Erik Woods

I have plenty of empathy for a great deal of people who are actually victims or actually suffering.
 
I just don't have any empathy for overly-entitled people like you, who are apparently incapable of understanding the concept of music labels releasing new-and-improved editions that they don't have to automatically send to people who purchased a prior edition of a score.
 
You're literally the only person in this entire forum who can't understand this. Nobody else thought it was reasonable to demand Intrada send the 2024 edition of Inchon to everyone who purchased the 2020 edition (or other previous editions from the same source). There's a reason nobody came to your defense in that other thread -- because you were just being THAT ridiculous. And I notice you also stopped responding to me in that thread, because I had so thoroughly demonstrated how ridiculous and entitled you were being.
 
Yavar

Yeah, we're the toxic ones...

To be fair, having received my copy and listening now, while it does sound off when comparing it to the original film credits, and could be considered phasing, he is right, if it were truly phasing it would affect the whole portion of the track, not just the percussion bit. I was curious about this, so that explains why. I disagree with their choice to go with a different take that wasn't from the film, which has happened before (Sleepy Hollow involved 'creative liberties' during its production) or they could've used the film take for the original credits and then for the other versions used this other take, but this explanation at least makes sense in why it sounds different. Some artists like that kind of weird reverberated percussion sound, so it's possible JNH was experimenting with that for this take, and since it's not even the same take as the film we're gonna have to take Roger at his word here. Considering the length of explanation he went into, I doubt he's making it up.
 
Now, this is more like how it would sound as you can hear in this version of a track from Avatar. Given that that track isn't officially released on album, I doubt it'd sound this bad on a genuine expanded release.
 
As for the other cue, it does sound like a demo track and I even said that in my other post. It's better they include what was recorded as opposed to a slew of demos (some can sound terrible and muck up the listening experience), though they have included demos in the past on their releases before. I'm not too upset about the cue not being included, I was more worried about this potential phasing issue. I still appreciate you bringing it up, at least we got an answer. Don't let this stop you from keeping an eye out for oddities in the future, folks!

Another update from Wesley Grose, lead designer of the box set.
 
He talks a bit about the map.
 
https://www.instagram.com/reel/DAtk_RwyibX/?igsh=MWdhbjdsem00bnZseg==
 
 

That’s why I like about you. You take so much time and care with your posts. I can really tell you’ve thought something through, and are not, in fact, spewing the first wretched toxicant that oozes from the orifices of your pimpled mind.

Are you just completely unfamiliar with the concepts of marketing and promotion? Fuck's sake.

I didn’t know where to put this so please feel free to put this in its proper place.
 
Anyway, I thought this might interest some here. Conrad Pope talked about the music editing in TPM when replying to the following question on the Conrad Pope Orchestration Facebook group.

https://www.facebook.com/share/p/eC1WfYvDdkGxLFNt/?
 
Question: I remember a Youtube video (now unfindable, apparently) showing all the music edits made to the final reel of The Phantom Menace.  It was quite the patchwork.  It may be anecdotal or speculative, but the general vibe seemed to be that Williams was unhappy with how the score was edited, as Lucas continued picture edits well past the main and pickup session dates.  Conrad, do you remember anything like this?
 
Dear Brian: 

Yes, I do remember that there were a number of edits after the music had been “finalize”. 
 
What I was told by “secondary sources” was a tale that went something like this:
 
Without naming names, during scoring, a friend of Lucas’s who was attending the recording session, suggested that he re-cut the film so that the cuts between the various arenas of conflict would become faster and drive toward the “ simultaneous climax “ of all the story lines (at least, in a cinematic sense-  a la  Griffith’s “Intolerance “.)

From what I was told, as JW was obligated to another project, he was unavailable to do a “re-write” — and, I’m certain, he knew this was more an “editorial” fix rather than a “ completely new blank page solution”. So,  the “conforming “ of the score to the new, inspired cut fell to John’s long time, dear friend and treasured colleague : Kenny Wannberg. 

Whether or not John Williams was happy or not, I have no idea. All I know is that everything seems to have worked out to the satisfaction of the filmmakers and the audience- in this business, that’s a success. 

Make no mistake: that success was and is grounded in the strength of the music, however sliced and diced it was; ALL the ideas are strong and  they managed to remain effective after all the re-editing- guided and informed by Wannberg’s comprehensive and intimate knowledge of BOTH the score and the film.

John and Kenny’s professional “marriages” was one of the best in the business of big talents and bigger egos. To resonate and vibe musically, dramatically, artistically, professionally AND personally with a fellow composer/filmmaker—- that’s a great bond.

Composers today should find their “ music editor “ - a colleague with whom they would trust revealing themselves to.  

Over the course of a project, they will be your advocate to the director, the producers and- most importantly- the film’s sound mixer ( a mix can be a negotiation- and the composer can’t always be in attendance to champion the score).
 
Every Don needs a Sancho. 
 
So, Brian: That’s what I know from my “second hand” hearsay.

In any case, the further we get into Star Wars with all these sequels and “inspired by” spin offs, the less insipid Mr Binks appears in the overall trajectory of the SW universe and the more inspired the Prequels seem contextually.
 
In any case, without John Williams there isn’t a “Star Wars”- only space.

THE FLAGSHIP SHOW: CINEMATIC SOUND RADIO’s 28th ANNIVERSARY
https://www.cinematicsound.net/the-flag-ship-show-cinematic-sound-radio-28th-anniversary-special/
 
On today’s program, I’m celebrating the 28th anniversary of CINEMATIC SOUND RADIO, which began on September 20th, 1996, at CHMR / C101.5 FM at Mohawk College in Hamilton, Ontario. The station is now called INDI 101.
 
For all of our anniversary programs, and yes, some years I forget to do one, I try to create something new. Sometimes it’s clever, and other times it’s just a simple, dumb idea that’s relatively simple to implement. This show is the latter. Since the show is now 28 years old, I’ve decided to base it on that number.
 
So, you’ll hear tracks that are either 28 seconds long, scores that are 28 years old, films with the number 28 in the title, the 28th track on the album, take place in 1928, or were written in 1928 featuring composers Mark Snow, John Murphy, Charlie Chaplin, Thomas Newman, Danny Elfman, Terence Blanchard, Joseph Conlon, Marc Sharman, David Arnold, and Dominic Frontiere.
 
