oierem
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Posts posted by oierem
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50 minutes ago, crumbs said:
And everything looks fake thanks to the hideous stylised filters Kaminski slathered on his photography.
Which could also happen in this film.
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5 hours ago, Jurassic Shark said:
Funny they couldn't go to real locations for KotCS, but now during COVID it's barely an inconvenience.
They did go to real locations for KotCS. They just didn't go outside of the US.
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6 hours ago, enderdrag64 said:
That's interesting. I was under the impression it was tracked from the concert recording too, mostly because of the Mike Matessino article in here: https://www.filmscoremonthly.com/backissues/viewissue.cfm?issueID=10
It is taken from the concert recording, just not the same take used in the album.
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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.
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So, is John Williams surrounded by yes-men?
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4 hours ago, Datameister said:
That's filmmaking for you. It happened in the OT, too. Think of how much of ESB's score was dropped or replaced. And in TPM's case, yeah, they heavily recut the whole end battle after the music was written.
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!).
6 hours ago, crumbs said:There's some illuminating BTS footage of the first crew screening and everyone looks awkward/embarrassed by what they just watched.
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...
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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?
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24 minutes ago, GerateWohl said:
I mean, Rowling thought (Goblet of Fire), that Bulgaria is a cold northern country where everyone wears fur hats.
What does she know about the rest of the world outside Great Britain?
One look into an atlas would have been enough to prove her wrong.
Not true. Durmstrang isn't in Bulgaria.
But whatever.
- Bilbo and GerateWohl
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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!
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Luthor's Luau. Over and over again.
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Jurassic Park theme has a really long intro.
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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.
- Jurassic Shark, Holko and Bespin
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1 hour ago, Muad'Dib said:The only problem with a new character that has an established relation with Indy is that they'll shoehorn it in the dialogue, like they did in the prequels or KOTCS. Like that elevator scene on AOTC
"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.
- crumbs, Yavar Moradi, Fabulin and 1 other
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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.
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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.
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1 hour ago, Falstaft said:
My feeling too. Especially in ANH, Leia's Theme is really more a kind of "Archetypal Mythic Romance" theme, or even more specifically "Luke's Idea of Leia" than a real portrait of the character as portrayed by Carrie Fisher. Ditto for Marion. Very, very different approach than, say, Rey's Theme.
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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One questions about Last Crusade.... in the film, the beginning of "Meeting Hitler" (rather, the first section of the cue that isn't dialed out) sounds.... bad. You can hear the music twice at the same time, and they're not even in sync! Suddenly, it sounds good once the blimp appear on screen.
Why is it that? And why hasn't it been corrected?
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17 hours ago, GerateWohl said:
I was quite surprised that Empire has less music than Star Wars.
That's definitely not accurate. There is far less music in Star Wars than in Empire.
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I don't know about the conductor score, but the whole score was recorded between March 8-21 2004 in Abbey Road Studios, so no, Buckbeak's flight wasn't a later addition, as far as I know.
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Would be great if the film concluded with a flashforward of the young protagonist becoming a filmmaker and meeting a certain famous composer for the first time...
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4 hours ago, Richard Penna said:
But I do think that what producers/directors want is immediate, high quality demos so they know exactly what they're getting long before the recording stage. As I believe we heard from Cuaron, JW simply can't do that - he'll play a few melodies on the piano and then see you at the recording stage weeks later.
That's true, but he could find a way around that limitation, if he really wanted. I mean, Williams works with orchestrators... who presumably know how to use computers. They could create the demos, while Williams continues working wih pencil and paper.
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On 2/16/2021 at 8:32 PM, Thor said:
Probably, yeah. Alternatively, I would have sampled the LLL (which I sometimes do), and agreed that 'yes, that is a great cue' and then just moved back to my ol' OST.
This mentality is really unique.. and fascinating, I have to say.
On the other hand, it could be said that obsessing about 5-second inserts being unreleased, or about film takes being slightly different is also unique and fascinating, and here we are lol.
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HOOK: Complete Cue List and Chronological Editing Guide
in JOHN WILLIAMS
Posted
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.