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Everything posted by oierem

  1. Then I would consider it a lazy effort, and a "partly unispired" score (I'm strictly referring to the parts that aren't original). Williams is known for writing very original and interesting sequel scores (as well as some clearly unoriginal ones, I know). It's hard to say what would've happen if he had had enough time to write Chambers properly. But I can't truly say the Chambers score, as a whole, is a great one because it's heavily dependent of the previous score, and the new themes are not developed enough (the Chamber of Secrets theme being the most clear example). The droid factory tracks previous music. It's not something Williams (or anyone else) wrote. You are wrong about the scene being added very late, though. Williams did compose music for the scene. It just wasn't used for whatever reason (the lenght of the scene changing, or, most probably, Lucas wanting a different more thematic/dramatic approach to the scene - the original cue is very wacky and almost comical). I don't know that, but it was recorded in LA, so it's not a standing orchestra like the LSO, right?
  2. What bothers me is that, from what I know, it was possible for Williams to do both scores properly - just adapting the schedule a little. Chamber of Secrets was recorded in September 2002. Wasn't it possible for Williams to write CMIYC from late September to November? The film was released in December 2002, and it's not a film that required a lot of music, and certainly nothing very heavily orchestrated. Three years later, Williams would record Geisha in August 2005 and still had time to write Munich before the December 2005 release!
  3. Yes, but it's only the first five notes of the melody (and with different chords), and it's not the same melody that is reprised as Shmi's theme in AOTC.
  4. The direct copy/paste only happens in Superstructure Chase, which I find appropriate as a way to finish the trilogy going full circle. Sail Barge Assault (the new version) had to be composed in between sessions because the original piece was rejected, so Williams ended up using every material he could to create the 5-minute action cue in just a couple of days. (However, it is NOT a copy of Here They Come)
  5. I ABSOLUTELY agree with you. Even though I'm a huge fan of John Williams' film music, I don't particularly like his concert programs (other than, as you say, as a light celebratory occasion). As you say, Williams has the ability to tell a story through music in his film scores, but he rarely does that in concert. I find that some of my absolute favourite scores (Star Wars, Hook...) are very poorly represented by the standard "highlight" concert pieces. I too wish that Williams would at least play several cues of the same score, creating a coherent suite. My ideal concert program would only include music form three or four film scores, at at least 20-30 minutes of music for each (either as a suite or as a continuous piece).
  6. I agree. A lot of the times, tracked music works really well within the films themselves. And I fully support that directors should have the freedom to use the music the way they see fit. The fact that music itself is an art form that can work without a film doesn't change the fact that film music is supposed to serve the film the way the director wants, and not the other way around.
  7. They did go to real locations for KotCS. They just didn't go outside of the US.
  8. It is taken from the concert recording, just not the same take used in the album.
  9. Star Wars was spotted in early January 77... recorded in early March 77. Empire was spotted in early November 79... recorded in late December 79/early January 80. Jedi was spotted in November 82 ... Recorded in January /February 83. Phantom Menace was spotted October 98 ... recorded February 99 Attack of the Clones was spotted October 01.... recorded January 02 Revenge of the Sith was spotted October 04.... recorded February 05 Clearly, the first two scores were composed in a shorter time period, just under two months. It's also fun to notice that there were things that hadn't been shot yet when Williams started recording the music, and therefore needed some editing. I think using the London Symphony was both an asset and a problem though, since the recording sessions had to be conducted way too early (which mostly affected the prequels, but the OT also suffered a bit) I think you're wrong about the copyists though.... I assume copyists could start working while Williams was still composing the later cues. I don't think he finishes composing until right before recording sessions begin. Consider that recording sessions are spread over a couple of weeks, so I guess the cues that were composed right before the first session are recorded towards the end, giving enough time to the copyists.
  10. So, is John Williams surrounded by yes-men?
  11. Exactly. As music fans, it may be hard for us to accept it, but that's the truth. Filmmakers want (and, in a way, need) to have freedom to edit/change/replace the music as they see fit, same as they edit the performances (which doesn't mean they don't respect the actors!). That's totally out of context. It's a normal reaction from filmmakers to a screening of a rough cut. It's a work in progress. And they've probably watched each scene a hundred times already - they aren't going to be self-congratulating, they're going to be critical about what they've done and analyzing what they need to improve. That's how artists work. When Lucas first showed Star Wars to his filmmaker friends back in 1977 the reaction was... not good. And we all know how that turned out...
  12. The thing that baffles me is that there is a whole section of the fight, before "The Great Dual", which in the movie is scored with more Duel of the Fates (including the section that was replaced in the final edit of the official "Duel of the Fates" track), but, as far as I know, Williams didn't write any music for the scene, right?
  13. There are multiple problems with the Fantastic Beast franchise, but the most important of all, is that there doesn't seem to be any real need for its existence. It's a typical product of studios/producers/authors not knowing when to end something, and wanting to milk the cow as much as possible. But the fanbase is to blame as well: fans always want more, more sequels, more spin-offs. As Dumbledore says in one of the books, humans tend to want things that are worst for them. I always defend an artist when he/she decides that it's time for a series to end. And I'm really glad that Rowling never decided to write an 8th Harry Potter book at least!
  14. You're missing the thrid map cue of Raiders: Indy on the submarine.
  15. No and no. And I've never been able to understand why people tend to make such a distinction between source music and underscore. Anything goes is not just used as an opening song (which includes an intro, which would technically count as part of the score, not part of the song). It's later used during the action music as well. And the Temple of Doom music is used again in the climax between Indy and Mola Ram.
  16. "Doctor Jones: once again we see that there is nothing you can possess that I cannot take away. And you thought I'd given up" "Too bad the Hovitos don't know you the way I do, Belloq". That's how you introduce a new character who has a previous relationship.
  17. JKR not allowing Williams release the Children's Suite, or work on DH sounds messed up. But so does Williams vetoing cues from R1. But of course, real life is complicated and real people are complicated (and we don't really "know" John Williams, or JKR, or any other famous celebrity). Really interesting "behind-the-scenes" look, anyway.
  18. Really interesting info, @Jay, but I do have to ask if you vouch for the credibility of that deleted account. I'm not denying its credibility, I just want to know if its a legit source of information.
  19. That's why the theme is mostly heard when Luke watches Leia's hologram, not when he shares scenes with the actual Leia.
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