rpvee 805 Posted August 27, 2019 Share Posted August 27, 2019 Is this new/from IX? No music, but very nice to see! Will 1 Link to comment Share on other sites More sharing options...
kelliwisethebrave 54 Posted August 28, 2019 Share Posted August 28, 2019 29 minutes ago, rpvee said: Is this new/from IX? No music, but very nice to see! Laura Dern being there makes me think it was more likely from The Last Jedi. Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted August 28, 2019 Share Posted August 28, 2019 Yes! I'm with Hamill on this. Star Wars deserves American musicians! *salutes* *single tear runs down cheek* crumbs and The Illustrious Jerry 2 Link to comment Share on other sites More sharing options...
gkgyver 1,645 Posted August 28, 2019 Share Posted August 28, 2019 But do American musicians deserve John Williams? Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted August 28, 2019 Share Posted August 28, 2019 He is an American musician Link to comment Share on other sites More sharing options...
Ricardo Mortimer 43 Posted August 28, 2019 Share Posted August 28, 2019 Oh Mark, you are such a nationalist d*ckhead. I'm glad how JW stop him Jacck 1 Link to comment Share on other sites More sharing options...
crumbs 14,316 Posted August 28, 2019 Share Posted August 28, 2019 Seems like a strange thing to pointedly gloat about (musicians in the LSO also have families to feed), but I guess you play to the crowd. MikeH 1 Link to comment Share on other sites More sharing options...
Ricardo Mortimer 43 Posted August 28, 2019 Share Posted August 28, 2019 JW recorded all his best scores with LSO...it wasn't respectful against him. Btw in art doesn't matter what a nation you are. Link to comment Share on other sites More sharing options...
Faleel 5,349 Posted August 28, 2019 Share Posted August 28, 2019 1 hour ago, Ricardo Mortimer said: JW recorded all his best scores with LSO...it wasn't respectful against him. Btw in art doesn't matter what a nation you are. Uhhhh... ET. Close Encounters, Jaws, Schindler's List, Jurassic Park, Memoirs of a Geisha were all recorded in LA.... Link to comment Share on other sites More sharing options...
Ricardo Mortimer 43 Posted August 28, 2019 Share Posted August 28, 2019 16 minutes ago, Fal J. M. Skywalker said: Uhhhh... ET. Close Encounters, Jaws, Schindler's List, Jurassic Park, Memoirs of a Geisha were all recorded in LA.... Star Wars, Superman, The Empire Strikes Back, Raiders of the Lost Ark, Return of the Jedi, Schindler's List too!, Harry Potter 2 Link to comment Share on other sites More sharing options...
Faleel 5,349 Posted August 28, 2019 Share Posted August 28, 2019 Schindler's List was recorded in LA and Boston. (The two songs were recorded in Tell Aviv?) Will 1 Link to comment Share on other sites More sharing options...
Jurassic Shark 12,076 Posted August 28, 2019 Share Posted August 28, 2019 Ok Mark, you had your fifteen seconds. Now, get the fuck out of here - you've already done enough damage to Star Wars by accepting Luke's shitty comeback. Link to comment Share on other sites More sharing options...
Ricardo Mortimer 43 Posted August 28, 2019 Share Posted August 28, 2019 4 hours ago, Fal J. M. Skywalker said: Schindler's List was recorded in LA and Boston. (The two songs were recorded in Tell Aviv?) My source is Wiki. My bad, sorry xD https://en.wikipedia.org/wiki/London_Symphony_Orchestra_filmography Link to comment Share on other sites More sharing options...
Jay 37,364 Posted August 28, 2019 Share Posted August 28, 2019 Any cue with with Itzhak Perlman was recorded in Boston, the rest of the underscore was recorded in LA Link to comment Share on other sites More sharing options...
Remco 685 Posted August 28, 2019 Share Posted August 28, 2019 Look at the last seconds of the vid, score composed by William Ross confirmed! Link to comment Share on other sites More sharing options...
Archive Collection 214 Posted August 31, 2019 Share Posted August 31, 2019 I don't particularly take offence with what Mark is saying, but JW looks quite hurt when he mentions the LSO. Link to comment Share on other sites More sharing options...
crumbs 14,316 Posted August 31, 2019 Share Posted August 31, 2019 JW does seem to have an interesting facial expression when Mark makes that comment, then awkwardly starts pointing out the other celebrities attending the sessions. I'm sure if JW were 10 years younger and London half the distance to LA, he would happily have reunited with the LSO for the sequel trilogy. But circumstances change and he stipulated recording the score in his hometown; perfectly understandable. Clearly the director's penchant for constant revisions of the film edit played a part as well. But that combination of JW, the LSO and Abbey Road will always be my ideal acoustic for Star Wars. Interesting quote on the subject from one of the musicians who played on TFA: Quote "It was in London because (director) George Lucas never wanted to pay any kind of back-end royalty to anybody working on the film, and music is one of those things which has a contract which requires him to pay," Dukov said. The current Star Wars film was directed by J.J. Abrams, and that is one of the reasons the film came to be scored in Los Angeles. "J.J.'s way of working require him to be here in L.A. with his whole team, and that worked in our favor," Dukov said. "Besides that, John (Williams) doesn't want to travel like that any more. So that's how it came to be here." Jurassic Shark and Will 2 Link to comment Share on other sites More sharing options...
