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Everything posted by BrotherSound

  1. Oh, I forgot about this one! For anyone keeping track (cc @Jay @Falstaft @crumbs), despite the onscreen “Peace and Purpose” title, the cue starting at 4:10 of Scoring the Last Jedi is the unused insert 9M85A Luke Looks. The ending would have overlapped the “march”.
  2. Since we’re dreaming anyway, how about that on a bonus disc including the Bill Ross arrangements for Galaxy’s Edge, ‘Adventures of Han’, and the Solo demos? 😁
  3. Omni Music Publishing just released a complete full score for North By Northwest, the first time any complete (written) score by Herrmann has been published. I’m excited to pick this one up! https://omnimusicpublishing.com/product/bernard-herrmanns-north-by-northwest-full-orchestral-score/
  4. I just can’t imagine the entire Star Wars series would ever be put out as single release. Mike Matessino mentioned that this would be a Disney release (rather than Intrada, etc.) if and when it actually happens. Perhaps it might be sold as a single collection after the fact, like this 28 CD box of the Disney Legacy Collection releases: The biggest single Disney release I could find is a 10 CD set released in Japan only. Otherwise, doesn’t look like Disney goes past 4 or 5 discs per set. So, my money’s on individual releases.
  5. So, how soon should we start the Kickstarter to book the LSO to record all the interesting bits that never made it to the sessions? 😜 (Let’s have them do the alternate “Trip to Earth” from Superman while they’re at it, too.)
  6. Made a visualization, just for the hell of it: You could fit a couple slices of IV into space of the IX, and still have plenty left over.
  7. The 1997 special edition release is the one that has the raw Main Title takes. Even though it’s all the same cue, there must have instructions from the podium to take out instruments and the pickup beat between takes, as well as some major differences in the mixing. I’m glad it was able to be included then, but I suspect it wouldn’t happen now: it sounds like John Williams is much more involved with approving expanded releases than at that time. Anyone know if he signed off on those releases (or the Anthology box set, for that matter)?
  8. Oh, that figure would definitely not be all the raw takes. Very often cues are assembled from more than one take anyway. Sandy DeCrescent (orchestra personnel contractor) mentioned JW usually gets down something like 10-15 minutes of finished music per session, which is actually a lot considering the complexity of a lot of it and allowing for rehearsal time. So, Mike Mattesino mentioned in his recent Legacy of John Williams Podcast interview (shoutout to @TownerFan!) that they often just keep recording between takes at these sessions, capturing comments from the podium, false starts, etc. He mentioned he’d love to include some of that in expanded releases, but Williams is opposed, and there’s complications with the union contracts involved (which also comes up with session video footage and photos). Even those Beatles sets don’t include every last take, just ones that are different enough that they’re basically the equivalent of alternates.
  9. It really is! The amount of unheard music is roughly as long as the entire Episode IV score. We actually have exactly total lengths of the music recorded for all 3 sequel trilogy films. The TROS number is directly from JW, during his KUSC interview earlier this year: The Force Awakens 174 minutes (2h 54m) The Last Jedi 183 minutes (3h 3m) The Rise of Skywalker 226 minutes (3h 46m) Sequel Trilogy total: 583 minutes (9h 43m) I’m not sure if the TFA figure includes the JW trailer scores recorded in November 2014 and April 2015. Due to tracking, it’s difficult to get exact numbers, but if the Disney soundtrack gods ever decide to smile upon us, we can expect about 50 minutes more TFA (though bits of some unused cues already turned up in bonus features), 35 minutes of TLJ, and 90 minutes for TROS. This would be a combination of completely unused cues, bits of released cues that were edited out, and alternates. All three ST scores would require 3 CDs each to fit everything!
  10. For better context, I’ve added a few seconds before and after the music I mocked up written for the deleted Vader scene from Star Wars Episode IV. The rest of the unrecorded early version of the cue (5M6 Inner City) is identical to the final version 5M6R Inner City.
  11. So, I’ve added a few seconds before and after the deleted bit to provide better context how it would have fit: And here’s the raw original scene without music, including with Vader dialog still spoken by David Prowse and some very squeaky droids wheeling about: This footage ended up being repurposed for the infamous Star Wars Holiday Special, for which James Earl Jones recorded new dialog.
  12. That’s basically what he did, though! There’s an instruction in the “unfilled” full score of the 5M6 revision to make old measure 36 the new measure 25 and copy the rest to the end: Other than an added trombone chord in the first bar after the cut (shown above), everything else stayed exactly the same.
