Jump to content

Trope

Members
  • Posts

    413
  • Joined

  • Last visited

Reputation Activity

  1. Like
    Trope reacted to aj_vader in Remasters of the First 6 Star Wars Soundtracks now available (Shawn Murphy / Disney Records 2018)   
    Because one has no life, I synced the original Imperial March from the OST and put it on top of the Disney 2018 remaster. They are the same takes, however the timing is a little different and confirms a suspicion I had regarding the recording of the piece. 
     
    So the audio phases up to the quiter section at around 0.47 (as you'd expect it to phase considering it's the same recording), but then the audio goes out of sync, you move it back and it does phase cancel again, but then at 1.37 it happens again. 
     
    I think it's three different isolated recordings that were cut together, why else would different releases of the same mix have different timings that corrolate in those 3 places? 
     
    Green = in sync. Orange = out of sync. 
     

  2. Haha
    Trope reacted to Manakin Skywalker in DID JOHN WILLIAMS COMPOSE THE IJ DIAL OF DESTINY TRAILER MUSIC?   
    johnnyspeaks.mp3  
  3. Like
    Trope reacted to TolkienSS in Rey Skywalker Star Wars movie (Sharmeen Obaid-Chinoy directing, Stephen Knight writing)   
    No, no he doesn't.
     
    Let these braindead activist filmmakers swim and sink on their own.
    Making sequels to one of the most damaging sci fi movies of all time - Episode IX - has to be one of the worst decisions ever made by a studio that can't afford it.
     
    Maybe Natalie Holt will have another chance to write a Star Wars score that will turn out to be "studio directive" once people find out how terrible it is.
     
    Yeah, I mean, man, these characters are so beloved, come on! 
     
    You do realize that all three of them are probably elated their Stat Wars work has wrapped?
  4. Like
    Trope reacted to leeallen01 in Rey Skywalker Star Wars movie (Sharmeen Obaid-Chinoy directing, Stephen Knight writing)   
    Star Wars is dead. Andor was the only good Star Wars related thing Disney has done and no one watched it.
     
    These new films and tv shows will disappear and be forgotten.
     
    Disney will never learn. They're doing the same thing with Marvel and the same thing with all their soulless live-at remakes. They are hemorrhaging money. Next up they'll finish Pixar off and then have nothing left.
     
    But hey, at least they're not alone, because Warner Bros are doing the same thing.
  5. Haha
    Trope reacted to MrJosh in Rey Skywalker Star Wars movie (Sharmeen Obaid-Chinoy directing, Stephen Knight writing)   
    I bet John Williams finds out about this in a letter from pen-pal Daisy. 
     
    "Dear Johnny, I've just signed on to be Rey again and well... it just won't be the same without your score supporting me this time"
     
     

     
    "Tell Kathleen...I'm coming back."
  6. Like
    Trope reacted to GerateWohl in Rey Skywalker Star Wars movie (Sharmeen Obaid-Chinoy directing, Stephen Knight writing)   
    Just let John Williams write any fantasy Star Wars score he feels like and make a movie that fits the music. 
  7. Like
    Trope reacted to A. A. Ron in Rey Skywalker Star Wars movie (Sharmeen Obaid-Chinoy directing, Stephen Knight writing)   
    It should be Bryce Dallas Howard.
  8. Haha
    Trope reacted to Nick1Ø66 in Rey Skywalker Star Wars movie (Sharmeen Obaid-Chinoy directing, Stephen Knight writing)   
    She's the second first female director of a Star Wars movie. Patty Jenkins was supposed to be the first first female director of a Star Wars movie. So it will be interesting to see who is the next first female director of a Star Wars movie.
  9. Haha
    Trope reacted to Nick1Ø66 in Rey Skywalker Star Wars movie (Sharmeen Obaid-Chinoy directing, Stephen Knight writing)   
    Ah, directed two episodes of Ms. Marvel and is most noted for being an activist.
     
    Sounds about right.
  10. Thanks
    Trope reacted to CGCJ in The Bad Batch - The Clone Wars Spinoff show   
    I've updated my spreadsheet with a breakdown of the series 2 volume 2 soundtrack release.
  11. Like
    Trope reacted to ragoz350 in RESTORED ISOLATED SCORE: Star Wars Saga (Unused Music Restored To Picture)   
    The Force Awakens.
     
    I have tried to 'restore' the earliest versions of the cues from the beginning of the film. See Spoiler for the history of the versions of these cues, as it is very confusing (suddenly).
     