Faleel 5,349 Posted August 31, 2019 Share Posted August 31, 2019 What about Anvil? Link to comment Share on other sites More sharing options...
SyncMan 314 Posted August 31, 2019 Share Posted August 31, 2019 What about Anvil? Anvil has been gone for almost 50 years. They were evicted by the owner of the building that the studio rents to. Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted August 31, 2019 Share Posted August 31, 2019 He was asking why Anvil wasn't his ideal room for Star Wars music. The answer is probably crumbs loves the prequel scores more than the OT. I've always really liked the acoustics of the Sony Stage. That doesn't mean I think the sequel scores are better, I just like how the Sony stage sounds, particular with John and Shawn producing. Link to comment Share on other sites More sharing options...
Popular Post crumbs 14,316 Posted September 1, 2019 Popular Post Share Posted September 1, 2019 2 hours ago, Disco Stu said: He was asking why Anvil wasn't his ideal room for Star Wars music. The answer is probably crumbs loves the prequel scores more than the OT. Yep, I prefer the sound of ROTJ-ROTS more than SW/ESB/TFA. TPM is as close to a perfect recording as I've heard (as heard on the UE, not the muddier OST). A shame all the scores have been treated so poorly on album when it comes to AQ. Hopefully I'll be able to re-evaluate my stance once I hear SW and ESB more accurately (please help us, Mike). TFA is probably my least favourite recording & mix of the lot. I'm not sure if that's just Sony (TLJ is a huge improvement in the same room) or was a creative choice, but it doesn't work for me on the OST. Chen G., MikeH, Remco and 2 others 5 Link to comment Share on other sites More sharing options...
Chen G. 3,949 Posted September 9, 2019 Share Posted September 9, 2019 Yes, The Last Jedi sounds SOOO much better. Link to comment Share on other sites More sharing options...
pete 907 Posted September 9, 2019 Share Posted September 9, 2019 On 8/31/2019 at 9:30 PM, crumbs said: I'm sure if JW were 10 years younger and London half the distance to LA, he would happily have reunited with the LSO for the sequel trilogy. It was also a scheduling issue. The LSO just wasn't available for all the staggered recording sessions. Link to comment Share on other sites More sharing options...
Montre 79 Posted September 10, 2019 Share Posted September 10, 2019 On 8/31/2019 at 9:11 PM, crumbs said: TFA is probably my least favourite recording & mix of the lot. I'm not sure if that's just Sony (TLJ is a huge improvement in the same room) or was a creative choice, but it doesn't work for me on the OST. I’m with you. I almost never listen to this soundtrack, because I can hear how good the music is compositionally and how amazing it would sound with the LSO/Abbey road treatment. Link to comment Share on other sites More sharing options...
Not Mr. Big 4,639 Posted September 10, 2019 Share Posted September 10, 2019 You people are fucking insane! Cerebral Cortex and Disco Stu 2 Link to comment Share on other sites More sharing options...
Tom 4,658 Posted September 10, 2019 Share Posted September 10, 2019 26 minutes ago, Montre said: I’m with you. I almost never listen to this soundtrack, because I can hear how good the music is compositionally and how amazing it would sound with the LSO/Abbey road treatment. Yeah, I know. I sleep on the lawn because I cannot live in my house knowing a better builder could have followed the blueprint just a bit better. Ollie and Bayesian 2 Link to comment Share on other sites More sharing options...
Montre 79 Posted September 10, 2019 Share Posted September 10, 2019 I guess it probably is a bit insane. Time for me to get over it and go listen to TFA for what it is. Link to comment Share on other sites More sharing options...
Popular Post crumbs 14,316 Posted September 10, 2019 Popular Post Share Posted September 10, 2019 I can see where @Montre is coming from. Hearing TFA live was a revelation. All those classic Williams Star Wars flourishes are all over that score, but are practically inaudible in the film thanks to the terrible sound mix (and the music mix itself does no favours to balancing all the voices in the orchestra). TLJ was a huge improvement on both fronts. Score was treated far better by the sound mixers (no doubt JW's public comments helped his cause), and the mix of the score itself was greatly improved and less weighted towards the punchy dry brass. Chen G., DarthDementous and MikeH 3 Link to comment Share on other sites More sharing options...
Popular Post Chen G. 3,949 Posted September 10, 2019 Popular Post Share Posted September 10, 2019 I don't think there was ever such a distinct change in sound between two Star Wars scores within the same trilogy. With The Force Awakens, I forgot there was music in the film until the very end. With The Last Jedi, the music was a presence from the very first minute, and really throughout the picture. Delightful. Smaug The Iron, MikeH and crumbs 3 Link to comment Share on other sites More sharing options...
