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Disco Stu's Isolated Score Videos - John Williams Edition


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Before I say yes, can someone verify something for me?  When you choose the option to open these videos in a new window, the icon that gives you the option to download is NOT there, correct?  Just want to make sure I'm only offering these to stream.

 

Would look like this:

image.png

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Alrighty Jay, here ya go   MAN AGAINST BEAST  

A repository for isolated score videos that I like to make in my spare time.   This thread will be for Williams scores!   This first post will be continuously updated to include al

My last Jaws video!   Music as heard in the film doesn't kick in until about 2 minutes in!  All of "Quint Meets His End" and the first 40 seconds of "Blown to Bits" went unused in the final

So when you run into micro edits in the film are you editing the score or changing the video?

 

I was working on Star Wars and I went with changing the score to fit the movie.  But I'd be curious if anyone went the other way.

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15 minutes ago, Tallguy said:

So when you run into micro edits in the film are you editing the score or changing the video?

 

I was working on Star Wars and I went with changing the score to fit the movie.  But I'd be curious if anyone went the other way.

 

Sometimes I go so far as to try to recreate the edits, but mostly I just let there be an awkward skip to get it "re-lined up."  So yeah, I fit the score to the movie.

 

Anyway, y'all about ready for some shark cage action?!?!

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1 hour ago, Disco Stu said:

 

Anyway, y'all about ready for some shark cage action?!?!

 

Well here it is if you're ready/want it/care or not!

 

The Shark Cage Fugue / The Shark Approaches / The Shark Hits the Cage

 

 

Classic, classic stuff.

 

Side note: I really love that teensy little sound effect when Hooper takes the cork off the spear underwater.

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Caught up and it's brilliant throughout. Does a good job of underlining Williams' score as well as his contribution to Jaws overall. Blown to Bits has long been a favourite and from 3.05 to the destruction of the shark still ratchets up the tension. Good choice to highlight Brody's "smile you sonofa...!" Look forward to more examples of JW's various scores. 

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19 hours ago, kaseykockroach said:

Every time I listen to The Pier Incident, I involuntarily begin screaming CHARLIE TAKE MY WORD FOR IT DON'T LOOK BACK SWIM CHARLIE SWIM. 

I can't control it. It's deeply ingrained within the subconscious. 

 

I can't listen to The Destruction of Alderaan without making that "Bweeeeoooooooooo" noise when they pull the handle on the Death Star.

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On 4/30/2018 at 2:17 PM, Brundlefly said:

I always listen to film music with a gun. When a bang is heard in the movie accompanying the music, I shoot. Therefore listening to E.T. is cheaper than listening to Indiana Jones.

 

1941 saves a little.  Unless it's a concert performance.

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On 4/24/2018 at 8:31 PM, Disco Stu said:

THE FIRST VICTIM

 

 

 

Love these videos you've been doing, Stu. And this cue in particular is one I'll rarely pass up the chance to gush about. It's just traces the emotional arc of the scene so beautifully down to the smallest details. Two wonderfully contrasting moments are those eerie sustained chords, the first at 0:30, which through its harsh dissonance perfectly captures the mortal dread of feeling like WTF was that that just bit me? And the other is at 0:47 when we cut to the friend on the beach, which sounds torn between being dissonant and consonant, so has a kind of frozen quality to it, just as the friend has been immobilized by passing into a drunken stupor.

 

It's almost as if I don't need the images to tell the horrifying scene going on here, it's told so perfectly with the music. And every time I hear it, it fills me with the same morbidly chilling sensation. It's that good.

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On 5/3/2018 at 12:13 AM, Ludwig said:

 

Love these videos you've been doing, Stu. And this cue in particular is one I'll rarely pass up the chance to gush about. It's just traces the emotional arc of the scene so beautifully down to the smallest details. Two wonderfully contrasting moments are those eerie sustained chords, the first at 0:30, which through its harsh dissonance perfectly captures the mortal dread of feeling like WTF was that that just bit me? And the other is at 0:47 when we cut to the friend on the beach, which sounds torn between being dissonant and consonant, so has a kind of frozen quality to it, just as the friend has been immobilized by passing into a drunken stupor.

 

It's almost as if I don't need the images to tell the horrifying scene going on here, it's told so perfectly with the music. And every time I hear it, it fills me with the same morbidly chilling sensation. It's that good.

 

Thanks!  The eerie percussion when she has the brief respite from the horror, holding on to the buoy, is a favorite part.

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3 hours ago, Disco Stu said:

 

Thanks!  The eerie percussion when she has the brief respite from the horror, holding on to the buoy, is a favorite part.

Talking about the Vibes? (which, as originally written, was harp?)
 

Funnily enough, that little "melody" always reminded me a bit of this:
 

 

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1 minute ago, Fal said:

Talking about the Vibes? (which, as originally written, was harp?)
 

 

 

Yep, the extreme lower registers of marimbas/vibraphones always sound so freakin' cool to me.

 

2 minutes ago, Fal said:

Funnily enough, that little "melody" always reminded me a bit of this:

 

Heheh, I can hear it!

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Finally had a chance to catch up on your Jaws videos!

