Jay 37,359 Posted June 27, 2022 Author Share Posted June 27, 2022 4 minutes ago, Jean-Baptiste Martin said: My modest contribution: http://jameshorner-filmmusic.com/willow-expanded-edition-our-exclusive-review/ Oh, wow! So "Airk's Army" features a bunch of unused thematic material that got replaced in the final film with that basic drum thumping. Wow! And wow! That short cue in the movie where Willow uses his wand for the first time is part of "The Island"! That explains why that track is so long! Wow! Huh, intersting; It sounds like the first 45 seconds of that track are a wild cue for the love powder, and then Howard put it in both tavern and snow tent scene. Fascinating! Andy and Yavar Moradi 1 1 Link to comment Share on other sites More sharing options...
Jean-Baptiste Martin 254 Posted June 27, 2022 Share Posted June 27, 2022 5 minutes ago, Jay said: Oh, wow! So "Airk's Army" features a bunch of unused thematic material that got replaced in the final film with that basic drum thumping. Wow! Yes I had fun putting the music back on the film and it works perfectly. Yavar Moradi 1 Link to comment Share on other sites More sharing options...
Jay 37,359 Posted June 27, 2022 Author Share Posted June 27, 2022 Amazing! Someone needs to make a video and share it here! Yavar Moradi 1 Link to comment Share on other sites More sharing options...
Positivatee 327 Posted June 27, 2022 Share Posted June 27, 2022 Ordered! Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted June 27, 2022 Share Posted June 27, 2022 Ordered! Link to comment Share on other sites More sharing options...
Andy 4,127 Posted June 28, 2022 Share Posted June 28, 2022 Conjured! I mean, ordered! bollemanneke 1 Link to comment Share on other sites More sharing options...
Bespin 8,481 Posted June 28, 2022 Share Posted June 28, 2022 I feel a lot of pressure. bollemanneke 1 Link to comment Share on other sites More sharing options...
Edmilson 7,441 Posted June 28, 2022 Share Posted June 28, 2022 Interesting placement of Willow's Theme. Usually I prefer when the concert suites are placed by the end of the program, after the end credits. But in this case, like with the OST, I think it was put there because otherwise we'd have a lot of uninterrupted action music, which could make listening to the album a bit exhausting. Still, I'm going to try listen to it in both ways: with Willow's Theme in its intended place and with it after the end titles. Link to comment Share on other sites More sharing options...
Popular Post Jay 37,359 Posted June 28, 2022 Author Popular Post Share Posted June 28, 2022 "Willow's Theme" is basically just a shortened version of the end credits, so it would be extremely redundant to program it immediately afterwards. If all the source music had been found as well as some alternates, and those were all placed after the end credits as a bonus track section, then it would make sense to end disc two with "Willow's Theme" as a grand finale. But in absence of that, the only logical place to program it is as the opening of either disc 1 or disc 2. crocodile, Yavar Moradi and 1977 3 Link to comment Share on other sites More sharing options...
bruce marshall 1,315 Posted June 28, 2022 Share Posted June 28, 2022 Apparently the track list is based on the one Horner created. Thank the heavens! His programs are ALWAYS very efficient and listenable! I just borrowed the bluray to check it out! Link to comment Share on other sites More sharing options...
Popular Post crocodile 8,012 Posted June 28, 2022 Popular Post Share Posted June 28, 2022 An article about recording of the score from 1988. Willow: The Recording of a Film Soundtrack Music Karol Edmilson, Andy, mahler3 and 5 others 4 1 3 Link to comment Share on other sites More sharing options...
Amer 2,107 Posted June 28, 2022 Share Posted June 28, 2022 Interesting read above. Just curious which score got shifted from Budapest to Germany? I remember TOTAL RECALL was shifted from Germany to London when the orchestra couldnt handle the score but this was much later in 1989-90 period. Link to comment Share on other sites More sharing options...
Naïve Old Fart 9,527 Posted June 28, 2022 Share Posted June 28, 2022 64 track?! This new release is going to sound phenomenal. Was THE NAME OF THE ROSE really completely electronic? Link to comment Share on other sites More sharing options...
Marian Schedenig 8,193 Posted June 28, 2022 Share Posted June 28, 2022 12 hours ago, Jay said: "Willow's Theme" is basically just a shortened version of the end credits, so it would be extremely redundant to program it immediately afterwards. If all the source music had been found as well as some alternates, and those were all placed after the end credits as a bonus track section, then it would make sense to end disc two with "Willow's Theme" as a grand finale. But in absence of that, the only logical place to program it is as the opening of either disc 1 or disc 2. Or at the end as a bonus track, because those are usually redundant anyway and ideally skipped for "normal album listening". Link to comment Share on other sites More sharing options...
