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karelm

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  1. Like
    karelm reacted to Omen II in Vaughn Williams: SCOTT OF THE ANTARCTIC (New)   
    I went to the live to picture presentation of this at the Barbican yesterday evening.  It was something of a dream come true to hear this, one of my favourite film scores, performed live to the film - something I never thought would happen with a British film of this vintage.
     
    Before the film started, the BBC Symphony Orchestra under Martyn Brabbins played a kind of overture / suite of music from the film which included some sections of music not heard in the film, which was a great way to kick things off.  The soprano soloist was none other than Elizabeth Watts, one of the finest singers in the country, whose voice was just about perfect for this.  She was well supported by the ladies of the BBC Symphony Chorus, 32 choral singers in total.  I realised how closely the women's voices matched the howling Antarctic wind in several scenes, such that it was sometimes difficult to discern what was the choir and what was the wind.  Wonderful!
     
    I had seen the film before but it was quite a long time ago.  It's actually a really good film - there were many poignant moments during which you could feel the tension in the hall, for example the scene where Scott's expedition party has to shoot the ponies one by one.  It happens off screen while the camera focuses on each of the next horses in turn as their muzzles are cradled one last time by their human companions.  I also noticed almost all the orchestra members who could see the screen watching transfixed as Scott (John Mills) delivers his final few words in the tent, knowing that he and his companions would not make it.
     
    Vaughan Williams's magnificent score was played perfectly and it did not matter that it occasionally drowned out the dialogue on screen.  If you are interested, you can read the programme notes here.
     



  2. Like
    karelm got a reaction from Cerebral Cortex in What is this instrument playing in The Lost World?   
    Just a comment, percussionist Emil Richards played on 1968's Planet of the Apes and Jurassic Park and Jurassic World where he provided his ethno-musical percussion instruments.  EG: the primitive percussion.  He also performed the percussion on the TV show, LOST, where he provided handmade airplane percussion (tuned instrument made out of broken airplane parts).  He played percussion on every Planet of the Apes film from 1968 through 2019 (his death).
     
  3. Like
    karelm reacted to Jay in John Williams in the news   
    https://variety.com/2022/awards/news/john-williams-james-cameron-kathleen-kennedy-oscars-academy-decision-1235199408/
  4. Surprised
    karelm got a reaction from Jilal in What is this instrument playing in The Lost World?   
    Just a comment, percussionist Emil Richards played on 1968's Planet of the Apes and Jurassic Park and Jurassic World where he provided his ethno-musical percussion instruments.  EG: the primitive percussion.  He also performed the percussion on the TV show, LOST, where he provided handmade airplane percussion (tuned instrument made out of broken airplane parts).  He played percussion on every Planet of the Apes film from 1968 through 2019 (his death).
     
  5. Like
    karelm reacted to Tom Guernsey in What is the last piece of classical music you listened to?   
    Fire Water Paper: A Vietnam Oratorio (Elliot Goldenthal) - Definitely one of those early purchases during my film music (and associated crossover works) that was perhaps a bit too challenging for my tastes at the time. It's still not an easy work, but with the benefit of a greater exploration of 20th century classical, this time I found it compelling and thrilling. Glad to have finally revisited it.
     
    I also did well at the Oxfam music store in Southampton... plenty to enjoy this week (just as well as I also brought back a dose of covid with me...).
     
     
  6. Like
  7. Like
    karelm got a reaction from KK in Eddie Karam on Williams   
    You shouldn't worry about it too much.  There is no doubt that Horner was a very skilled and talented composer.  There is also the reality of film scoring as a business.  Sometimes these collide.  It's not really that big a deal.  Think of it like any one of his great scores would probably sound different, perhaps even better, if he had no time constraints.  Because composers sometimes have awful deadlines, corners are cut.  It's not ideal, it's the reality of working in a business.  To think otherwise is to over-romanticize the business of film scoring.   
  8. Like
    karelm got a reaction from ZenLogic101 in Did Danny Elfman work on Spider-Man 3?   
    That's exactly what it was.  Young was heartbroken there would be no score release.  He was very proud of all the work put in and it was by far the biggest score he had done to that point (maybe ever).  He did all the work, had it mastered, edited for release and submitted it and it was squashed because the film was poorly received so they felt there was too small a market.  Elfman's shadow loomed very large on the score.  For example, Raimi suggested venom's theme was an inversion of Spidey's theme but Young said there isn't really a Spidey theme, just a progression or at best a motif.  Young is very, very big on memorable themes...not just a phrase or a motif or a chord progression, so he created themes for his characters like Spidey, Venom, Sandman, etc.  They might not be fully used due to the score or dramatic scene requirements, but they were there for reference.  
  9. Like
    karelm got a reaction from Jurassic Shark in The Music of Heroes Thread   
    For an added sense of irony, this great moment from a great Soviet composer when Berlin falls to the Soviet army defending its freedom against an unjust invading army.
     
