MikeH

I think he might’ve had an inkling. At least he was smart enough to secure a contract that guaranteed him $1 per each soundtrack sale, which ended up netting him $20 million or so from score sales alone.

Alright which one of you nerds is trying to pull this off?

John had expressed interest in scoring Powder but had a clause in his contract that he could decline after seeing a rough cut. Goldsmith had no such stipulation, so he could commit without seeing a frame of film which made him a safer choice for the producers. Because John William's representatives explained to me that when John offers to score your film, you agree to the following protocol: You shoot the film, you edit the film and then John views the film with you -with NO temp score or music on the picture at all- and then decides if he will score the film or not. http://pohocounty.blogspot.com/2009/05/jerry-goldsmith-and-powder.html

There’s a Masterclass episode that I’d love to get my hands on that aired in 1998 (on ITV) featuring John Barry coaching a young film scoring student. I’m still surprised it hasn’t ended up on YouTube. The rights holder said it can never be aired again or uploaded online because the license was locked to one broadcast only. Apparently there’s one Barry fan who has it but they’re a bit of a recluse and have no interest in uploading it. Shame, really. This stuff really does deserve to be out there. https://www.thenorthernecho.co.uk/news/17283431.the-day-i-met-bond-composer-john-barry/

A classic! Flashdance should always be his encore!

Eh, still keep ‘em Thor! I’ve seen these sorts of things on YouTube for years and then one day they up and disappear.

Excellent! Thank you! It’s wonderful the way he pushes him into some really insightful answers. Oh, and 6:45’s gonna make a great gif.

So do the flautists!

“I was told there would be emboss!”

I mean no wonder it took JW a year for each of these scores. With just pencil and paper, it’s a colossal workload. John Barry remarked once how sometimes it took a whole day just to work out the timings for a cue before he even wrote a note. It’s no wonder that in his later years his style shifted to a more broad-strokes approach with less emphasis on sync points. I can only imagine how time consuming it is the way Williams follows the action.

I don’t think he ever thought of them as lifts, just a part of his vocabulary. From his comments over the years I got the impression that he saw all of his work as part of one big piece that he continually refined. Themes were more representative of certain emotions/situations rather than tied to a particular movie. He said on more than one occasion that the color/orchestration of the film was more important to him than the themes, which always came second.

They should release a third super deluxe embossed edition with all the cadenzas micro-edited out...call it Senza Cadenza!

You gotta wonder what goes through JW’s head when they track cues from other scores and shuffle existing cues to different scenes. I’m sure he’s used to it by now, but being a perfectionist it’s probably very frustrating.

@Jay have you ever thought of reaching out and seeing if you could score an interview with Ramiro for the website? It’d be great to hear about the nuts and bolts behind the whole scoring process for the Sequel Trilogy, and possibly some insights into managing and conforming all these cues for various cuts of the film. He also worked with Ken Wannberg on ROTS. Here’s an interview from TFA that I stumbled upon last night: https://cinemontage.org/may-score-music-editor-ramiro-belgardt-returns-star-wars-reboot/