Admittedly, this is silly, but it was quite enjoyable to put together. In any case, I hope you’ll enjoy it.

NEW EPISODE | TALKING SOUNDTRACKS: INTERVIEW WITH EMILIO AUDISSINO
 
In 2014, author, film studies academic, and film musicologist Emilio Audissino published the first edition of his book THE FILM MUSIC OF JOHN WILLIAMS.

In 2021, the book’s second edition was published. While focusing on John Williams’ music and career by analyzing the composer’s approach to writing music, the book also discussed three significant film scores in Williams’ filmography: JAWS, DRACULA, and RAIDERS OF THE LOST ARK.

In early June 2024, Jason Drury had the pleasure of speaking with Emilio via Zoom at Linnaeus University, Sweden, where he was an Associate Professor. To commemorate the book’s tenth anniversary, they discussed its origins and delved into John Williams’ musical career, featuring music from many of the composer’s most memorable scores.

LISTEN ➡️  https://www.cinematicsound.net/talking-soundtracks-interview-with-emilio-audissino/

Enjoy!

CINEMATIC SOUND RADIO | A TRIBUTE TO DOUGLASS FAKE - INTRADA RECORDS
 
In this episode, CINEMATIC SOUND RADIO pays tribute to a genuine soundtrack hero and pioneer… Intrada Records founder, Douglass Fake, who passed away at the age of 72 on July 13, 2024.
 
Who was Douglass Fake? Well, one of Doug’s closest friends and colleagues, Joe Sikoryak, wrote a beautiful obituary a few days after Doug’s passing on Facebook.
 
LINK: https://bit.ly/3MsfPgA
 
I personally never met Doug, but I did communicate with him and Roger Fiegelson, Intrada’s executive producer, many times when requesting albums to play on my soundtrack show, which began in 1996. Doug and the rest of the crew at Intrada have been supporting the show for over 25 years, and I do remember Doug telling me that if I ever needed anything, I should call or email him or Roger and they’d send whatever I requested down immediately. It didn’t matter if it was a new release or a release that came out ten years ago; if they had it in stock, they’d send it down.
 
We planned to release this episode a few weeks ago but a few things popped up that slowed down production (work and illnesses). On top of that, the fine folks at Intrada Records were guests on Robert Emmett’s soundtrack radio program “The Norman Bates Memorial Soundtrack Show,” where they produced their own three-hour tribute show to Doug on Saturday, August 24, 2024. So, not to step on any toes, I decided to delay the release of my own tribute show today.
 
So, on today’s show, we’ll be playing not only selections from Intrada’s extensive soundtrack library, but also messages of remembrance from fans such as Amer Zahid, Chris Malone, Ian Clark, Jason Drury, Jim Wilson, Nick Zwar, Lee Wileman, and Victor Field.
 
LISTEN TO THE SHOW: https://www.cinematicsound.net/the-flag-ship-show-a-tribute-to-douglass-fake-intrada-records/
 
Doug was a legend in the soundtrack community and we owe him a debt of gratitude for bringing much joy into our lives. Thank you, Doug. You will be missed.
 
Enjoy the show!
 
PS – During the program, you’ll hear me mention that Chris Malone produced a heartfelt tribute to Doug on YouTube. Here's a link to that video - https://youtu.be/meVW1RJjZh4?si=OEddmdHyGAubD1HX
 
 
I also mentioned an episode of The Goldsmith Odyssey dedicated to the production of Intrada Records' RIO CONCHOS recording. Listen to that episode here. https://goldsmithodyssey.buzzsprout.com/159614/8724952-odyssey-soundtrack-spotlight-rio-conchos-the-artist-who-did-not-want-to-paint-1989-intrada-recording
 

I didn’t know where to put this so please feel free to put this in its proper place.
 
Anyway, I thought this might interest some here. Conrad Pope talked about the music editing in TPM when replying to the following question on the Conrad Pope Orchestration Facebook group.

https://www.facebook.com/share/p/eC1WfYvDdkGxLFNt/?
 
Question: I remember a Youtube video (now unfindable, apparently) showing all the music edits made to the final reel of The Phantom Menace.  It was quite the patchwork.  It may be anecdotal or speculative, but the general vibe seemed to be that Williams was unhappy with how the score was edited, as Lucas continued picture edits well past the main and pickup session dates.  Conrad, do you remember anything like this?
 
Dear Brian: 

Yes, I do remember that there were a number of edits after the music had been “finalize”. 
 
What I was told by “secondary sources” was a tale that went something like this:
 
Without naming names, during scoring, a friend of Lucas’s who was attending the recording session, suggested that he re-cut the film so that the cuts between the various arenas of conflict would become faster and drive toward the “ simultaneous climax “ of all the story lines (at least, in a cinematic sense-  a la  Griffith’s “Intolerance “.)

From what I was told, as JW was obligated to another project, he was unavailable to do a “re-write” — and, I’m certain, he knew this was more an “editorial” fix rather than a “ completely new blank page solution”. So,  the “conforming “ of the score to the new, inspired cut fell to John’s long time, dear friend and treasured colleague : Kenny Wannberg. 

Whether or not John Williams was happy or not, I have no idea. All I know is that everything seems to have worked out to the satisfaction of the filmmakers and the audience- in this business, that’s a success. 

Make no mistake: that success was and is grounded in the strength of the music, however sliced and diced it was; ALL the ideas are strong and  they managed to remain effective after all the re-editing- guided and informed by Wannberg’s comprehensive and intimate knowledge of BOTH the score and the film.

John and Kenny’s professional “marriages” was one of the best in the business of big talents and bigger egos. To resonate and vibe musically, dramatically, artistically, professionally AND personally with a fellow composer/filmmaker—- that’s a great bond.

Composers today should find their “ music editor “ - a colleague with whom they would trust revealing themselves to.  

Over the course of a project, they will be your advocate to the director, the producers and- most importantly- the film’s sound mixer ( a mix can be a negotiation- and the composer can’t always be in attendance to champion the score).
 
Every Don needs a Sancho. 
 
So, Brian: That’s what I know from my “second hand” hearsay.

In any case, the further we get into Star Wars with all these sequels and “inspired by” spin offs, the less insipid Mr Binks appears in the overall trajectory of the SW universe and the more inspired the Prequels seem contextually.
 
