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MikeH

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Everything posted by MikeH

  1. https://www.billboard.com/articles/news/magazine-feature/7800213/celine-dion-my-heart-will-go-on-oral-history-interview
  2. There's a sample from the opening Dr. No electronics at 0:27. Interesting! http://johndadlez.com/MP3/DieAnotherDay/1_07_KOL.mp3
  3. from Mike Matessino: There is about 90 minutes of previously unreleased score on this edition. It's so far beyond the original album and the music as edited for the film that this is really its own thing, with, as was indicated, little point to crowding up the track list with all the asterisks.
  4. Oh yes. I was a sophomore in high school and heard (what I assume was) the world premiere of Across The Stars via a radio program playing through Real Player (One). I’ll never forget that moment, it absolutely gave me chills. To this day I never tire of it. I’m probably the only person who has AotC as their favorite SW score. I’m sure there’s some explanation behind why music that you discover in your formative years tends to stick with you through life over everything else.
  5. Same. It would be cool if David Arnold could finish the song he started writing before Madonna came onboard. Wasn't it called I Will Return? The melody is all over the score (the cue Peaceful Fountains of Desire). It would be a nice companion piece to Surrender and No Good About Goodbye.
  6. I woke up groggy this morning (forgetting all about the announcements) and was reading through the Die Another Day thread when someone mentioned "over in the TITANIC thread" and I was like Seriously great news to wake up to. I knew it was going to happen someday, just not this soon...if you can say twenty years on is 'soon'. It'll be very interesting to finally hear everything. I just re-read the following interview with Don Davis which is a great insight to the process: http://www.ign.com/articles/2000/07/17/interview-with-composer-don-davis-part-3-of-4 _______________ PLUME: On a side note to Horner, you worked with him on Titanic. There was a very famous rift between Horner and James Cameron after Aliens. Was any residual of that evident in what you observed between Horner and Cameron on Titanic? It was originally a falling out based on their differing views on the music for Aliens, wasn't it? DAVIS: No, I think it was a little more than that. It was music too, but Jim Cameron is a very tough guy to work for. Actually, I gained a lot of respect for Horner during Titanic, because Horner was accommodating Cameron in ways that I thought a composer the stature of Horner had no reason to accommodate anyone. He completely handled the situation with absolute humility and professionalism. I don't think there are very many composers who would have acquiesced to Jim Cameron the way Horner did. Horner gave Jim exactly what he wanted. I think there are some people who think that the Titanic score may be overly simplistic, or some people object to the Celtic nature of it, or whatever, but I can tell you that if any other composer had scored that picture, Jim would have fired him and at least four other composers before he got what he wanted. Horner was determined that that would not happen, and it didn't happen, and I think it was the best score that Jim would ever allow into that picture. For that reason, I think he deserves all the Academy Awards and accolades that he got. PLUME: I think that's a perspective that not very many people saw in that. DAVIS: Well, you kind-of had to be there to see it. I mean, it was magnificent. PLUME: It was surprising to a lot of people that Horner would even work with Cameron again after Aliens. DAVIS: I can't really say, because I wasn't there all that much. I would go to Horner's place, pick up the sketches, he'd talk me through them, I'd do them, and I was done. I do know that I made a lot of extra money on that show, because the picture kept changing and Cameron kept making changes, and as the sketches changed, they kept coming back to me to change the orchestration and I'd get more money. That was just fine as far as I was concerned. Through that process, I could see that he was accommodating this director. He was really bending over backwards to do everything that Jim wanted him to do. I couldn't picture a composer of the stature of John Williams doing that, well, maybe he would but there gets to be a point when it's too much. PLUME: Isn't it the job of the composer to conform to the director's view of the film? What line is there that demarcates when it's not worth the hassle? DAVIS: There are situations where directors give composers directives just to give them directives. Just to show "who's boss in this room." PLUME: Is it the film version of busy work? DAVIS: Sure. Go outside and dig a 20-foot hole and then fill it up again. Composers, whether they are or not, certainly like to view themselves as being creative and having a contribution to make to the process. There are some personalities, fortunately they are few, that seem to want to negate that. There's a point where it becomes too much of an insult to bear. If a composer is very highly successful, and James Horner certainly is, that means that he has to take less of that kind of abuse than a composer who is not of that stature. From my limited vantage point, it seemed like changes were coming in just for the sake of changes to come in, and I was wondering, as I was picking up these changed sketches, why Horner was going to such lengths to make this guy happy. Once the film came out, I understood perfectly. That's another tribute to James Horner, because he has not only an amazing visceral insight into what a film needs musically, but he knows how these situations work and he knows when to do something and when not to do something. You've got to hand it to the guy. ____________ I talked to Simon Franglen a few months ago about Horner's synth work and he said that Titanic was 'the score with no budget'. About 60% was synth only. They wanted to replace the synth choir (which Simon built from seven different synths) with the Harlem Boys Choir but there was no money to do so. Here's a news article about Horner's original soundtrack deal. Wonder how much Johnny gets per album? Titanic Composer Sails to BankNEW YORK (Variety) - Forget the two Oscars he won for the music to ``Titanic.'' James Horner is creating more of a buzz for a ``Titanic'' soundtrack deal that has the composer homing in on a record payday that may be more than $20 million. Insiders familiar with the deal say it breaks down this way: Horner got an upfront scoring fee of around $800,000. But that's just the tip of the iceberg. He also gets royalty points on the instrumental soundtrack and shares publishing and songwriting fees for the Celine Dion hit ``My Heart Will Go On.'' Sources say the fees mean Horner will earn $1.20 per album -- a rate typical for platinum-selling superstar artists.
  7. Holy Sigmund Freud! Also MV said that EON are going to be looking closely at this release and that if it does well then 2018 is looking good for more releases.
  8. You’re thinking of “dum dee dee dum dum”, the 007 theme is “boo dat dat boo dat dat boo dat boo dat dat weeeeeeee bop.” Anway, about these Christmas sounds...so it’s like Rosenman’s Star Trek?
  9. 15. C3PO The Audience Wakes Up
  10. Yeah, I guess we shouldn’t pick on him for his sketches saying things like C3PO Wakes Up considering it was probably the twelfth time he wrote the cue.
  11. SS: Have you ever encountered a John William before, sir? AS: Well no, but I don’t....Seal off the bridge! SS: That won’t be enough, sir...
  12. 12. Carrying the Documents and The Trip
  13. Yup. Buying laserdiscs always felt like an event, even if the only extra was a trailer! The artwork was gorgeous.
  14. Lol! Previn: I keep saying, “John, stop it with Star Wars!” And he said, “Not until I've written a love theme!"
  15. Her husband had struck gold someplace out west. She was what mother called "new money."
  16. JW: This is the first time in this series I've ever written a theme for a great duel...
  17. I had one last night where I met JW during a session break (who, for some reason, was dressed like Mr. Monopoly) and the most interesting question I could think of to ask when presented with this awesome opportunity was, "So, do you write music every day?"
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