  13. I also shared this on the ‘Restored Isolated Score: Star Wars Saga’ thread, but since it’s a mockup, it seems appropriate to also share it here. There was music written in the original version of the cue 5M6 Inner City for a brief deleted scene from the original 1977 Star Wars of Darth Vader and an officer walking down a Death Star hallway. This scene would have been placed exactly where the Jabba scene ended up in the special edition of the movie. However, by the time the cue was recorded the scene was out and so the cue was revised to excise this section.
  14. FYI: This would have been placed within the scene where Luke and Obi-Wan are preparing to leave Mos Eisley in the same spot as the Jabba scene in the special edition, just after the alien spy reports spotting them and just before “If the ship’s as fast as he’s boasting, we ought to do well”.
  15. It’s hard to know exactly what he had in mind, but it’s worth noting that TFA is a pretty unique John Williams score in that it was his main occupation for a full year, from November 2014 to November 2015. So, he was able to take advantage of having much more time to try multiple different possible themes and approaches to scoring scenes. Even the other sequel scores didn’t have the luxury of quite that much time. This early version of 1M5 The Scavenger is one of the very first things written for the film and dates from early December 2014, but it doesn’t appear the Rey’s Theme we all know appeared until late January 2015. This same theme also shows up briefly in 1M6 Seeing A Mother and Getting Rations, which also predates Rey’s Theme, so it seems it was considered as a theme for the character for at least a month or so. Along the same lines, the Kylo theme didn’t appear until mid-February 2015, a couple months after the First Order theme (first used December 2014), so I wonder if that could explain why it’s so seldom used: perhaps it was going to be the baddie theme for film until he thought of the Kylo motif, and he decided he just liked it better, mostly dropping the earlier theme from then on?
  16. The cue 5M6 Inner City from the original 1977 Star Wars included a section for a brief deleted scene of Darth Vader and an officer walking through the Death Star. However, this was removed in the revision 5M6R, which was the only one recorded. So, I thought I’d mock it up, especially because as a timpanist, I’m always game to hear more of John Williams’ great soloistic writing for the instrument (Death Star establishing shots borrowed from Rogue One):
  17. While I think they definitely made the right call here, I really like this Harry Potter-ish cue, too. Thank you @Pandofor a great mock up! Shame this theme didn’t get recycled for The BFG the following year. Seems like it would have fit perfectly!
  18. That music is in the scene, but the electric guitar was dialed out for the film mix.
  19. Absolutely! Glad it’s still a possibility, and hopefully he’ll eventually come around on the scores that really have been vetoed (Sugarland Express, etc.).
  20. Wasn’t that on a DVD or Blu-Ray menu at some point? I can’t remember if it was clean or not.
  21. I’m the spy jerk. I love all four, but this happens to be my favorite at the moment. And why not? It helps that I haven’t seen the ridiculous movie since it came out, but in my opinion, divorced from all that, it’s just as inspired as any of the others. It’s melodic but still has plenty of rhythmic energy to spare, and the Hollywood Studio Symphony plays their butts off!
  22. Ford A. Thaxton is claiming over on the Film Score Monthly board that Williams himself has vetoed any future expansion of this score:
  23. Just passing on what’s written in this case, though I assume it’s a typo:
  24. This is from the live-to-projection version, but should be pretty close (especially since it uses mostly the original handwritten full scores, unlike most other LTPs), apart from missing the cues that weren’t used in the film (I think there’s two of those): [1M1 20th Century Fox Trademark] 1M2 Home Alone 1M4 Go Pack Your Suitcase 1M5 Introducing Marley 1M8/2M1 In Good Hands 2M2 Banishes To The Attic 2M3 We Slept In!! 3M1 The Basement 3M4 Target Practice 3M6 Sledding On The Stairs 3M7 Lights On 4M1 Paris Arrival 4M2 Guess Who's Home 4M4 The Man In The House 4M5 Police Check 4M7 The Bookshelf 5M1 Phone Machine 5M2 The Drugstore Scene 5M3/4 Escape Across The Ice 5M6 Follow That Kid 6M6 Cleaning Clothes 7M2 Kitchen Scene 7M4 Scammed By A Kindergartener 7M7 Walking Home 7M7A O Holy Night [source] 7M7B Star Of Bethlehem [source] 7M7C Carol Of The Bells [source] 8M6 Setting The Trap 9M1+2 The Attack Begins 9M3 John Wayne Enters The Basement 9M4+5 A Hot Hand 9M6/10M1 Sore Head 10M2 Paint Cans 10M3 Clothesline Trapeze 10M4 Marley To The Rescue 10M5 Have Yourself A Merry Little Christmas - Mel Torme Vocal 11M1 The Next Morning 11M2 Mom Returns 11M3 Finale 11M4 We Wish You A Merry Christmas End Credits Holiday Flight Somewhere In My Memory Star Of Bethlehem
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