    Here I have tried to recreate the earliest versions of these cues. However, the original 1m2 isn't available, so I used 1m2R instead. In the spoiler the approximate differences between these versions:
     
    Some notes about these early cues:
    1m2R 'Hand' Opening
    The beginning of the cue was intended for the deleted scene with Luke's falling arm and lightsaber. Apparently the Force theme sounds when the saber is picked up by some hand (according to the shot list). The material for Tekka and Poe's dialogue was later used in 7m65B Father and Son (Torn Apart).
    1m3A The First Order Approaches
    The second half of the cue is for the deleted scene where Poe prepares to take off and sends a message. This is briefly described in the novelisations, including the phrase "We're going", which made it into the JW sketch.
    1m3B The Attack On The Village
    The shots of the stormtroopers atrocities I inserted just after they landed. Interestingly, the map handover to BB8 scene was originally later, after Ren's ship landed. Also inserted the deleted scene with the woman, it's no longer in the later version.
    1m4 The Arrival of Kylo Ren
    It's complicated here. Lots of deleted bits (e.g. Poe watching Tekka and Kylo's dialogue). Poe's interaction with Ren was also different: Poe is searched immediately, then they look at each other in silence. There were apparently a few more shots of Finn during the firing. Apparently there was no scene of Finn getting hit by a frozen blast.
     
    Note: Since some music was written a year (!) before the film's release, there are a lot of shot lengths differences that I ignored, so the sync isn't very accurate. But I traditionally write sync hints in the places where JW wrote them in the sketches. 
     

  12. Haha
    Trope reacted to Brando in April Fools 2023   
    You’re right, it needs to be 30 discs!!!
  13. Like
    Trope reacted to GerateWohl in Training/workout music from soundtracks   
    This might Work Out:
     
     
  14. Thanks
    Trope reacted to GerateWohl in John Williams: Unpopular Opinions   
    That's part of the issue. The movie has no heart.
  15. Like
    Trope reacted to TolkienSS in John Williams: Unpopular Opinions   
    Here's one:
    Rose's Theme from Last Jedi is not only the most irrelevant main theme John Williams has written for Star Wars, it's probably the most irrelevant main theme Williams has written for any of his movies.
     
  16. Haha
    Trope reacted to Bellosh in April Fools 2023   
    I love the idea (not sure if intended) of manakin using the word expansion, as to say they still wouldn't be fully fucking complete 😂
  17. Like
    Trope got a reaction from darkspine10 in Non-JW Favourite Short Musical Moments   
    Upon re-watching this film in my first-ever live-to-projection concert with the Sydney Symphony Orchestra, I can confidently say that the minute of music from 0:25-1:25 has become one of my favourite hidden gems from this beautiful score. It is absolutely pitch-perfect for the scene which it accompanies. Desplat knows how to hit the audience in the feels with a wonderful lightness of touch.
  18. Haha
    Trope reacted to Manakin Skywalker in April Fools 2023   
    Interview_4-1-23.mp3
  19. Really Sad
  20. Like
    Trope reacted to Schilkeman in Remasters of the First 6 Star Wars Soundtracks now available (Shawn Murphy / Disney Records 2018)   
    The Sony remasters for Star Wars and Empire are still on HD tracks. I just bought them, and they sound great. If you really want the ost presentation, these are the ones to get.
  21. Like
    Trope reacted to GerateWohl in John Williams: Unpopular Opinions   
    War Horse had the best musical themes since Jurassic Park.
  22. Haha
    Trope reacted to SteveMc in John Williams: Unpopular Opinions   
  23. Haha
    Trope reacted to Tom in John Williams: Unpopular Opinions   
    When you work for the mouse, you score like the mouse.  
  24. Like
    Trope reacted to Jay in SUPERMAN: THE MOVIE - 3CD Set from La-La Land Records   
    Here's a summary of the various and confusing versions of the different prelude, main title, and end title combinations
     