In any case, without John Williams there isn’t a “Star Wars”- only space.

I didn’t know where to put this so please feel free to put this in its proper place.
 
Anyway, I thought this might interest some here. Conrad Pope talked about the music editing in TPM when replying to the following question on the Conrad Pope Orchestration Facebook group.

https://www.facebook.com/share/p/eC1WfYvDdkGxLFNt/?
 
Question: I remember a Youtube video (now unfindable, apparently) showing all the music edits made to the final reel of The Phantom Menace.  It was quite the patchwork.  It may be anecdotal or speculative, but the general vibe seemed to be that Williams was unhappy with how the score was edited, as Lucas continued picture edits well past the main and pickup session dates.  Conrad, do you remember anything like this?
 
Dear Brian: 

Yes, I do remember that there were a number of edits after the music had been “finalize”. 
 
What I was told by “secondary sources” was a tale that went something like this:
 
Without naming names, during scoring, a friend of Lucas’s who was attending the recording session, suggested that he re-cut the film so that the cuts between the various arenas of conflict would become faster and drive toward the “ simultaneous climax “ of all the story lines (at least, in a cinematic sense-  a la  Griffith’s “Intolerance “.)

From what I was told, as JW was obligated to another project, he was unavailable to do a “re-write” — and, I’m certain, he knew this was more an “editorial” fix rather than a “ completely new blank page solution”. So,  the “conforming “ of the score to the new, inspired cut fell to John’s long time, dear friend and treasured colleague : Kenny Wannberg. 

Whether or not John Williams was happy or not, I have no idea. All I know is that everything seems to have worked out to the satisfaction of the filmmakers and the audience- in this business, that’s a success. 

Make no mistake: that success was and is grounded in the strength of the music, however sliced and diced it was; ALL the ideas are strong and  they managed to remain effective after all the re-editing- guided and informed by Wannberg’s comprehensive and intimate knowledge of BOTH the score and the film.

John and Kenny’s professional “marriages” was one of the best in the business of big talents and bigger egos. To resonate and vibe musically, dramatically, artistically, professionally AND personally with a fellow composer/filmmaker—- that’s a great bond.

Composers today should find their “ music editor “ - a colleague with whom they would trust revealing themselves to.  

Over the course of a project, they will be your advocate to the director, the producers and- most importantly- the film’s sound mixer ( a mix can be a negotiation- and the composer can’t always be in attendance to champion the score).
 
Every Don needs a Sancho. 
 
So, Brian: That’s what I know from my “second hand” hearsay.

In any case, the further we get into Star Wars with all these sequels and “inspired by” spin offs, the less insipid Mr Binks appears in the overall trajectory of the SW universe and the more inspired the Prequels seem contextually.
 
In any case, without John Williams there isn’t a “Star Wars”- only space.

I didn’t know where to put this so please feel free to put this in its proper place.
 
Anyway, I thought this might interest some here. Conrad Pope talked about the music editing in TPM when replying to the following question on the Conrad Pope Orchestration Facebook group.

https://www.facebook.com/share/p/eC1WfYvDdkGxLFNt/?
 
Question: I remember a Youtube video (now unfindable, apparently) showing all the music edits made to the final reel of The Phantom Menace.  It was quite the patchwork.  It may be anecdotal or speculative, but the general vibe seemed to be that Williams was unhappy with how the score was edited, as Lucas continued picture edits well past the main and pickup session dates.  Conrad, do you remember anything like this?
 
Dear Brian: 

Yes, I do remember that there were a number of edits after the music had been “finalize”. 
 
What I was told by “secondary sources” was a tale that went something like this:
 
Without naming names, during scoring, a friend of Lucas’s who was attending the recording session, suggested that he re-cut the film so that the cuts between the various arenas of conflict would become faster and drive toward the “ simultaneous climax “ of all the story lines (at least, in a cinematic sense-  a la  Griffith’s “Intolerance “.)

From what I was told, as JW was obligated to another project, he was unavailable to do a “re-write” — and, I’m certain, he knew this was more an “editorial” fix rather than a “ completely new blank page solution”. So,  the “conforming “ of the score to the new, inspired cut fell to John’s long time, dear friend and treasured colleague : Kenny Wannberg. 

Whether or not John Williams was happy or not, I have no idea. All I know is that everything seems to have worked out to the satisfaction of the filmmakers and the audience- in this business, that’s a success. 

Make no mistake: that success was and is grounded in the strength of the music, however sliced and diced it was; ALL the ideas are strong and  they managed to remain effective after all the re-editing- guided and informed by Wannberg’s comprehensive and intimate knowledge of BOTH the score and the film.

John and Kenny’s professional “marriages” was one of the best in the business of big talents and bigger egos. To resonate and vibe musically, dramatically, artistically, professionally AND personally with a fellow composer/filmmaker—- that’s a great bond.

Composers today should find their “ music editor “ - a colleague with whom they would trust revealing themselves to.  

Over the course of a project, they will be your advocate to the director, the producers and- most importantly- the film’s sound mixer ( a mix can be a negotiation- and the composer can’t always be in attendance to champion the score).
 
Every Don needs a Sancho. 
 
So, Brian: That’s what I know from my “second hand” hearsay.

In any case, the further we get into Star Wars with all these sequels and “inspired by” spin offs, the less insipid Mr Binks appears in the overall trajectory of the SW universe and the more inspired the Prequels seem contextually.
 
In any case, without John Williams there isn’t a “Star Wars”- only space.

I didn’t know where to put this so please feel free to put this in its proper place.
 
Anyway, I thought this might interest some here. Conrad Pope talked about the music editing in TPM when replying to the following question on the Conrad Pope Orchestration Facebook group.

https://www.facebook.com/share/p/eC1WfYvDdkGxLFNt/?
 
Question: I remember a Youtube video (now unfindable, apparently) showing all the music edits made to the final reel of The Phantom Menace.  It was quite the patchwork.  It may be anecdotal or speculative, but the general vibe seemed to be that Williams was unhappy with how the score was edited, as Lucas continued picture edits well past the main and pickup session dates.  Conrad, do you remember anything like this?
 
Dear Brian: 

Yes, I do remember that there were a number of edits after the music had been “finalize”. 
 
