MikeH

Brilliant, Ludwig! Thank you so much!

What is she proposing???

For a moment I thought, "jeez who peed in your cornflakes today Thor..."

What is the spelling and voicing of this (I'm assuming) polychord from Barry's Kong? To me it roughly sounds like Dbm over Cm. @ 1m07s

That interview is word for word his interview with Tavis Smiley from last December. http://www.pbs.org/wnet/tavissmiley/interviews/composerconductor-john-williams/

CGI Herb Spencer. or John Powell.

After listening to this album all day I'm now listening to the full Battle Over Coruscant cue from ROTS and had some thoughts. I've always had a feeling that JW's ability to create these sorts of chaotic action cues and have them not sound like random crap comes from his jazz background. Amid all the flourishes and changes, there's still an internal logic in structure and feel, almost like a jazz improvisation. Perhaps that's why it can be easy to differentiate between a true JW action cue and pastiche. Any thoughts?

Did anyone manage to copy this before the link went dead? I was the one that found it originally and posted it on FSM and wished I would have had the foresight to save it.

It's Herb Spencer's photo!

CGI Herb Spencer.

Abel just did a live Q and A on his facebook page. I haven't had time to listen to it so I'm cross-posting this from FSM: from user Mike Skerritt Korzeniowski is doing a Facebook Live Q&A as we speak and someone asked him whether scoring R&J was an "intense" experience. He gave a suprisingly candid answer and offered some context that I'd never heard before. Apologies if this was mentioned previously but I didn't see it when scrolling through the thread.In any case, Horner's original score was rejected and then Korzeniowski was brought in to replace it. This much is clear. But Korzeniowski explained that after he began writing the producers told him that Horner was still at work writing revisions to his own score. They would both be allowed to finish then two sets of screenings would be held, one with Horner's score and one with Korzeniowski's score, and the screening results would essentially decide which one would go with the final picture. Korzeniowski was understandably and justifiably proud of his work on the film but he said he never would have agreed to do it if he'd known that it was more than a basic replacement gig. https://www.facebook.com/abelkorzeniowski/

"We can't outrun them!" I'm just curious as to what some people are hearing that (to them) makes it sound "more like real Star Wars music!!!1!" than TFA. Though I promise I'll sit down and give the album a fair listen when it's released.

Among all of the expected "Giacchino should score VIII/he should re-score TFA/did you know Williams' orchestrators write his music?/What is an orchestralator?" comments I've read across the internet today, this was my favorite (from someone who apparently did not get the memo):

A bit late in responding, but thanks karelm! It's a great effect.

What sort of string techniques are involved in creating the sound at 2:24? Double stops? Playing closer to the bridge and more aggressively?

Producer: Hey, could you do a concert arrangement of "The Force" theme? Arranger: Sure. That's the one that goes: do doo do do do doo doo, right? Producer: I believe so! Do you want to listen to it? Arranger: No, I think I'm good!

Niiiiice!!! Thanks!

http://www.independent.co.uk/arts-entertainment/music/ennio-morricone-exclusive-interview-with-the-worlds-greatest-film-composer-a6869631.html

Agreed. Although it was a much longer program this year, music wise (close to 2 hours). He practically played the entire album. The last few times JW has been on for Oscar season it's been much shorter. No word on Ep VIII.

I liked the moment when JW said that while scoring the action sequences, he often asks himself if he's overwriting. That might account for his slightly more streamlined approach to TFA. Referring to the 3 hours of score, he said that they're limited to the amount of music they can put on one CD, but that they just might have to release some more

Uhh...there is no way that this is true, right? So I saw TFA for the 4th time last night - 2nd time in this particular room. And I was pleasantly shocked at how much better the score sounded this time. The opening credits in particular were significantly better - bigger - than my first 3 viewings. And it wasn't just a sonic difference; it sounded like a different performance. My first thought: did Disney go back for a mid-release remix?!? Without getting into detail, I just talked to a VERY well-connected friend of mine today, and apparently the answer is yes. More than that, some cues were actually re-recorded. In London. The issues many of us noticed early on were apparently noticed at the top - and addressed. Very, very interesting. Brings up lots of questions. Just glad to know I wasn't the only one who thought it sounded better at Abbey Road... http://vi-control.net/community/threads/so-i-have-seen-star-wars-the-force-awakens-no-spoiler.50409/page-8#post-3936121

It's true. All of it. http://www.johnwilliamsandco.com/about/index.html

I've seen a lot of random "there are no hummable themes" comments, but this one surely takes the cake: "My biggest beef with the score is that they didnt use the theme from the trailers...not even on the damn soundtrack."

I still cringe when I remember that Todd-AO is no more. Very sad. I loved the sound John Barry got out of CTS Bayswater and Wembley.