Tom 4,658 Posted September 10, 2019 Share Posted September 10, 2019 While I find the performances on TFA and TLJ to be top-tier, my dream would be for William to fly to London or the LSO come to LA and record a definitive 2 (3?) CD set of all the SW concert pieces. Chen G. and MikeH 2 Link to comment Share on other sites More sharing options...
crumbs 14,316 Posted September 10, 2019 Share Posted September 10, 2019 I still wonder if Galaxy's Edge was meant to be conducted by Williams on his ill-fated trip to London last year... Link to comment Share on other sites More sharing options...
Tom 4,658 Posted September 10, 2019 Share Posted September 10, 2019 17 minutes ago, crumbs said: I still wonder if Galaxy's Edge was meant to be conducted by Williams on his ill-fated trip to London last year... I am pretty sure the Ross interview mentions that it was recorded late summer, and thus prior to William's trip, but he may have intended to re-record it. Link to comment Share on other sites More sharing options...
MikeH 768 Posted September 10, 2019 Share Posted September 10, 2019 7 hours ago, Chen G. said: I don't think there was ever such a distinct change in sound between two Star Wars scores within the same trilogy. With The Force Awakens, I forgot there was music in the film until the very end. With The Last Jedi, the music was a presence from the very first minute, and really throughout the picture. Delightful. Ya know, I still don’t understand the purpose of having staggered scoring sessions for months on end for JJ’s films. Why doesn’t J.J. just work with a temp score during editing? Seems like an absurd request to ask JW to write and create hours of ultimately unused music just because you can’t figure out the film you want to make. And for all that extra time, TFA still managed to be pretty hacked up in the end. Especially compared to TLJ, which feels much more coherent and smooth (not like sand). I do wonder if JW requested anything different this go around (process wise). @karelm have you heard anything through the grapevine about his honest feelings of working on these new films? Link to comment Share on other sites More sharing options...
Remco 685 Posted September 10, 2019 Share Posted September 10, 2019 I’d say TLJ is as hacked up as TFA is, but in a more subtle way I guess, there’s not a lot of obvious tracking. ‘Escape’ is the worst offender, but in general the ISO score is full of noticeable splices. Will 1 Link to comment Share on other sites More sharing options...
Popular Post karelm 2,913 Posted September 11, 2019 Popular Post Share Posted September 11, 2019 7 hours ago, MikeH said: Ya know, I still don’t understand the purpose of having staggered scoring sessions for months on end for JJ’s films. Why doesn’t J.J. just work with a temp score during editing? Seems like an absurd request to ask JW to write and create hours of ultimately unused music just because you can’t figure out the film you want to make. And for all that extra time, TFA still managed to be pretty hacked up in the end. Especially compared to TLJ, which feels much more coherent and smooth (not like sand). I do wonder if JW requested anything different this go around (process wise). @karelm have you heard anything through the grapevine about his honest feelings of working on these new films? ALOT more time, work, and focus goes in to editing the film than scoring the film. Please watch this. So JJ is micro-tweaking and JW is a passenger to some degree. First first version of the score is going to be solid but when a film loses a few seconds in a scene, the score editor can cut the score but a great composer would prefer to change the score to fit the new scene and I think that is what happens with JJ and JW. Since digital editing has pushed the ease of editing to the last second, you have less reliance on story boarding because just overshoot and edit it down. This is much more common today than it was when you had to physically edit film by cutting tape like in the 1970's and 80's. Will, MikeH and Chen G. 2 1 Link to comment Share on other sites More sharing options...
Chen G. 3,949 Posted September 11, 2019 Share Posted September 11, 2019 Yeah, in all fairness to Williams, the most important thing is to get the edit of the film right. If it causes some other post-production departments - including music - to work overtime or make compromises, so be it. Editing down to the release date wasn't entirely unheard of during the film-cutting days: Sir David Lean did it on virtually all his epics. Link to comment Share on other sites More sharing options...
Docteur Qui 1,544 Posted September 11, 2019 Share Posted September 11, 2019 IMO it just goes to show JW's willingness to keep abreast of the changing nature of filmmaking. He could easily have said he'd only do the scores on his terms, i.e. with a locked picture edit a few months out from release, but that could've meant (as pointed out above) having his music butchered in the process, or him walking away altogether. As it stands he was willing to make the compromise to deliver the best product possible. The bonus is having him still insist on producing the OST albums his own way so we can get a sense of the musical intent away from the film's editing needs. The complete music inevitably ends up in our hands anyway so I'm glad we get the best of both worlds. Will 1 Link to comment Share on other sites More sharing options...
Tom 4,658 Posted September 12, 2019 Share Posted September 12, 2019 21 minutes ago, Docteur Qui said: IMO it just goes to show JW's willingness to keep abreast of the changing nature of filmmaking. He could easily have said he'd only do the scores on his terms, i.e. with a locked picture edit a few months out from release, but that could've meant (as pointed out above) having his music butchered in the process, or him walking away altogether. As it stands he was willing to make the compromise to deliver the best product possible. Yes, I admire him for rolling with the punches (and feel a bit bad for him). However, I do not think he could demand such terms--not if he actually wanted to score the movie. Link to comment Share on other sites More sharing options...
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