What I was told by “secondary sources” was a tale that went something like this:
 
Without naming names, during scoring, a friend of Lucas’s who was attending the recording session, suggested that he re-cut the film so that the cuts between the various arenas of conflict would become faster and drive toward the “ simultaneous climax “ of all the story lines (at least, in a cinematic sense-  a la  Griffith’s “Intolerance “.)

From what I was told, as JW was obligated to another project, he was unavailable to do a “re-write” — and, I’m certain, he knew this was more an “editorial” fix rather than a “ completely new blank page solution”. So,  the “conforming “ of the score to the new, inspired cut fell to John’s long time, dear friend and treasured colleague : Kenny Wannberg. 

Whether or not John Williams was happy or not, I have no idea. All I know is that everything seems to have worked out to the satisfaction of the filmmakers and the audience- in this business, that’s a success. 

Make no mistake: that success was and is grounded in the strength of the music, however sliced and diced it was; ALL the ideas are strong and  they managed to remain effective after all the re-editing- guided and informed by Wannberg’s comprehensive and intimate knowledge of BOTH the score and the film.

John and Kenny’s professional “marriages” was one of the best in the business of big talents and bigger egos. To resonate and vibe musically, dramatically, artistically, professionally AND personally with a fellow composer/filmmaker—- that’s a great bond.

Composers today should find their “ music editor “ - a colleague with whom they would trust revealing themselves to.  

Over the course of a project, they will be your advocate to the director, the producers and- most importantly- the film’s sound mixer ( a mix can be a negotiation- and the composer can’t always be in attendance to champion the score).
 
Every Don needs a Sancho. 
 
So, Brian: That’s what I know from my “second hand” hearsay.

In any case, the further we get into Star Wars with all these sequels and “inspired by” spin offs, the less insipid Mr Binks appears in the overall trajectory of the SW universe and the more inspired the Prequels seem contextually.
 
In any case, without John Williams there isn’t a “Star Wars”- only space.

I didn’t know where to put this so please feel free to put this in its proper place.
 
Anyway, I thought this might interest some here. Conrad Pope talked about the music editing in TPM when replying to the following question on the Conrad Pope Orchestration Facebook group.

https://www.facebook.com/share/p/eC1WfYvDdkGxLFNt/?
 
Question: I remember a Youtube video (now unfindable, apparently) showing all the music edits made to the final reel of The Phantom Menace.  It was quite the patchwork.  It may be anecdotal or speculative, but the general vibe seemed to be that Williams was unhappy with how the score was edited, as Lucas continued picture edits well past the main and pickup session dates.  Conrad, do you remember anything like this?
 
Dear Brian: 

Yes, I do remember that there were a number of edits after the music had been “finalize”. 
 
What I was told by “secondary sources” was a tale that went something like this:
 
Without naming names, during scoring, a friend of Lucas’s who was attending the recording session, suggested that he re-cut the film so that the cuts between the various arenas of conflict would become faster and drive toward the “ simultaneous climax “ of all the story lines (at least, in a cinematic sense-  a la  Griffith’s “Intolerance “.)

From what I was told, as JW was obligated to another project, he was unavailable to do a “re-write” — and, I’m certain, he knew this was more an “editorial” fix rather than a “ completely new blank page solution”. So,  the “conforming “ of the score to the new, inspired cut fell to John’s long time, dear friend and treasured colleague : Kenny Wannberg. 

Whether or not John Williams was happy or not, I have no idea. All I know is that everything seems to have worked out to the satisfaction of the filmmakers and the audience- in this business, that’s a success. 

Make no mistake: that success was and is grounded in the strength of the music, however sliced and diced it was; ALL the ideas are strong and  they managed to remain effective after all the re-editing- guided and informed by Wannberg’s comprehensive and intimate knowledge of BOTH the score and the film.

John and Kenny’s professional “marriages” was one of the best in the business of big talents and bigger egos. To resonate and vibe musically, dramatically, artistically, professionally AND personally with a fellow composer/filmmaker—- that’s a great bond.

Composers today should find their “ music editor “ - a colleague with whom they would trust revealing themselves to.  

Over the course of a project, they will be your advocate to the director, the producers and- most importantly- the film’s sound mixer ( a mix can be a negotiation- and the composer can’t always be in attendance to champion the score).
 
Every Don needs a Sancho. 
 
So, Brian: That’s what I know from my “second hand” hearsay.

In any case, the further we get into Star Wars with all these sequels and “inspired by” spin offs, the less insipid Mr Binks appears in the overall trajectory of the SW universe and the more inspired the Prequels seem contextually.
 
In any case, without John Williams there isn’t a “Star Wars”- only space.

I didn’t know where to put this so please feel free to put this in its proper place.
 
Anyway, I thought this might interest some here. Conrad Pope talked about the music editing in TPM when replying to the following question on the Conrad Pope Orchestration Facebook group.

https://www.facebook.com/share/p/eC1WfYvDdkGxLFNt/?
 
Question: I remember a Youtube video (now unfindable, apparently) showing all the music edits made to the final reel of The Phantom Menace.  It was quite the patchwork.  It may be anecdotal or speculative, but the general vibe seemed to be that Williams was unhappy with how the score was edited, as Lucas continued picture edits well past the main and pickup session dates.  Conrad, do you remember anything like this?
 
Dear Brian: 

Yes, I do remember that there were a number of edits after the music had been “finalize”. 
 
What I was told by “secondary sources” was a tale that went something like this:
 
Without naming names, during scoring, a friend of Lucas’s who was attending the recording session, suggested that he re-cut the film so that the cuts between the various arenas of conflict would become faster and drive toward the “ simultaneous climax “ of all the story lines (at least, in a cinematic sense-  a la  Griffith’s “Intolerance “.)

From what I was told, as JW was obligated to another project, he was unavailable to do a “re-write” — and, I’m certain, he knew this was more an “editorial” fix rather than a “ completely new blank page solution”. So,  the “conforming “ of the score to the new, inspired cut fell to John’s long time, dear friend and treasured colleague : Kenny Wannberg. 

Whether or not John Williams was happy or not, I have no idea. All I know is that everything seems to have worked out to the satisfaction of the filmmakers and the audience- in this business, that’s a success. 

Make no mistake: that success was and is grounded in the strength of the music, however sliced and diced it was; ALL the ideas are strong and  they managed to remain effective after all the re-editing- guided and informed by Wannberg’s comprehensive and intimate knowledge of BOTH the score and the film.

