passion. As you can tell, he's a huge JW fan and others are taking notice as he's received impressive commissions and consistently delivered. Conrad Pope is also quite impressed with him, and I'll tell you, Cameron listens to feedback and constructive criticism. I have no doubt he'll go far if given the right opportunity with a similarly talented creative filmmaker. Like most composers, his early style might not sound much like his later style but he's consistently impressing his colleagues and just needs the right project. A funny story I've mentioned a few times, once in an anonymous composer submission forum where composers give feedback of each other's music to help improve our skills, there was this big band piece that we all looked at each other wondering, who did this? It was immediately clear who ever it was had significant talent. The tunes were catchy and orchestration professional. Without knowing who it was, we gave feedback about how well the composer understood the orchestra and how immediately engaging the music was. The feedback was consistently praising the composer and when asked if the composer wanted to identify themself, Don Williams raised his hand and said it was something from his brother Johnny back in the late 1950's that none of us had heard. Of course, we were all relieved no one was stupid enough to criticize it but it was obvious in hindsight that was the same composer who would go on to score such massive hits in decades to come though the style was quite unrecognizable to any of us. JW was as much captive to his early influences of Benny Goodman, and others he grew up with as we are with him. Those influences are slowly shed in time, but some elements remain and are part of the mature style of any composer though it can be hard to see the connection between the early composer and their mature incarnation.
  3. As someone who worked on the Raimi Spiderman scores, you definitely should send this to Chris Young. He'd love it! You'd get extra points though if you demonstrated more of his scoring techniques. The boss fight is only a minute long and he's great at extended action sequences if you can demo that. Also, try to expand more on preexisting material rather than stating it. For example, do that thing they do but longer. Don't say what they say. I hope that makes sense but it's an important distinction. Great job though!
  4. Such a kind and generous man. He had absolutely no ego and did whatever was needed to deliver an outstanding score and always with a big smile. RIP.
  5. I liked it. It reminded me of something that could be in Dune.
  6. My awesome friend and classmate made that film!!! Go Annie! Her husband is Dylan Hart who is a big time horn player himself and played on the Star Wars sequel trilogy and so much else. These two awesome people are carving their path as the next generation of memorable horn performers that future players will look up to. Annie is one of the sweetest people and educators as she's a horn professor as well and wrote a book about auditioning and performance anxiety...a serious problem many talented musicians suffer with. She worked very hard on this film and I remember her saying her hope was to catalog the recollections of the vintage players, many of which were no longer employed when she made it. It's a recurring story that the old guard finds it harder to find work as newer (sometimes cheaper) players are either more available or have more stamina for more gigs (for example, you work a full day and then have to work a second shift, becomes way harder as you get older especially for brass players when you lose your chops over hours of overuse). I hear the same thing from other players. It's sad but the career takes a physical toll and eventually the younger people have more stamina. Being a professional musician is basically like being a professional athlete. It's rare that you make it to retirement age in top shape. Annie wanted to interview some of those horn legends when they were still around to talk about their prime experiences most of which was in their past.
  7. This is so gorgeous! The whole album is sublime.
  8. I finally saw the film. I liked it! Definitely not perfect. I haven't read a single post in this thread since I'm anti-spoiler but thought it was overall fun, just wish they had a bit more character nods. For example, how Spiderman No Way Home had the three spidey's banter in a very fun way about their character traits. This helped tell the story and gave the fans of each franchise much to love. I wish there was way more of that in this film. They did a little bit of it, but added new characters too that didn't really serve too much purpose while also underusing other characters. I overall felt satisfied though there were noticeably missed opportunities. I thought the music was good, maybe could have used a tip of the hat more to JW for creating the sound of the franchise. I kind of liked how they redeemed Dr. Henry Wu. It could have had more weight though. He frankly wasn't that important, just a side character. I really liked Ramsey's character. Very glad he wasn't too flipping. It felt real. Dichen Lachman didn't have a completion arch. That was the weakest part of the film, the spy sequence was just unnecessary or poorly executed with lots of characters we don't care about. But overall, definitely not great but enjoyable which is frankly exactly what I thought of Jurassic park in 1993. It's not a deep film, it's popcorn movie and this was fun.
