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Everything posted by MikeH

  1. 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.
  2. 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.
  3. They should release a third super deluxe embossed edition with all the cadenzas micro-edited out...call it Senza Cadenza!
  4. 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.
  5. @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/
  6. Billie Eilish it is. https://www.007.com/billie-eilish-announced-for-no-time-to-die-title-song/
  7. Jedi Steps was too good a theme to be relegated to one-off status. I would definitely have liked to see it developed more.
  8. According to Mike Matessino JW is on the plane to Vienna today! https://filmscoremonthly.com/board/posts.cfm?pageID=4&forumID=1&threadID=138909&archive=0
  9. I do wonder what Williams thinks about the dubbing and editing of many of his scores. Knowing his perfectionism it must be maddening to hear what they have to do to conform to continuous film edits. Does he even attend the dub sessions? I’ve seen video of him and Spielberg during Lincoln’s dub, but can’t imagine him sitting through loud dubs like Star Wars. I’d assume his music editor (whether Ramiro or Wannberg in the past) would be his eyes and ears during those sessions.
  10. I asked Simon Franglen this question a few years ago and the answer is in this thread:
  11. That thread is great. Can you imagine if some of JW’s original cue titles had made it? That Lady with the Stick lol.
  12. The 1974 album tracks for Towering Inferno are a revelation. Sounds like they were remixed from the ground up with fantastic clarity. The drum kit is mixed lower in Lisolette and Harlee which is...different, but overall I never imagined I’d ever hear these tracks sound as good as this. Interested to hear from Mike M about this whole project and how it came together. Poseidon and Inferno have always felt like they were recorded very hot. Both the film and album tracks for Earthquake sound much better imho, I’d be curious to know if that’s just luck of the draw or if it had to do with the recording style/facilities at Fox vs. Universal at the time.
  13. Thankfully this new edition of Inferno has six additional pieces of source music included. The FSM release only had the song and the Morning After instrumental.
  14. Agreed! It is very fascinating to discuss JW’s transitional period. For me Jaws has a timeless quality that makes it feel less 70’s JW than Family Plot, Black Sunday, and even Jaws 2. But there are moments like the horn writing at the beginning of Out to Sea (Jaws) that just scream mid-70’s Williams to me. I love it. This Lost in Space cue from 1965 feels like a precursor to a lot of the moody interior scoring from the disaster pictures: If I’m not mistaken, both Earthquake and The Towering Inferno were the first film scores he wrote after Barbara passed in March of ‘74. Earthquake was released mid-November and Inferno the end of December. JW has said that her passing marked a significant change in his life and how he approached his work from there on out. There’s so much individuality in his 70’s scores, and I’d definitely say it’s my favorite decade of his. There’s just a roughness to them that appeals to me more than the sometimes overly-polished and smoothly orchestrated scores that we’ll get in the 80’s and 90’s.
  15. The Rescue Of Angela And The Blocked Door+ hopefully contains the small bit of underscoring missing from the FSM where Robert Vaughn and Bill Holden look around for an alternate exit. Some nice moody low strings and mysterioso flute from 70’s JW.
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