John and Kenny’s professional “marriages” was one of the best in the business of big talents and bigger egos. To resonate and vibe musically, dramatically, artistically, professionally AND personally with a fellow composer/filmmaker—- that’s a great bond.

Composers today should find their “ music editor “ - a colleague with whom they would trust revealing themselves to.  

Over the course of a project, they will be your advocate to the director, the producers and- most importantly- the film’s sound mixer ( a mix can be a negotiation- and the composer can’t always be in attendance to champion the score).
 
Every Don needs a Sancho. 
 
So, Brian: That’s what I know from my “second hand” hearsay.

In any case, the further we get into Star Wars with all these sequels and “inspired by” spin offs, the less insipid Mr Binks appears in the overall trajectory of the SW universe and the more inspired the Prequels seem contextually.
 
In any case, without John Williams there isn’t a “Star Wars”- only space.

I didn’t know where to put this so please feel free to put this in its proper place.
 
Anyway, I thought this might interest some here. Conrad Pope talked about the music editing in TPM when replying to the following question on the Conrad Pope Orchestration Facebook group.

https://www.facebook.com/share/p/eC1WfYvDdkGxLFNt/?
 
Question: I remember a Youtube video (now unfindable, apparently) showing all the music edits made to the final reel of The Phantom Menace.  It was quite the patchwork.  It may be anecdotal or speculative, but the general vibe seemed to be that Williams was unhappy with how the score was edited, as Lucas continued picture edits well past the main and pickup session dates.  Conrad, do you remember anything like this?
 
Dear Brian: 

Yes, I do remember that there were a number of edits after the music had been “finalize”. 
 
What I was told by “secondary sources” was a tale that went something like this:
 
Without naming names, during scoring, a friend of Lucas’s who was attending the recording session, suggested that he re-cut the film so that the cuts between the various arenas of conflict would become faster and drive toward the “ simultaneous climax “ of all the story lines (at least, in a cinematic sense-  a la  Griffith’s “Intolerance “.)

From what I was told, as JW was obligated to another project, he was unavailable to do a “re-write” — and, I’m certain, he knew this was more an “editorial” fix rather than a “ completely new blank page solution”. So,  the “conforming “ of the score to the new, inspired cut fell to John’s long time, dear friend and treasured colleague : Kenny Wannberg. 

Whether or not John Williams was happy or not, I have no idea. All I know is that everything seems to have worked out to the satisfaction of the filmmakers and the audience- in this business, that’s a success. 

Make no mistake: that success was and is grounded in the strength of the music, however sliced and diced it was; ALL the ideas are strong and  they managed to remain effective after all the re-editing- guided and informed by Wannberg’s comprehensive and intimate knowledge of BOTH the score and the film.

John and Kenny’s professional “marriages” was one of the best in the business of big talents and bigger egos. To resonate and vibe musically, dramatically, artistically, professionally AND personally with a fellow composer/filmmaker—- that’s a great bond.

Composers today should find their “ music editor “ - a colleague with whom they would trust revealing themselves to.  

Over the course of a project, they will be your advocate to the director, the producers and- most importantly- the film’s sound mixer ( a mix can be a negotiation- and the composer can’t always be in attendance to champion the score).
 
Every Don needs a Sancho. 
 
So, Brian: That’s what I know from my “second hand” hearsay.

In any case, the further we get into Star Wars with all these sequels and “inspired by” spin offs, the less insipid Mr Binks appears in the overall trajectory of the SW universe and the more inspired the Prequels seem contextually.
 
In any case, without John Williams there isn’t a “Star Wars”- only space.

I didn’t know where to put this so please feel free to put this in its proper place.
 
Anyway, I thought this might interest some here. Conrad Pope talked about the music editing in TPM when replying to the following question on the Conrad Pope Orchestration Facebook group.

https://www.facebook.com/share/p/eC1WfYvDdkGxLFNt/?
 
Question: I remember a Youtube video (now unfindable, apparently) showing all the music edits made to the final reel of The Phantom Menace.  It was quite the patchwork.  It may be anecdotal or speculative, but the general vibe seemed to be that Williams was unhappy with how the score was edited, as Lucas continued picture edits well past the main and pickup session dates.  Conrad, do you remember anything like this?
 
Dear Brian: 

Yes, I do remember that there were a number of edits after the music had been “finalize”. 
 
What I was told by “secondary sources” was a tale that went something like this:
 
Without naming names, during scoring, a friend of Lucas’s who was attending the recording session, suggested that he re-cut the film so that the cuts between the various arenas of conflict would become faster and drive toward the “ simultaneous climax “ of all the story lines (at least, in a cinematic sense-  a la  Griffith’s “Intolerance “.)

From what I was told, as JW was obligated to another project, he was unavailable to do a “re-write” — and, I’m certain, he knew this was more an “editorial” fix rather than a “ completely new blank page solution”. So,  the “conforming “ of the score to the new, inspired cut fell to John’s long time, dear friend and treasured colleague : Kenny Wannberg. 

Whether or not John Williams was happy or not, I have no idea. All I know is that everything seems to have worked out to the satisfaction of the filmmakers and the audience- in this business, that’s a success. 

Make no mistake: that success was and is grounded in the strength of the music, however sliced and diced it was; ALL the ideas are strong and  they managed to remain effective after all the re-editing- guided and informed by Wannberg’s comprehensive and intimate knowledge of BOTH the score and the film.

John and Kenny’s professional “marriages” was one of the best in the business of big talents and bigger egos. To resonate and vibe musically, dramatically, artistically, professionally AND personally with a fellow composer/filmmaker—- that’s a great bond.

Composers today should find their “ music editor “ - a colleague with whom they would trust revealing themselves to.  

Over the course of a project, they will be your advocate to the director, the producers and- most importantly- the film’s sound mixer ( a mix can be a negotiation- and the composer can’t always be in attendance to champion the score).
 
Every Don needs a Sancho. 
 
So, Brian: That’s what I know from my “second hand” hearsay.

In any case, the further we get into Star Wars with all these sequels and “inspired by” spin offs, the less insipid Mr Binks appears in the overall trajectory of the SW universe and the more inspired the Prequels seem contextually.
 
