MikeH
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Posts posted by MikeH
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32 minutes ago, Prerecorded Briefing said:
Hope Jin comes back in this to save the day from Dark Vader.
What is she proposing???
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On December 20, 2016 at 3:54 AM, Thor said:
To provide you something meaningful, dilweed, I suggest contacting his agency at:
John Williams
co/The Gorfaine/Schwartz Agency, Inc.
Talent Agency4111 W. Alameda Avenue • Suite 509
Burbank, California • 91505For a moment I thought, "jeez who peed in your cornflakes today Thor..."
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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
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That interview is word for word his interview with Tavis Smiley from last December.
http://www.pbs.org/wnet/tavissmiley/interviews/composerconductor-john-williams/
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CGI Herb Spencer.
or John Powell.
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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?
- Amer, artguy360, Not Mr. Big and 4 others
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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.
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It's Herb Spencer's photo!
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5 minutes ago, Jay said:Orchestrations by William Ross • Brad Dechter • Tim Simonec • Jeff Kryka • Chris Tilton • Herbert W. Spencer
CGI Herb Spencer.
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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. -
1 hour ago, Prerecorded Briefing said:
Are these conversations really happening? Why isn't JWFan moving in?
"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.
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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):
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On March 27, 2016 at 3:29 PM, karelm said:
I hear it as an open G string with a portamento (slide) up the same string (sul G) to a D with a fingered tremelo to C. This string is the thickest one on the violin and has a strong, rich tone and starts on the lowest note of the violin. It would be very easy to play this as a double stop (two open strings) but you would not have a vibrato with open strings and that D to C tremelo would be very awkward.
Here is something similar but without the fingered tremelo:
A bit late in responding, but thanks karelm! It's a great effect.
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What sort of string techniques are involved in creating the sound at 2:24? Double stops? Playing closer to the bridge and more aggressively?
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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!
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17 minutes ago, artguy360 said:
The interview is over now. It was very pleasant but they didn't really discuss the music in depth. I wish Jim had asked JW more questions about the music itself.
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.
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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
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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...
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6 minutes ago, Mr. Big said:
It's all in the name. Ennio Morricone sounds like the name of a fine wine while John Williams sounds like the name of an accountant.
It's true. All of it.
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20 hours ago, artguy360 said:
It's so weird to me to read other people saying they want a different composer to score Ep 8 or that they don't like TFA's score. I wonder if JW's style is just too out of step with modern film scores that most audiences hear these days or what. I love TFA's score and even with some faults, it really delivers on that Star Wars sound. I can't imagine anyone doing a better job than JW.
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."
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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.
General Harmony/Orchestration/Theory Questions
in General Discussion
Posted
Brilliant, Ludwig! Thank you so much!