  9. Though I'm not familiar with the original, I found this was loads of fun! Reminded me of Liszt's Hungarian Rhapsody. Great job!
  10. Do you want me to read the page to you? It literally breaks down how they estimate what you are asking about.
  11. This guy can eat them both for breakfast. George Lucas Net Worth | Celebrity Net Worth
  12. This is a proposed budget. Not what it cost but a good reference. It's clearly an early draft. Likely the producers needed a guestimate, so the various teams submit early guesses and that's what leaked here. For example, this as far as I can tell does not include the very pricey concert soloist, Hilary Hahn, who could charge $100k per day and at the bottom of the page, the film had a working title of "The Woods". This is clearly a projected budget so the filmmakers can get the necessary approvals from accounting before moving forward. I would bet whoever leaked this was a production student of a teacher who worked on the film and was showing an example budget they worked on. It's very useful for those who want a benchmark of what fees are like but there are place holders and guesses. Stuff like "studio fees" just where composers know they always have unanticipated equipment needs.
  13. Sad news. One of the most iconic riffs in history to a great, great character. RIP.
  14. You can think of it as he's an A list (top call). Like Zimmer, James Newton Howard, Powell, etc. They charge about one million to two million per film JUST for creative fees but also make royalties and charge for other services like conducting and orchestrating. We know those fees because those are union scales which usually are set as minimums, but you again know with these people, they charge a premium so can charge quadruple scale. That means if JW conducts his music for his film, he is charging at least four times the union scale. It's not that easy to know what union scale is because it's based on the budget of the film. An ultra-low budget film might be $one million and less which pretty much none of these people do, so the conducting fee for that film would be maybe $100 per hour including pension (then JW and the other A listers would charge quadruple scale) so $400 an hour at the low end. For big budget like Indiana Jones, Marvel, etc., union scale is around $250 with all pensions and fees so A listers would charge $1,000 per hour. They'd record 6 hours per day if in LA (steep surcharge if it goes into overtime) and can take two to three weeks so on a very big budget film, you can imagine JW making $90,000 for conducting the score ($1,000 per hour x 6 hours a day x 5 days a week for 3 weeks). These days, he'd outsource to Dudamel and Ross some of those hours. Also keep in mind the Star Wars films had multiple sessions but clearly budget wasn't an issue in that case. Those might have been six weeks of sessions spread across a few months. I doubt JW ever charged more than 2 million for a creative fee because he pretty much only works with his friends or passion projects. In short, he isn't really a business and when you calculate all the money he's made (remember Star Wars soundtrack was the highest selling classical album for like a decade with something like 11 million copies sold...now Titanic is considered #1 but all the Star Wars albums have sold millions and are in the top 200 so all combined are probably 50 million plus copies), plus with his relatively modest lifestyle, he has way more money than he can ever spend. Marvel and Star Wars seems to be on TV all the time so they also get nice royalty checks. Again, these are very, very complicated because they don't pay straight rates. Prime time and major channels pay higher than 1am cable. I would bet these A listers get at least another one or two million a year purely from royalties of their movies always being played around the world and having a long catalog of popular films. These are very, very rich people.
  15. I might have to go for this. The original movies are all excellent. I enjoy most of TNG movies too but the originals have a very special nostalgia for me, fantastic scores too!
  16. I don't think it's about "fearing" to not be allowed to use the music but trying to have different styles...a more contemporary approach and old school approach. You can think of this creatively in other aspects too. They are not directing the series with Lucas' visual style either. They're trying to do their own thing in that universe. They aren't using plastic models (as far as I know) but using CGI vfx - they are using modern tools and approaches while trying to stay true to the original. That's what I'm hearing with the music. The composer was given liberties and I thought she did a very fine job doing her thing without yielding to pressure to mimic what came before. I think the same was the case with Giacchino in Rogue One. He wasn't doing JW, he was doing Giacchino's version of Star Wars. I think that's a wise move. In five seconds of blind taste test, no one will confuse that JW did not compose Rogue One.