In any case, without John Williams there isn’t a “Star Wars”- only space.

I didn’t know where to put this so please feel free to put this in its proper place.
 
Anyway, I thought this might interest some here. Conrad Pope talked about the music editing in TPM when replying to the following question on the Conrad Pope Orchestration Facebook group.

https://www.facebook.com/share/p/eC1WfYvDdkGxLFNt/?
 
Question: I remember a Youtube video (now unfindable, apparently) showing all the music edits made to the final reel of The Phantom Menace.  It was quite the patchwork.  It may be anecdotal or speculative, but the general vibe seemed to be that Williams was unhappy with how the score was edited, as Lucas continued picture edits well past the main and pickup session dates.  Conrad, do you remember anything like this?
 
Dear Brian: 

Yes, I do remember that there were a number of edits after the music had been “finalize”. 
 
What I was told by “secondary sources” was a tale that went something like this:
 
Without naming names, during scoring, a friend of Lucas’s who was attending the recording session, suggested that he re-cut the film so that the cuts between the various arenas of conflict would become faster and drive toward the “ simultaneous climax “ of all the story lines (at least, in a cinematic sense-  a la  Griffith’s “Intolerance “.)

From what I was told, as JW was obligated to another project, he was unavailable to do a “re-write” — and, I’m certain, he knew this was more an “editorial” fix rather than a “ completely new blank page solution”. So,  the “conforming “ of the score to the new, inspired cut fell to John’s long time, dear friend and treasured colleague : Kenny Wannberg. 

Whether or not John Williams was happy or not, I have no idea. All I know is that everything seems to have worked out to the satisfaction of the filmmakers and the audience- in this business, that’s a success. 

Make no mistake: that success was and is grounded in the strength of the music, however sliced and diced it was; ALL the ideas are strong and  they managed to remain effective after all the re-editing- guided and informed by Wannberg’s comprehensive and intimate knowledge of BOTH the score and the film.

John and Kenny’s professional “marriages” was one of the best in the business of big talents and bigger egos. To resonate and vibe musically, dramatically, artistically, professionally AND personally with a fellow composer/filmmaker—- that’s a great bond.

Composers today should find their “ music editor “ - a colleague with whom they would trust revealing themselves to.  

Over the course of a project, they will be your advocate to the director, the producers and- most importantly- the film’s sound mixer ( a mix can be a negotiation- and the composer can’t always be in attendance to champion the score).
 
Every Don needs a Sancho. 
 
So, Brian: That’s what I know from my “second hand” hearsay.

In any case, the further we get into Star Wars with all these sequels and “inspired by” spin offs, the less insipid Mr Binks appears in the overall trajectory of the SW universe and the more inspired the Prequels seem contextually.
 
In any case, without John Williams there isn’t a “Star Wars”- only space.

I didn’t know where to put this so please feel free to put this in its proper place.
 
Anyway, I thought this might interest some here. Conrad Pope talked about the music editing in TPM when replying to the following question on the Conrad Pope Orchestration Facebook group.

https://www.facebook.com/share/p/eC1WfYvDdkGxLFNt/?
 
Question: I remember a Youtube video (now unfindable, apparently) showing all the music edits made to the final reel of The Phantom Menace.  It was quite the patchwork.  It may be anecdotal or speculative, but the general vibe seemed to be that Williams was unhappy with how the score was edited, as Lucas continued picture edits well past the main and pickup session dates.  Conrad, do you remember anything like this?
 
Dear Brian: 

Yes, I do remember that there were a number of edits after the music had been “finalize”. 
 
What I was told by “secondary sources” was a tale that went something like this:
 
Without naming names, during scoring, a friend of Lucas’s who was attending the recording session, suggested that he re-cut the film so that the cuts between the various arenas of conflict would become faster and drive toward the “ simultaneous climax “ of all the story lines (at least, in a cinematic sense-  a la  Griffith’s “Intolerance “.)

From what I was told, as JW was obligated to another project, he was unavailable to do a “re-write” — and, I’m certain, he knew this was more an “editorial” fix rather than a “ completely new blank page solution”. So,  the “conforming “ of the score to the new, inspired cut fell to John’s long time, dear friend and treasured colleague : Kenny Wannberg. 

Whether or not John Williams was happy or not, I have no idea. All I know is that everything seems to have worked out to the satisfaction of the filmmakers and the audience- in this business, that’s a success. 

Make no mistake: that success was and is grounded in the strength of the music, however sliced and diced it was; ALL the ideas are strong and  they managed to remain effective after all the re-editing- guided and informed by Wannberg’s comprehensive and intimate knowledge of BOTH the score and the film.

John and Kenny’s professional “marriages” was one of the best in the business of big talents and bigger egos. To resonate and vibe musically, dramatically, artistically, professionally AND personally with a fellow composer/filmmaker—- that’s a great bond.

Composers today should find their “ music editor “ - a colleague with whom they would trust revealing themselves to.  

Over the course of a project, they will be your advocate to the director, the producers and- most importantly- the film’s sound mixer ( a mix can be a negotiation- and the composer can’t always be in attendance to champion the score).
 
Every Don needs a Sancho. 
 
So, Brian: That’s what I know from my “second hand” hearsay.

In any case, the further we get into Star Wars with all these sequels and “inspired by” spin offs, the less insipid Mr Binks appears in the overall trajectory of the SW universe and the more inspired the Prequels seem contextually.
 
In any case, without John Williams there isn’t a “Star Wars”- only space.

I didn’t know where to put this so please feel free to put this in its proper place.
 
Anyway, I thought this might interest some here. Conrad Pope talked about the music editing in TPM when replying to the following question on the Conrad Pope Orchestration Facebook group.

https://www.facebook.com/share/p/eC1WfYvDdkGxLFNt/?
 
Question: I remember a Youtube video (now unfindable, apparently) showing all the music edits made to the final reel of The Phantom Menace.  It was quite the patchwork.  It may be anecdotal or speculative, but the general vibe seemed to be that Williams was unhappy with how the score was edited, as Lucas continued picture edits well past the main and pickup session dates.  Conrad, do you remember anything like this?
 
Dear Brian: 

Yes, I do remember that there were a number of edits after the music had been “finalize”. 
 