     
  10. Like
    karelm got a reaction from Holko in The Music of Heroes Thread   
    For an added sense of irony, this great moment from a great Soviet composer when Berlin falls to the Soviet army defending its freedom against an unjust invading army.
     
     
  11. Like
    karelm reacted to Michael Grigorowitsch in Score reduction and analysis   
    Here is an analysis of 5M48 "Yoda Appears" on my new YouTube channel. I hope you will like it.
  12. Like
    karelm got a reaction from Muad'Dib in Did Danny Elfman work on Spider-Man 3?   
    Elfman wasn't essentially relaced at the end of Spiderman 2, he left.  True he was getting more and more agitated at the business of film scoring which includes having to please producers and others not particularly involved on the creatives weighing in resulting in umpteenth revisions on complicated cues and that happened a lot on Spidey 3 too.  Set pieces are huge investments for studios as tons of planning of budget go into them plus they can be the first big action seen in an action film full of audience anticipation.  The first big action set piece on Spidey 2 was the elevated train (the first set piece in Spidey 3 was Harry and Peter's fight).  Elfman followed the scene and slowed the music down as the train slowed which execs felt made the scene anti-climactic.  Young amped up the energy (tempo, clusters, and volume) as the train slowed because it was running out of track which was preferred.  It was clear that Raimi and execs preferred Elfman for Spidey 3 but the rift was common knowledge and frequently referred to.  He wanted nothing to do with Raimi at that time so Young as did Raimi's Drag Me to Hell, etc.  As far as I remember, none of Elfman's music was recorded for Spidey 3, it was tracked in from the other films.  Young's theme has a big hole where Elfman's music when then play and the music editor edited in Elfman's music from previous films so Elfman does show up in cue sheet credit but for preexisting music.  The session and project were very intense and chaotic so that might have changed later but that was my memory.  Raimi and Young were both jerked around by the execs on Spidey 3 and the no soundtrack was released because the film was poorly received by fans and Sony didn't think it would make money as the landscape was shifting to digital downloads rather than physical cd's and almost all soundtracks except for Pirates of the Caribbean were not that profitable in the changing landscape.  A soundtrack master was produced and delivered; Sony declined to make a soundtrack.   If the reception was better, they would have felt it could make money and they likely would have opted to release the soundtrack.
  13. Like
    karelm got a reaction from KK in The Composer's Thread   
    Excellent job!  It reminds me a bit of Herrmann's twilight zone scores.  I really liked the bass line starting around 1:30.  
  14. Like
    karelm reacted to KK in The Composer's Thread   
    Really digging the harmony @D_nev!
     
    Haven't shared here in some time! I've been part of a composers lab at the Canadian Film Centre for the last couple of months, and we got to do a small orchestral recording session (in COVID days no less!) with a 14-piece ensemble. Here's a fun little cue that came out of that:
     
     
     
