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Red Tails (Lucasfilm Production, Music by Terrence Blanchard)


Joe Brausam

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Red Tails is that film about the Tuskegee Airmen that Lucas has been working on for like 4 years.

Blanchard is a jazz artist, pretty darn good too. I think it's a pretty inspired choice.

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Wow! He will be performing with Czech orchestra this July. He will propably make this soundtrack with the same orchestra, so there is a little chance that I will be in a recording studio with Mr. Blanchard. Maybe Mr. Lucas came to Czech Republic either, he was always on the previous recording sessions, isn!t he? :-)

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I'm just glad to hear news about this film. I knew it was finished a while ago, but its release has been a complete mystery. I thought spring 2011; now, I have no idea. It would be nice if we saw a trailer during the showings of either SUPER 8 or COWBOYS & ALIENS. I think the real problem Lucas has had w/ making films over the last 20 years is that his severance from the Director's union in 1980 has barred him from hiring any Hollywood directors (so, he has to work w/ first-time, European, non-union directors), since they're all union. Spielberg only gets to work w/ him because of his Amblin ties, which helps him co-produce alongside Lucasfilm Ltd. (Indy movies), which gives him leeway, because the films are both owned by Lucas and Spielberg. Basically, the industry is setting him up to encounter creative difficulties. And this all stems from Lucas refusing to change the intro crawl of THE EMPIRE STRIKES BACK to fit union rules of film credits. Sucks big time!

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Isn't the actual director for this the same person that worked on the Battlestar Galactica series? Too bad he didn't go the same route with the prequels. I'm really just look forward to seeing "Lucasfilm" at the beginning of a film again, it gives me chills like the "Amblin" logo!

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I'm sure he'll do a decent job, though I've never been a fan of any blanchard score I've heard.

But I would have rathered many other people, including -- off the top of my head:

William Stromberg

Lee Holdridge (he scored, by the way, "The Tuskeegee Airmen")

Joel McNeely

heck, I think Thomas Newman might even do something interesting.

Television-pigeon holded composers:

Ron Jones

Velton Ray Bunch

Jay Chattaway

David Bell

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Wonderful news that I have heard today. George Lucas will come to Prague to watch the scoring sessions for Red Tails. He will come in 5th June and he stays here for a 5 days. I hope that I will have a chance to catch him :-))

Does anybody attend to be in Prague trying to catch him? :))

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There are rules for credits?

I believe that the whole controversy in 1980 started people in the industry to "rethink" those rules. I recall that Alan Ladd, Jr. quit a high position at 20th Century Fox, I believe, due to the demands put upon Lucas to change the "crawl" idea, and do the proper credits, and his defense of Lucas' nod to Flash Gordon intros by noting how many critics and fans thought that what made the beginning of STAR WARS so original was the fact that the movie just began, then Tantive IV and the Star Destroyer sequence was shown. Ladd, Jr. said that the whole continuity of the series would be hurt by the editorial changes, but the answer was, "Lucas is in the Director's Union, and it has always been a rule that all credits for a film must be shown at the start of a film, because audiences don't necessarily sit in their seats to watch the credits at the end of a film, thus keeping credit, promotion, and future employee exposure to those inside-and-outside the movie industry a non-factor." Lucas' answer was, "This is the way I wish to show my film. If you think you can control me, because I'm in the Union, then I'm no longer part of the Union. I'm not paying dues, since I don't need your money. My independent movie made over $297 million, and I'm an independent Director, w/ my own independent film company; and I never wanted to be part of the Hollywood circus, in the first place."(That's why Lucas bought the rights to his first "THX" film, and then AMERICAN GRAFFITI, because he didn't like how the distributors made demands upon him for the release of those films. That's why he created Lucasfilm Ltd., so he had complete creative control...also, so he could give percentages of his films' proceeds to the low-paid actors in his films (Ron Howard, Mark Hamill, Fisher, Ford, etc. own a small amount of the films they appeared in for Lucas, if I'm correct). End game, Ladd, Jr. quit his high position w/ 20th Century Fox, realizing a changing-of-the-guard, and wanting control outside of "the circus", and Lucas was now unable to use his first choice to direct EMPIRE STRIKES BACK, Steven Spielberg, due to his union ties.

The joke, of course, is that films like JAWS, STAR WARS, CLOSE ENCOUNTERS OF THE THIRD KIND, SUPERMAN, RAIDERS, E.T. started a common trend in movie-going, where most audience members stay in their seats when the credits roll, to see how the film was made, and who did the stunts, and where the score was made, who sung the songs, what was the unknown actor's name who played that interesting character in the movie, etc. In many ways, George Lucas and Steven Spielberg were heralds of a new way of experiencing movies, that has now become a mainstay since the 1980s. Another reason why Hollywood tends to keep Spielberg at arm's length, and treats Lucas like the bastard child of a wealthy family that wants nothing to do w/ him. Yet, it's their films collectively that have kept Hollywood's ticket sales always in abundance. See the irony?

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Wonderful news that I have heard today. George Lucas will come to Prague to watch the scoring sessions for Red Tails. He will come in 5th June and he stays here for a 5 days. I hope that I will have a chance to catch him :-))

Does anybody attend to be in Prague trying to catch him? :))

You know where he will be staying?

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There are rules for credits?