    What was recorded
    1M1 is a single cue that covered the original prelude scene (that we've never seen footage of) and the original main titles New 1M1 is the new cue for the new version of the prelude (the curtain opening and old comic books, etc) New 1M1 Part 2 is the new cue for the main title, "with certain orchestral flourishes synchronized to the cosmic animation" End Title is the end credits, there are no revisions The film itself
    The start of the film features the new Prelude (New 1M1), seguing into 16 seconds of the new Main Title (New 1M1) before switching over to a shortened edit of End Title, which has its speed altered from its original recorded speed The end of the film features The Prison Yard (New 14M4/15M1) seguing into the new Main Titles (New 1M1 Part 2), which has its speed altered from its original recorded speed The 1978 OST album
    Track #1, "Theme From Superman (Main Title)" is actually the start of the old Prelude/Main Titles (1M1) seguing into the End Title, with the final crescendo and crash added from the end of New 1M1 Part 2. Track #16 "End Titles" is an edited down version of The Prison Yard (New 14M4/15M1) seguing into the End Title (again) The 2000 Rhino release
    Disc 1 track 1 "Prelude and Main Title March" is the new Prelude (New 1M1), seguing into 16 seconds of the new Main Title (New 1M1) before switching over to a shortened edit of End Title, but unlike the film itself it plays at the correct speed here Disc 1 track 17 "Main Title March (Alternate)" is the full unedited End Title recording in its own track Disc 2 track 1 "Superman March (Alternate) is the old Prelude/Main Titles (1M1) Disc 2 track 13 "Finale and End Title March" is The Prison Yard (New 14M4/15M1) seguing into new Main Titles (New 1M1 Part 2), but unlike the film itself it plays at the correct speed here Disc 2 track 18 "Theme From Superman (Concert Version)" is the the start of the old Prelude/Main Titles (1M1) seguing into the End Title, with the final crescendo and crash added from the end of New 1M1 Part 2, like the original OST album's track #1 (in this instance, taken directly from that album master) The 2008 FSM release
    Disc 1 track 1 "Theme From Superman" is the the start of the old Prelude/Main Titles (1M1) seguing into the End Title, with the final crescendo and crash added from the end of New 1M1 Part 2, like the original OST album's track #1 Disc 1 track 2 "Prelude and Main Title" is the new Prelude (New 1M1), seguing into the new Main Titles (New 1M1 Part 2), premiering Williams' intentions Disc 2 track 9 "The Prison Yard / End Title" is The Prison Yard (New 14M4/15M1) seguing into the End Title Disc 2 track 11 "Prelude and Main Title (Alternate)" is the old Prelude/Main Titles (1M1) Disc 2 track 18 "The Prison Yard / End Title (Film Version) is The Prison Yard (New 14M4/15M1) seguing into new Main Titles (New 1M1 Part 2), playing at the correct speed like the Rhino track Disc 8 track 1 "Prelude and Main Title (Film Version)" is the new Prelude (New 1M1), seguing into 16 seconds of the new Main Title (New 1M1) before switching over to a shortened edit of the End Title, playing at the correct speed like the Rhino track The 2019 La-La Land release
    Disc 1 track 1 "Prelude and Main Title" is the new Prelude (New 1M1), seguing into the new Main Titles (New 1M1 Part 2), Williams' intentions Disc 2 track 10 "The Prison Yard and End Title" is The Prison Yard (New 14M4/15M1) seguing into the End Title Disc 2 track 12 "Prelude and Main Title (Alternate)" is the old Prelude/Main Titles (1M1) Disc 2 track 17 "Prelude and Main Title (Film Version)" is the new Prelude (New 1M1), seguing into 16 seconds of the new Main Title (New 1M1) before switching over to a shortened edit of the End Title, playing at the correct speed like the Rhino track Disc 2 track 22 "The Prison Yard and End Title (Film Version)" is The Prison Yard (New 14M4/15M1) seguing into new Main Titles (New 1M1 Part 2), playing at the correct speed like the Rhino track Disc 3 track 1 "Theme From Superman (Main Title)" is is the the start of the old Prelude/Main Titles (1M1) seguing into the End Title, with the final crescendo and crash added from the end of New 1M1 Part 2, being a new rebuild of OST track #1 Disc 3 track 16 "End Titles" is an edited down version of The Prison Yard (New 14M4/15M1) seguing into the End Title (again), being a new rebuild of OST track #16
  25. Like
    Trope reacted to Jay in The Super Mario Bros. Movie (2023) - film and score (Brian Tyler)   
    OK, I'm more excited for the score now
     
    Koji Kondo, the original writer of this music, who I adore and am friends with, was a big part of this. I would talk to him back and forth: "Okay, what about this? What do you think if I did this for this?" because I wanted to incorporate things. Sometimes it's invisible, [or] just like an Easter egg. The harp might be doing a line from the select screen on Mario Kart that only happens when you're in the waiting room. There's a part [in the movie] where Mario and Luigi are in a waiting room, and I thought it'd be cool [if] within the score that's actually a mystery score, you hear the harp playing the waiting room music. I wanted to completely dive in and make [the film's music] a feast for people that watch it 1,000 times, or Mario fans, but [ensure it] also works on a dramatic level.
    This score is big. It's orchestral, it's got choir, and it's got bands, it's got Italian instruments, accordions, live drums, mandolins, and whistling human voices. Also, I'm using eight-bit [sounds]. I'll be playing the drums, and all of a sudden the tom fill is just eight-bit tom fills. It's really eclectic, but at the same time, the goal was that it would work on a level that a score like [John Williams' score for] E.T. [does]. It has a transcendent nature; it is not limited by the polyphony you have on an eight-bit thing. It's not just porting over melodies from a game to a movie. It had to be so much more to capture what this film is.
×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.