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BrotherSound

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BrotherSound last won the day on July 4

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  1. It’s all the same 9M85 cues as the OST: 9M85 Finale Part I [m 1–12] 9M85 Insert 9M85A New - Rey Looks 9M85 Finale Part I [m 70-end]
  2. The film also uses the 9M85A New - Rey Looks insert, but it's not part of the FYC selections. This is definitely going to be a challenge for Mike Matessino to (hopefully) tackle one day! Some of the inserts are even written to replace parts of other inserts. We’re not certain all these variations were actually recorded, but here’s the general evolution of this sequence, from December 2016 to June 2017: 12/2/2016 9M85 Finale Part I Or 9M85 Finale Part I [m 1–12] 9M85 Insert 9M85 Finale Part I [m 57–end] Or 9M85 Finale Part I [m 1-32] 9M85 Insert 2 9M85 Finale Part I [m 57-end] Or 9M85 Finale Part I [m 1-62] 9M85 Alt Insert 9M85 Finale Part I [m 68-end] 3/30/2017 9M85 Finale Part I [m 1–12] 9M85 Insert 9M85A Luke Looks 9M85 Finale Part I [m 70-end] 5/13/2017 9M85 Finale Part I [m 1–12] 9M85 Insert 9M85A Luke Looks [m 1-15] 9M85B Between Luke and the March 9M85 Finale Part I [m 72-end] 6/14/2017 9M85 Finale Part I [m 1–12] 9M85 Insert 9M85A Luke Looks [m 1-13] 9M85C Island to March 9M85 Finale Part I [m 70-end] 6/16/2017 9M85 Finale Part I [m 1–12] 9M85 Insert 9M85A New - Rey Looks 9M85 Finale Part I [m 70-end] Basically, several variations of the reveal of Luke’s projection were written, then several variations of Luke’s death.
  3. Just wanted to add a few notes for the truly nerdy: This version uses the cue Williams wrote for the original opening, 1M2 Finn Wakes Up, but we don’t yet know if it was ever recorded. The deleted scene doesn’t use it, but there’s a couple deleted TFA scenes that definitely had music recorded, but aren’t presented with it. 1M2A is the untitled cue that provides the score for the revised opening. There’s also a 1M2A Fix titled Son of Starry Night with a different version of the music immediately following the crawl, but it wasn’t used and it’s unknown if it was recorded. I don’t know if @crumbs referenced it, but the novelization exactly matches this ordering of events, which must have been what Williams scored before things were shuffled around. The ending is a bit of a mystery. 1M8 We Lose Girl Ace, the final cue here, actually ends with a short note and an overlap indication, with the note that we “cut back to battle” here. Did the battle originally continue even longer? Judging from the spectrograph, the long final note appears to have grafted on for the album, and the film instead uses tracked music here and for the short Snoke scene that follows. What he intended to overlap here, and if it was ever written, is unknown. 1M9 is Revisiting Snoke, and it certainly doesn’t work to overlap those two. There’s a tiny bit of known music missing from the leak, so I guess it’s possible there’s a 1M8A or something that’s missing, but I thought it was odd.
  4. I’m not sure exactly when the shift occurred, but Home Alone had handwritten individual parts (the original parts are actually reused for the LTP) and The Phantom Menace had parts (but not full scores, with the sole exception of Anakin’s Theme) done on computers.
  5. Spielberg mentioned in the liner notes of Hook that JW started scoring that film with only 47 minutes of edited footage:
  6. Those "Reel 0" cues for TROS and (especially) TLJ seem to indicate he scored some scenes before a complete cut of the film was assembled.
  7. Found an entry for something called “Gongs” by David Arthur Fanshawe, which is listed as used in the film in the SABAM database. Maybe this is that main title music? https://eservices.sabam.be/pls/apex/f?p=1050:2::::RP,2:P2_WRK_ID,P2_WRK_ID_AV:4095769,NULL&cs=3dZ3X2Gp51Tb6iBngTlA8htPatrvdy2U071UG-aN_5J0APUQ7-2-EWuhRnUaoA6jt_MdkfnTUei7zAD6sQTSglA
  8. I believe that list only contains cues used for the OST and isn’t actually complete. And unfortunately, the repertoire databases don’t seem to have any cue information for this score.