  17. Yes, it's a courtesy. He has no legal ownership of it. Composers generally do not own their music, studios do. In low budget or indie, there are more exceptions to this because copyright ownership can allow for additional payment. He would get paid a "writer's share" if they use his material, but it gets complex. For example, if in sixty seconds, they use 10 seconds of JW's material, he gets a small cut of 50% of payment for that cue (and all of this has exceptions). This is basically the studio and producers say they revere JW's contribution to such an extent, that he is so much a part of the DNA of the films, his input is valued. No one has to adhere to it or have an obligation to ask him, it's a courtesy. If he said, "I really hate the way my material was used", they could ignore his feedback and that would just make it all the harder to secure his involvement in other projects. Gordy Haab mentioned in his contract on Star Wars games, where he does a fantastic job conjuring the aura of the JW prequel sound, he said each cue he composed had a period of approval by three groups: Disney, the game producers, and JW. JW probably didn't hear much of it, but was allowed an opportunity to weigh in. Gordy said he only heard comment on one or two cues and the feedback was general in terms of creative choices made such as "I wouldn't have done that there" and Gordy complied. These weren't major issues, just minor stylistic tweaks to make it feel more authentic. Disney, the producers, or Gordy could have said no, I'm sticking with my instinct which could have been career limiting if in future projects, JW indicates disappointment in the musical approach. Also keep in mind almost universally, JW is revered by musicians and composers especially those a generation or so after him who grew up with his sounds in our heads. Hearing feedback is a bit like hearing the voice of god. There really aren't any parallels.
  18. I just saw Spielberg's "Always" for the first time today. Wow, weak film. Felt like a tv movie. Score was great but it doesn't hide the weakness of the film. It had its moments but nothing a TV film wouldn't have scored. It makes Hook seem like a masterpiece. Compare it to contemporary films of the same genre like "Ghost" and "Field of Dreams". It makes me question Spielberg's strengths as a director. Is he a director who hides behind great composers, cast, editors, cinematographers, etc., or am I nuts?
  19. ...his son has it...his grandkids have it but they're all more in pop music. I believe they consider the surname to be a curse of sorts. There are many precedents for this. Richard Wagner's son, Sigfried struggled to find his voice without being compared to his far superior father. None of Russian/Ukranian composer Prokofiev's children were composers but his grandson is Gabriel Prokofiev (b. 1975) who is also a DJ and sound world has no connection to his grandfather's distinctive sound seeming to have abandoned expectation. None of Dmitri Shostakovich's children are composers though they're musicians of other disciplines (conducting or pianist) however his grandson (Dmitri Jr) might be...I once heard he was studying composition but nothing original of his has surfaced other than a Chandos album where he performs the piano concerto his father premiered. It seems like when someone has achieved genius level talent, the talent ends with them. Einstein had children and none of them were exceptionally bright. It seems they collapse under expectation until they abandon their legacy and surname (like Nicholas Cage changing his surname from Coppola).
  20. Here it is with AI upscaling. https://drive.google.com/drive/folders/1_5UC3ZDNU2wc6bW8due08A7t4i674fAo?usp=sharing Not perfect but makes it a little better. 2120583139_ep2_music_m320AIUpscaled.mp4
  21. I like it but you could add a "middle layer" of ornaments or moving inner lines especially when the visuals are clear like around 0:15 and after. Right now, you have melody and harmony but not so much a middle element of flourishes, swoops, ornaments, etc., which makes it feel a bit static. Like in this, notice how many layers develop from a very simple opening in just 30 seconds: You have the horn melody, the string arpeggios, the rising counter line in the low brass, harmony in choir, etc. You might want to try adding more elements as yours develops like an inner mid voices "motor" for propulsion, a counter line, swoops and ornaments etc. Don't overuse them but carefully add elements. The opening flutes don't bother me, but I think it doesn't give a sense of mystery or wonder. It's a bit too on the nose.
  22. I've been playing around with an AI upscaler. Sometimes produces interesting results but gives everything a painted look. I haven't gotten good results overall, the original video quality is just really poor quality.
  23. That's fantastic!!! He's an inspiration to us all.
  24. Wonderful arrangement, performance, and of course music!
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