    Impeccable writing, as always Karelm!
  15. Like
    karelm got a reaction from KK in The Composer's Thread   
  16. Like
    karelm got a reaction from Edmilson in Did Danny Elfman work on Spider-Man 3?   
    That's exactly what it was.  Young was heartbroken there would be no score release.  He was very proud of all the work put in and it was by far the biggest score he had done to that point (maybe ever).  He did all the work, had it mastered, edited for release and submitted it and it was squashed because the film was poorly received so they felt there was too small a market.  Elfman's shadow loomed very large on the score.  For example, Raimi suggested venom's theme was an inversion of Spidey's theme but Young said there isn't really a Spidey theme, just a progression or at best a motif.  Young is very, very big on memorable themes...not just a phrase or a motif or a chord progression, so he created themes for his characters like Spidey, Venom, Sandman, etc.  They might not be fully used due to the score or dramatic scene requirements, but they were there for reference.  
  17. Like
    karelm reacted to JohnnyD in New article in The New York Times on John Williams - says he will soon step away from film projects   
    By chance, has anyone been able to download a copy of this article? I'd like to have a copy as a keepsake.
  18. Like
    karelm got a reaction from Michael Grigorowitsch in The Composer's Thread   
  19. Like
    karelm got a reaction from HunterTech in Did Danny Elfman work on Spider-Man 3?   
    Elfman wasn't essentially relaced at the end of Spiderman 2, he left.  True he was getting more and more agitated at the business of film scoring which includes having to please producers and others not particularly involved on the creatives weighing in resulting in umpteenth revisions on complicated cues and that happened a lot on Spidey 3 too.  Set pieces are huge investments for studios as tons of planning of budget go into them plus they can be the first big action seen in an action film full of audience anticipation.  The first big action set piece on Spidey 2 was the elevated train (the first set piece in Spidey 3 was Harry and Peter's fight).  Elfman followed the scene and slowed the music down as the train slowed which execs felt made the scene anti-climactic.  Young amped up the energy (tempo, clusters, and volume) as the train slowed because it was running out of track which was preferred.  It was clear that Raimi and execs preferred Elfman for Spidey 3 but the rift was common knowledge and frequently referred to.  He wanted nothing to do with Raimi at that time so Young as did Raimi's Drag Me to Hell, etc.  As far as I remember, none of Elfman's music was recorded for Spidey 3, it was tracked in from the other films.  Young's theme has a big hole where Elfman's music when then play and the music editor edited in Elfman's music from previous films so Elfman does show up in cue sheet credit but for preexisting music.  The session and project were very intense and chaotic so that might have changed later but that was my memory.  Raimi and Young were both jerked around by the execs on Spidey 3 and the no soundtrack was released because the film was poorly received by fans and Sony didn't think it would make money as the landscape was shifting to digital downloads rather than physical cd's and almost all soundtracks except for Pirates of the Caribbean were not that profitable in the changing landscape.  A soundtrack master was produced and delivered; Sony declined to make a soundtrack.   If the reception was better, they would have felt it could make money and they likely would have opted to release the soundtrack.
  20. Like
    karelm got a reaction from D_nev in The Composer's Thread   
    I like it!  Really good mockup too...warm and realistic.
  21. Like
    karelm got a reaction from bored in The Composer's Thread   
  22. Like
    karelm got a reaction from Edmilson in Did Danny Elfman work on Spider-Man 3?   
    Elfman wasn't essentially relaced at the end of Spiderman 2, he left.  True he was getting more and more agitated at the business of film scoring which includes having to please producers and others not particularly involved on the creatives weighing in resulting in umpteenth revisions on complicated cues and that happened a lot on Spidey 3 too.  Set pieces are huge investments for studios as tons of planning of budget go into them plus they can be the first big action seen in an action film full of audience anticipation.  The first big action set piece on Spidey 2 was the elevated train (the first set piece in Spidey 3 was Harry and Peter's fight).  Elfman followed the scene and slowed the music down as the train slowed which execs felt made the scene anti-climactic.  Young amped up the energy (tempo, clusters, and volume) as the train slowed because it was running out of track which was preferred.  It was clear that Raimi and execs preferred Elfman for Spidey 3 but the rift was common knowledge and frequently referred to.  He wanted nothing to do with Raimi at that time so Young as did Raimi's Drag Me to Hell, etc.  As far as I remember, none of Elfman's music was recorded for Spidey 3, it was tracked in from the other films.  Young's theme has a big hole where Elfman's music when then play and the music editor edited in Elfman's music from previous films so Elfman does show up in cue sheet credit but for preexisting music.  The session and project were very intense and chaotic so that might have changed later but that was my memory.  Raimi and Young were both jerked around by the execs on Spidey 3 and the no soundtrack was released because the film was poorly received by fans and Sony didn't think it would make money as the landscape was shifting to digital downloads rather than physical cd's and almost all soundtracks except for Pirates of the Caribbean were not that profitable in the changing landscape.  A soundtrack master was produced and delivered; Sony declined to make a soundtrack.   If the reception was better, they would have felt it could make money and they likely would have opted to release the soundtrack.
  23. Like
    karelm reacted to D_nev in The Composer's Thread   
    I haven’t posted on here since before I started my graduate school studies at Columbia College Chicago for Composition for the Screen so I thought I’d post a little cue that I did for a film we are rescoring in class! 
     
    It’s a neo-noir historical drama set in WWII. It’s American Traitor: Trial of Axis Sally. The film is honestly dreadful but I feel like the canvas for music is pretty nice! I can’t share footage but basically the main character walks in the courtroom at the beginning of the cue and we were instructed to score her confidence and image of herself (which is a seductive confident woman). I tried my best to fit those parameters then the latter half of the cue underscores the introduction of the judge and the presentation of the charges levied against her! Hopefully this provides enough context!
     
    Would love to hear any feedback! 
     
    Samples used are all Cinematic Studio Series except the harp which is Orchestral Tools! programmed in Cubase 10.5 Pro
     

    https://www.dropbox.com/s/h83uan0rhaat4jq/DN_AXS_MildredEnters(2m1)_v01.01_02004122_02122022_0000 2 MIX.wav?dl=0
     
     
    Also wanted to share something a little darker from the same film. This Scene is a very explicit scene where Dr. Goebbles (the head Nazi propaganda person, don’t know the offices title sorry lol) is threatening the main character because she messed up a line in the script and at the end he assaults her basically. 
     
    I will admit I feel like this one isn’t as well programmed but still open to feedback as well! All the material from this is derived from a short little theme I have for him which was a fun challenge. 
     
    hope you all are doing well and staying healthy!
     
    edit: I updated the first audio file, I accidentally uploaded an earlier version!
  24. Love
    karelm got a reaction from MrJosh in The Composer's Thread   
  25. Love
    karelm got a reaction from D_nev in The Composer's Thread   
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