I believe that the whole controversy in 1980 started people in the industry to "rethink" those rules. I recall that Alan Ladd, Jr. quit a high position at 20th Century Fox, I believe, due to the demands put upon Lucas to change the "crawl" idea, and do the proper credits, and his defense of Lucas' nod to Flash Gordon intros by noting how many critics and fans thought that what made the beginning of STAR WARS so original was the fact that the movie just began, then Tantive IV and the Star Destroyer sequence was shown. Ladd, Jr. said that the whole continuity of the series would be hurt by the editorial changes, but the answer was, "Lucas is in the Director's Union, and it has always been a rule that all credits for a film must be shown at the start of a film, because audiences don't necessarily sit in their seats to watch the credits at the end of a film, thus keeping credit, promotion, and future employee exposure to those inside-and-outside the movie industry a non-factor." Lucas' answer was, "This is the way I wish to show my film. If you think you can control me, because I'm in the Union, then I'm no longer part of the Union. I'm not paying dues, since I don't need your money. My independent movie made over $297 million, and I'm an independent Director, w/ my own independent film company; and I never wanted to be part of the Hollywood circus, in the first place."(That's why Lucas bought the rights to his first "THX" film, and then AMERICAN GRAFFITI, because he didn't like how the distributors made demands upon him for the release of those films. That's why he created Lucasfilm Ltd., so he had complete creative control...also, so he could give percentages of his films' proceeds to the low-paid actors in his films (Ron Howard, Mark Hamill, Fisher, Ford, etc. own a small amount of the films they appeared in for Lucas, if I'm correct). End game, Ladd, Jr. quit his high position w/ 20th Century Fox, realizing a changing-of-the-guard, and wanting control outside of "the circus", and Lucas was now unable to use his first choice to direct EMPIRE STRIKES BACK, Steven Spielberg, due to his union ties.

The joke, of course, is that films like JAWS, STAR WARS, CLOSE ENCOUNTERS OF THE THIRD KIND, SUPERMAN, RAIDERS, E.T. started a common trend in movie-going, where most audience members stay in their seats when the credits roll, to see how the film was made, and who did the stunts, and where the score was made, who sung the songs, what was the unknown actor's name who played that interesting character in the movie, etc. In many ways, George Lucas and Steven Spielberg were heralds of a new way of experiencing movies, that has now become a mainstay since the 1980s. Another reason why Hollywood tends to keep Spielberg at arm's length, and treats Lucas like the bastard child of a wealthy family that wants nothing to do w/ him. Yet, it's their films collectively that have kept Hollywood's ticket sales always in abundance. See the irony?

It's also a shame.

I don't consider myself particularly nostalgic but I do enjoy the opening credits sequence of classic Hollywod. They put you on a specific mood and the right mindset before the movie starts -- and when it does, you are half immersed into the film's world.

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It's also a shame.

I don't consider myself particularly nostalgic but I do enjoy the opening credits sequence of classic Hollywod. They put you on a specific mood and the right mindset before the movie starts -- and when it does, you are half immersed into the film's world.

Now they often don't even show the main title at the beginning.

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Right. Like how the title for "Batman Begins" is shown after the movie concludes, making you hope you sat through the correct movie if you didn't happen to check your ticket stub before entering the auditorium.

I did like how X-Men: First Class began.

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Right. Like how the title for "Batman Begins" is shown after the movie concludes, making you hope you sat through the correct movie if you didn't happen to check your ticket stub before entering the auditorium.

I did like how X-Men: First Class began.

Nolan films now start suddenly after the logos and have the title at the end. In the Batman films it's very elegant because it opens with the Batman symbol (that establishes the main colour palette and the overall theme for each film), and ends cutting to the title (that basically tells what just happened). In Inception is aalso pretty appropiate, because it plays with the idea of "cinema as a dream". How did I ended up here? And at the end it cuts to the title right after Nolan makes an Inception of the audience making them doubt.

I missed the exact start of First Class.

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Yeah, in Empire, there was no mention of the director's name at the beginning. That might not have been a big deal, but "LUCASFILM" was included at the beginning and the Directors Guild went crazy.

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I'm sure he'll do a decent job, though I've never been a fan of any blanchard score I've heard.

But I would have rathered many other people, including -- off the top of my head:

William Stromberg

Lee Holdridge (he scored, by the way, "The Tuskeegee Airmen")

Joel McNeely

heck, I think Thomas Newman might even do something interesting.

Television-pigeon holded composers:

Ron Jones

Velton Ray Bunch

Jay Chattaway

David Bell

Meh.

They're all half-asleep, auto-pilot choices. Considering the subject matter of the film, Blanchard was the right choice.

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It's also a shame.

I don't consider myself particularly nostalgic but I do enjoy the opening credits sequence of classic Hollywod. They put you on a specific mood and the right mindset before the movie starts -- and when it does, you are half immersed into the film's world.

Now they often don't even show the main title at the beginning.

That's a creative decision, though, isn't it?

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  • 1 month later...

Trailer:

http://movies.yahoo.com/movie/1810095581/video/26098678

GIacchino would have been perfect for this!

I hope LA/Totally games make a SWON 2 videogame based on this :)

The CGI look strange, too bright, but this seems to happen in most HD trailers lately, on screen they look good.

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If the video above is Blanchards film score, it's certainly miles more ambitious in its harmonic language than any other movie score this year. It was too short to make any real judgement but it for sure is more interesting than Giacchino.

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I like the score snippets from the recording sessions. I am not familiar with any work by Blanchard, so I had no idea what to expect, but what I hear does sound promising.

I don't like the trailer, though. My initial impression was Afro-American Michael Bay's Pearl Harbor. I hope the whole movie isn't that sappy.

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