What I was told by “secondary sources” was a tale that went something like this:
 
Without naming names, during scoring, a friend of Lucas’s who was attending the recording session, suggested that he re-cut the film so that the cuts between the various arenas of conflict would become faster and drive toward the “ simultaneous climax “ of all the story lines (at least, in a cinematic sense-  a la  Griffith’s “Intolerance “.)

From what I was told, as JW was obligated to another project, he was unavailable to do a “re-write” — and, I’m certain, he knew this was more an “editorial” fix rather than a “ completely new blank page solution”. So,  the “conforming “ of the score to the new, inspired cut fell to John’s long time, dear friend and treasured colleague : Kenny Wannberg. 

Whether or not John Williams was happy or not, I have no idea. All I know is that everything seems to have worked out to the satisfaction of the filmmakers and the audience- in this business, that’s a success. 

Make no mistake: that success was and is grounded in the strength of the music, however sliced and diced it was; ALL the ideas are strong and  they managed to remain effective after all the re-editing- guided and informed by Wannberg’s comprehensive and intimate knowledge of BOTH the score and the film.

John and Kenny’s professional “marriages” was one of the best in the business of big talents and bigger egos. To resonate and vibe musically, dramatically, artistically, professionally AND personally with a fellow composer/filmmaker—- that’s a great bond.

Composers today should find their “ music editor “ - a colleague with whom they would trust revealing themselves to.  

Over the course of a project, they will be your advocate to the director, the producers and- most importantly- the film’s sound mixer ( a mix can be a negotiation- and the composer can’t always be in attendance to champion the score).
 
Every Don needs a Sancho. 
 
So, Brian: That’s what I know from my “second hand” hearsay.

In any case, the further we get into Star Wars with all these sequels and “inspired by” spin offs, the less insipid Mr Binks appears in the overall trajectory of the SW universe and the more inspired the Prequels seem contextually.
 
In any case, without John Williams there isn’t a “Star Wars”- only space.

I didn’t know where to put this so please feel free to put this in its proper place.
 
Anyway, I thought this might interest some here. Conrad Pope talked about the music editing in TPM when replying to the following question on the Conrad Pope Orchestration Facebook group.

https://www.facebook.com/share/p/eC1WfYvDdkGxLFNt/?
 
Question: I remember a Youtube video (now unfindable, apparently) showing all the music edits made to the final reel of The Phantom Menace.  It was quite the patchwork.  It may be anecdotal or speculative, but the general vibe seemed to be that Williams was unhappy with how the score was edited, as Lucas continued picture edits well past the main and pickup session dates.  Conrad, do you remember anything like this?
 
Dear Brian: 

Yes, I do remember that there were a number of edits after the music had been “finalize”. 
 
What I was told by “secondary sources” was a tale that went something like this:
 
Without naming names, during scoring, a friend of Lucas’s who was attending the recording session, suggested that he re-cut the film so that the cuts between the various arenas of conflict would become faster and drive toward the “ simultaneous climax “ of all the story lines (at least, in a cinematic sense-  a la  Griffith’s “Intolerance “.)

From what I was told, as JW was obligated to another project, he was unavailable to do a “re-write” — and, I’m certain, he knew this was more an “editorial” fix rather than a “ completely new blank page solution”. So,  the “conforming “ of the score to the new, inspired cut fell to John’s long time, dear friend and treasured colleague : Kenny Wannberg. 

Whether or not John Williams was happy or not, I have no idea. All I know is that everything seems to have worked out to the satisfaction of the filmmakers and the audience- in this business, that’s a success. 

Make no mistake: that success was and is grounded in the strength of the music, however sliced and diced it was; ALL the ideas are strong and  they managed to remain effective after all the re-editing- guided and informed by Wannberg’s comprehensive and intimate knowledge of BOTH the score and the film.

John and Kenny’s professional “marriages” was one of the best in the business of big talents and bigger egos. To resonate and vibe musically, dramatically, artistically, professionally AND personally with a fellow composer/filmmaker—- that’s a great bond.

Composers today should find their “ music editor “ - a colleague with whom they would trust revealing themselves to.  

Over the course of a project, they will be your advocate to the director, the producers and- most importantly- the film’s sound mixer ( a mix can be a negotiation- and the composer can’t always be in attendance to champion the score).
 
Every Don needs a Sancho. 
 
So, Brian: That’s what I know from my “second hand” hearsay.

In any case, the further we get into Star Wars with all these sequels and “inspired by” spin offs, the less insipid Mr Binks appears in the overall trajectory of the SW universe and the more inspired the Prequels seem contextually.
 
In any case, without John Williams there isn’t a “Star Wars”- only space.

I didn’t know where to put this so please feel free to put this in its proper place.
 
Anyway, I thought this might interest some here. Conrad Pope talked about the music editing in TPM when replying to the following question on the Conrad Pope Orchestration Facebook group.

https://www.facebook.com/share/p/eC1WfYvDdkGxLFNt/?
 
Question: I remember a Youtube video (now unfindable, apparently) showing all the music edits made to the final reel of The Phantom Menace.  It was quite the patchwork.  It may be anecdotal or speculative, but the general vibe seemed to be that Williams was unhappy with how the score was edited, as Lucas continued picture edits well past the main and pickup session dates.  Conrad, do you remember anything like this?
 
Dear Brian: 

Yes, I do remember that there were a number of edits after the music had been “finalize”. 
 
What I was told by “secondary sources” was a tale that went something like this:
 
Without naming names, during scoring, a friend of Lucas’s who was attending the recording session, suggested that he re-cut the film so that the cuts between the various arenas of conflict would become faster and drive toward the “ simultaneous climax “ of all the story lines (at least, in a cinematic sense-  a la  Griffith’s “Intolerance “.)

From what I was told, as JW was obligated to another project, he was unavailable to do a “re-write” — and, I’m certain, he knew this was more an “editorial” fix rather than a “ completely new blank page solution”. So,  the “conforming “ of the score to the new, inspired cut fell to John’s long time, dear friend and treasured colleague : Kenny Wannberg. 

Whether or not John Williams was happy or not, I have no idea. All I know is that everything seems to have worked out to the satisfaction of the filmmakers and the audience- in this business, that’s a success. 

Make no mistake: that success was and is grounded in the strength of the music, however sliced and diced it was; ALL the ideas are strong and  they managed to remain effective after all the re-editing- guided and informed by Wannberg’s comprehensive and intimate knowledge of BOTH the score and the film.