  9. Oh wow, weird! I'd convinced myself it was the other way around.
  10. Nah, “The Rescue” definitely goes before “More Rescue”. Presumably “The Rescue” would really be 8M1 in the new numbering. Oops, had that wrong! The alternate “Lost R2” is 3M2R.
  11. No mention of any involvement with the music, but J.W. Rinzler's book on Return of the Jedi has this: “The creator of Hardware Wars (1978), the first Star Wars parody/homage, Ernie Fosselius did the voices of the two rancor keepers. Per Burtt’s direction, he channeled Laurel and Hardy.” Excerpt From: J.W. Rinzler. “The Making of Star Wars: Return of the Jedi (Enhanced Edition).” Random House Publishing Group, 2013. Apple Books. https://books.apple.com/us/book/the-making-of-star-wars-return-of-the-jedi-enhanced-edition/id669041848 For what it's worth, Fosselius doesn't have any official credit for composing any of the source cues: Looks like this is the source of this particular rumor, but in the same article it also credits "Jedi Rocks" to both John Williams and Jerry Hey: https://www.denofgeek.com/movies/star-wars-the-changing-face-of-sy-snootles-the-max-rebo-band/ But I did find a reference to him working on arranging something for RotJ in this article https://www.huffpost.com/entry/the-hardware-wars-creator-doesnt-love-that-last-jedi-tribute_n_5a673fdce4b0e56300739166: "Fosselius said he wound up rearranging a John Williams piece in “Return of the Jedi,” too." Then I found this WorldCat entry, which credits John Williams, Joseph Williams, and Ernie Fosselius as arrangers for Lapti Nek: https://www.worldcat.org/title/special-extended-dance-remix-of-lapti-nek-from-original-soundtrack-recording-of-star-wars-return-of-the-jedi/oclc/61464506
  12. I did a rough mock of the original 5M6 a while back, or at least the part that’s different (all the rest of the cue was identical):
  13. Worth noting that Williams wrote both versions for the film itself: the loud version is an insert that replaces the quiet ending called 'Finale Tag', but it's not yet known if it got recorded. As for why: pops concert selections tend to go for flashy endings over subtle ones, so a lot of conductors will appreciate the option, especially for outdoor venues where a quiet ending like that can easily get swallowed up.
  14. Somewhere around 70 minutes, I'd say. One CD is probably enough, unless there's a significant amount of material missing from the sheets. I also just realized 'Levitation', though it oddly has no cue number attached, appears to be an insert for 'The Destruction of Daryl' and accounts for that alternate version. The OST has 11m4 as written, and the film version has a middle section replaced with 'Levitation'.
  15. There's a few things missing from that cue list, including some hints at possible alternates: 1m1 The Township of Eastwick 2m2 It's Raining 2m3 Darryl's Entrance 2m4 Must Have Been Dreaming 3m1 Dropped Flower Pot 3m2 Shop Lady Forgets 3m4 What's In a Name 4m1 The Seduction of Alex [4m2] Dvorák No. 1 4m2b Felicia in Hospital 4m3a Suki Buys Flowers [4m4] Dvorák No. 2 6m2 The Tennis Game 7m2 The Seduction of Suki 7m2 New Ending 7m3 The Balloon Scene 7m3 New Ending 7m2a Felicia Flips 8m3 Have A Cherry! 9m1 Have Another Cherry! 8m3 The Earth Erupts 9m1 New - Darryl in the Rain 10m2 The Reconciliation 11m1 Maleficio 10m2 Inflicting Pain 10m1 Relief for Suki 10m4 New - Playing in the Kitchen 10m4-11m1 Sticking Pins 11mAX New Start 11m2 Darryl Chokes 11mX "I Wish I Knew" The Wild Ride Home 11m4 The Destruction of Darryl [11m4 Insert] Levitation [12m1] The Baby's Carousel [12mY] End Credits Also, the City of Prague recording of the Balloon Scene matches the original 7M3, without the revised ending that's on the OST and used for the Boston Pops recording. Additionally, there's also an optional alternate extended coda included in the score of the original 7M3, so there's potentially two alternates for this cue, depending on what actually got recorded. 10m4 New - Playing in the Kitchen has previously been identified as the second half of the OST track 'Darryl Arrives', but it's much, much shorter than what's heard there, which doesn't seem to be in the sheets at all. I wonder if this was something recorded specifically for the album, especially with the splashy "concert ending". The bootleg track 'Voodoo Witches' matches the written 10m4 New.
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