 

The First Victim - Interesting how he had a hit for the first bite of the shark, but then not the next few times she reacts, only when it begins dragging her again, and then it just gets more frenetic from there as the cuts in the scene get shorter and shorter.  BTW, I think your sync is a little off, it seemed the visuals would change before the music by just a little bit.

 

Man Against Beast - This reminds me of something I've been meaning to bring up - I think some of your great videos would be even stronger, if they were given just a little more room to breath before and after the music plays.  This is a perfect example here, because if you started the video on the long shot of Brody chumming the water (either to silence of the film's dialogue), the sudden entrance of Williams' music has so much more of an impact and really shows how he scored the scene, instead of just starting the video mid-way through the shot and having the music just begin with no setup.  Just a suggestion!  Anyways, this cue is of course amazing, I've seen live concerts where they played it live to picture on two separate occasions (as well as the entire film LTP which basically made a third time for me), and its just so good!  The cathartic moment a little after 4 minutes in when the music reaches its climax set to the wide shot of the boat turning with all three men aboard is just great!

 

Montage - Well that's a perfect example, leaving the little bit of dialogue at the beginning before the cue comes in really gives the cue so much more context!  Nice job!  Not much to say about the cue itself other than its the perfectly kind of uplifting and light tone the film needs at this point, it's wonderfully scored.  The end of the video seems to cut off real quick, before the cue has had a chance to properly fade!

 

The Alimentary Canal - Really cool scene that is made much more effective with music playing under it the whole time!  I was glad it was restored for the LTP concerts!  I love some of the shots here, like at the end when Brody and Hooper are in the background behind stuff in the foreground, looks really neat.

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Haha, that was just the page 1 videos, there's so much more!

 

 

Ben Gardner's Boat - More cool music, more cool shots!

 

Father and Son - Wonderful!

 

The Empty Raft - I love how Williams scored the Vertigo shot :)

 

The Pier Incident - I love how effective the music for Brody flipping through the shark book is.  As for the actual pier scene, I much prefer how Williams originally scored the ending, as opposed to the track-job Spielberg did for the final cut.  Awesome to see Williams' intentions restored, thank you!

 

Into The Estuary - Not much to say, more nice work!
 

Phew, I'll have to watch the rest later!

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17 minutes ago, Jay said:

BTW, I think your sync is a little off, it seemed the visuals would change before the music by just a little bit.

 

I think you're right.  This is one of the earliest cues I worked on months ago, so I probably didn't have as much attention to detail as I do now (not that my videos are perfect now).

 

I've thought about including more from the movies, I'll take your suggestion into account.

 

I'll probably get back to doing Williams videos in June, they certainly seem to garner more response!

 

But for now, still posting from Willow and then Rocketeer after that since I still wanted to play with more Horner scores.

 

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Oh take your time.  Like I said, I do these for my own pleasure first.  If anyone else wants to talk about the videos and music I love doing that, but it's not required for me to keep posting them.

 

It's just nice to have a record of them in one place.

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  • 3 weeks later...
On 25. 4. 2018 at 2:31 AM, Disco Stu said:

Just a little taste, here's.....

 

THE FIRST VICTIM

 

Gotta love those trademark Herrmann harps.

 

Great job! :thumbup: My personal favorite has always been the sickening arpeggiated chord at 0:22.

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  • 3 weeks later...

Well gosh it's been a while since I posted in this thread.

 

To celebrate the release of The Cowboys and the most underrated of Williams' multi-film director partnerships (with Mark Rydell), here are 3 cues from their final collaboration.

 

The River

 

Rain Clouds Gather

 

Back From Town (music starts at 0:27)

 

Ancestral Home (music starts at 1:00)

 

It's a wonderful, varied score.  At times overt and sentimental, at others dark and subtle.

 

I especially love "Ancestral Home."  The climax of the film, it's wonderfully expressive and I love the way it builds and builds as the townspeople decide to help Gibson's character.

 

I recommend reading @Incanusreview

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The cues I was able to isolate to picture (even still with some significant editing at that) are among the darker ones on the OST.  It worked out well, I thought it was nice to highlight his subtler work on the score.  The bright, catchy tracks work great on their own.

 

I didn't dig into the in-film score deeply enough to figure out precisely what's going on with the OST.  There's clearly a lot of editing, non-film recordings, or both going on though.

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I've never studied the OST either (and never seen the film anyway), but I think I've read that some or all (or most?) of the tracks on the OST album are indeed a re-recording

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1 minute ago, Jay said:

 I think I've read that some or all (or most?) of the tracks on the OST album are indeed a re-recording

 

The cues I edited to picture could easily be re-recordings.  I just picked the ones that were close enough that I could fit without too much fuss.  The ones that retained their musical flow.

 

1 minute ago, Jay said:

never seen the film anyway

 

I have to admit it wasn't interesting enough for me to watch the whole thing..... great music though!

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  • 1 month later...
4 minutes ago, Tallguy said:

Hi All.  I'm working on that Star Wars thingy.  Is there any point to posting this?  (I'm up to The Little People Work and it's pissing me off.  But it'll be fun when it's done.)

 

Has this been done a hundred times before?

Not the whole score, but some selections:
 

 

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  • 10 months later...

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