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MikeH

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MikeH last won the day on May 6 2020

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  1. I’d love to find his signature wind-chimes sample/patch (think Southampton and The Launch). Any ideas?
  2. I’m sure it’s due to the huge amount of time he’s been given to score these latest films but yes it seems his sketches are now basically full scores which are sent directly to the copyists. I think he started this trend of doing mostly 16 staves instead of 8 around Book Thief in 2013? Or War Horse? There are some subtle differences across the decades depending on who’s orchestrating (Herb Spencer, Pope, JW himself), things most people wouldn’t notice like how woodwind runs are doubled/dovetailed etc.
  3. The big payoff sequence in the film that’s underscored with the first minute of Na’vi Attack is absolutely thrilling. It’s pure Horner through and through and I loved every second of it. Can’t imagine any other composer coming close to that.
  4. Absolutely loved it. The new family theme by Franglen is superb, and hearing those familiar Horner trademarks once again in a huge Dolby Cinema was incredibly emotional. I miss him.
  5. There was a thread on this video earlier in the summer but incase anyone missed it:
  6. Definitely. E.T. has to be the greatest film score ever written, no question. It’s absolutely lightning in a bottle. Anytime I watch and listen I just throw my hands up and say, “nope, can’t get any better than this.”
  7. Pretty sure copying refers to the copyists/music prep (preparing the sheet music for the sessions). MIDI files transfer would be getting JNH’s demo midi files cleaned up and ready for Jeff Atmajian to do his orchestrations. Orchestrating from MIDI files is a headache. It’s an incredible amount of work to go from a computer demo to sheet music that is actually playable by musicians. Orchestrators sometimes deal with hundreds of tracks in these midi files, often sloppily thrown together, and they basically have to sort out what is needed and what is not. Composers who want to impress the studio heads will just add more and more tracks to make a great demo, but when it comes to translating that to an orchestra it’s a lot of work. JW has his short sketch score which, in comparison, is relatively simple to orchestrate out to full score for the copyists.
  8. Here’s some of the discussion from a few years back.
  9. It’s nice to see the Rogue One situation finally come to light. We had intel from some members a few years back but most of it was met with pearl-clutching saying Williams would never do such a thing as to get involved with Gia’s score. Doug also said he was offered Solo because of how unhappy he was that he wasn’t offered Rogue One. Never knew that one.
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