John and Kenny’s professional “marriages” was one of the best in the business of big talents and bigger egos. To resonate and vibe musically, dramatically, artistically, professionally AND personally with a fellow composer/filmmaker—- that’s a great bond.

Composers today should find their “ music editor “ - a colleague with whom they would trust revealing themselves to.  

Over the course of a project, they will be your advocate to the director, the producers and- most importantly- the film’s sound mixer ( a mix can be a negotiation- and the composer can’t always be in attendance to champion the score).
 
Every Don needs a Sancho. 
 
So, Brian: That’s what I know from my “second hand” hearsay.

In any case, the further we get into Star Wars with all these sequels and “inspired by” spin offs, the less insipid Mr Binks appears in the overall trajectory of the SW universe and the more inspired the Prequels seem contextually.
 
In any case, without John Williams there isn’t a “Star Wars”- only space.

I didn’t know where to put this so please feel free to put this in its proper place.
 
Anyway, I thought this might interest some here. Conrad Pope talked about the music editing in TPM when replying to the following question on the Conrad Pope Orchestration Facebook group.

https://www.facebook.com/share/p/eC1WfYvDdkGxLFNt/?
 
Question: I remember a Youtube video (now unfindable, apparently) showing all the music edits made to the final reel of The Phantom Menace.  It was quite the patchwork.  It may be anecdotal or speculative, but the general vibe seemed to be that Williams was unhappy with how the score was edited, as Lucas continued picture edits well past the main and pickup session dates.  Conrad, do you remember anything like this?
 
Dear Brian: 

Yes, I do remember that there were a number of edits after the music had been “finalize”. 
 
What I was told by “secondary sources” was a tale that went something like this:
 
Without naming names, during scoring, a friend of Lucas’s who was attending the recording session, suggested that he re-cut the film so that the cuts between the various arenas of conflict would become faster and drive toward the “ simultaneous climax “ of all the story lines (at least, in a cinematic sense-  a la  Griffith’s “Intolerance “.)

From what I was told, as JW was obligated to another project, he was unavailable to do a “re-write” — and, I’m certain, he knew this was more an “editorial” fix rather than a “ completely new blank page solution”. So,  the “conforming “ of the score to the new, inspired cut fell to John’s long time, dear friend and treasured colleague : Kenny Wannberg. 

Whether or not John Williams was happy or not, I have no idea. All I know is that everything seems to have worked out to the satisfaction of the filmmakers and the audience- in this business, that’s a success. 

Make no mistake: that success was and is grounded in the strength of the music, however sliced and diced it was; ALL the ideas are strong and  they managed to remain effective after all the re-editing- guided and informed by Wannberg’s comprehensive and intimate knowledge of BOTH the score and the film.

John and Kenny’s professional “marriages” was one of the best in the business of big talents and bigger egos. To resonate and vibe musically, dramatically, artistically, professionally AND personally with a fellow composer/filmmaker—- that’s a great bond.

Composers today should find their “ music editor “ - a colleague with whom they would trust revealing themselves to.  

Over the course of a project, they will be your advocate to the director, the producers and- most importantly- the film’s sound mixer ( a mix can be a negotiation- and the composer can’t always be in attendance to champion the score).
 
Every Don needs a Sancho. 
 
So, Brian: That’s what I know from my “second hand” hearsay.

In any case, the further we get into Star Wars with all these sequels and “inspired by” spin offs, the less insipid Mr Binks appears in the overall trajectory of the SW universe and the more inspired the Prequels seem contextually.
 
In any case, without John Williams there isn’t a “Star Wars”- only space.

I didn’t know where to put this so please feel free to put this in its proper place.
 
Anyway, I thought this might interest some here. Conrad Pope talked about the music editing in TPM when replying to the following question on the Conrad Pope Orchestration Facebook group.

https://www.facebook.com/share/p/eC1WfYvDdkGxLFNt/?
 
Question: I remember a Youtube video (now unfindable, apparently) showing all the music edits made to the final reel of The Phantom Menace.  It was quite the patchwork.  It may be anecdotal or speculative, but the general vibe seemed to be that Williams was unhappy with how the score was edited, as Lucas continued picture edits well past the main and pickup session dates.  Conrad, do you remember anything like this?
 
Dear Brian: 

Yes, I do remember that there were a number of edits after the music had been “finalize”. 
 
What I was told by “secondary sources” was a tale that went something like this:
 
Without naming names, during scoring, a friend of Lucas’s who was attending the recording session, suggested that he re-cut the film so that the cuts between the various arenas of conflict would become faster and drive toward the “ simultaneous climax “ of all the story lines (at least, in a cinematic sense-  a la  Griffith’s “Intolerance “.)

From what I was told, as JW was obligated to another project, he was unavailable to do a “re-write” — and, I’m certain, he knew this was more an “editorial” fix rather than a “ completely new blank page solution”. So,  the “conforming “ of the score to the new, inspired cut fell to John’s long time, dear friend and treasured colleague : Kenny Wannberg. 

Whether or not John Williams was happy or not, I have no idea. All I know is that everything seems to have worked out to the satisfaction of the filmmakers and the audience- in this business, that’s a success. 

Make no mistake: that success was and is grounded in the strength of the music, however sliced and diced it was; ALL the ideas are strong and  they managed to remain effective after all the re-editing- guided and informed by Wannberg’s comprehensive and intimate knowledge of BOTH the score and the film.

John and Kenny’s professional “marriages” was one of the best in the business of big talents and bigger egos. To resonate and vibe musically, dramatically, artistically, professionally AND personally with a fellow composer/filmmaker—- that’s a great bond.

Composers today should find their “ music editor “ - a colleague with whom they would trust revealing themselves to.  

Over the course of a project, they will be your advocate to the director, the producers and- most importantly- the film’s sound mixer ( a mix can be a negotiation- and the composer can’t always be in attendance to champion the score).
 
Every Don needs a Sancho. 
 
So, Brian: That’s what I know from my “second hand” hearsay.

In any case, the further we get into Star Wars with all these sequels and “inspired by” spin offs, the less insipid Mr Binks appears in the overall trajectory of the SW universe and the more inspired the Prequels seem contextually.
 
In any case, without John Williams there isn’t a “Star Wars”- only space.