GerateWohl 4,365 Posted June 28, 2022 Share Posted June 28, 2022 When I saw the movie in cinema, when it came out, it felt like a weird mixture of numerous other tales from Lord of the Rings, Merlin, Gulivers Travels, the Wanderings of Odysseus, Snowwhite and of course the bible. It was charming in a way, but, when I started watching it on television recently I realized, it obviously hadn't aged very well. I guess, the score and its expansion is great for everyone who resonates with James Horner's musical themes, which is mostly not the case for me. Most of his melodies simply do not get stuck in my head or if they do, the rest of the scoring mostly does not leave an impression to me. With Krull James Horner was one of the first filmmusic composers that I got to know and there is a handful of scores that I really like. But Willow, like most Horner scores, is out of my scope. But I wish all the fans big fun with this expansion. Link to comment Share on other sites More sharing options...
Jay 37,359 Posted June 28, 2022 Author Share Posted June 28, 2022 On 25/06/2022 at 10:24 AM, Andy said: Somehow, for me, Willow is a better listening journey than its closest cousin, Krull. Krull seems to start at level 11, and doesn't really do much narratively. You cold almost shuffle the tracks and get the same experience. Willow does have more maturity and a bit more soul to its themes, and it does tell the story musically, rather than just accompany the action. YESSSSSSSSSS! I agree 100%! Link to comment Share on other sites More sharing options...
Jim Ware 526 Posted June 28, 2022 Share Posted June 28, 2022 6 hours ago, Amer said: Interesting read above. Just curious which score got shifted from Budapest to Germany? I remember TOTAL RECALL was shifted from Germany to London when the orchestra couldnt handle the score but this was much later in 1989-90 period. Superman IV shifted from Germany to London too. Goldsmith was recording in Budapest fairly frequently, so could be one of his from the mid to late eighties? Amer 1 Link to comment Share on other sites More sharing options...
mstrox 6,651 Posted June 28, 2022 Share Posted June 28, 2022 Really looking forward to this one. My #1 Horner score - and maybe the only one I really dig enough to get an expansion. Interested to hear the stuff that wasn’t on the OST. Link to comment Share on other sites More sharing options...
publicist 4,643 Posted June 28, 2022 Share Posted June 28, 2022 13 minutes ago, Jim Ware said: Superman IV shifted from Germany to London too. Goldsmith was recording in Budapest fairly frequently, so could be one of his from the mid to late eighties? No, he stayed there, no recordings of his were done in Germany. Maybe Joel's Moon 44. Amer 1 Link to comment Share on other sites More sharing options...
Jim Ware 526 Posted June 28, 2022 Share Posted June 28, 2022 31 minutes ago, publicist said: No, he stayed there, no recordings of his were done in Germany. Maybe Joel's Moon 44. Chris Young's Hellraiser 2? Link to comment Share on other sites More sharing options...
Popular Post SyncMan 314 Posted June 28, 2022 Popular Post Share Posted June 28, 2022 8 hours ago, Amer said: Just curious which score got shifted from Budapest to Germany? Bill Conti's 'Master of the Universe' (1987). See page 8 on the liner notes from Intrada's 2012 CD release-ISC vol. 205. Quote Recording the music would be equally challenging, as Conti’s complex, note-filled score overwhelmed its initial players in Budapest (sessions Conti wasn’t able to attend). Quickly relocating the recording to Munich for the city’s Graunke Orchestra, Conti was able to finish the score on time with the aid of conductors Bruce Miller and Harry Rabinowitz, with Dan Wallin piecing together the best performance to create an ultimately cohesive score. Amer, Yavar Moradi and publicist 2 1 Link to comment Share on other sites More sharing options...
publicist 4,643 Posted June 28, 2022 Share Posted June 28, 2022 Only Jerry soldiered on. Link to comment Share on other sites More sharing options...
Popular Post Jay 37,359 Posted June 28, 2022 Author Popular Post Share Posted June 28, 2022 JAMES HORNER: WALL-TO-WALL IN ‘WILLOW’ Interview by David Leytze published July 1988 in Keyboard Vol. 14 No. 7 It’s not the name of a tree, and it’s not the name of Ford’s latest sub-compact car. “Willow” is the name of George Lucas’s newest epic adventure, named after the movie’s unlikely hero, Willow Ufgood (played by Warwick Davis). Like most Lucas films, “Willow” involves heroes and heroines, good guys and bad guys, and the obligatory theme of good vs. evil. Also in traditional Lucas fashion, “Willow” is extravagant. This time around, though, Lucas forfeited both the producer and director chairs to a couple of big guns; the movie was produced by Nigel Wooll and directed by Ron Howard. And when those big guns wanted epic music for an epic adventure, the right choice was James Horner. Since “Willow” wasn’t released at the time of this writing, Horner’s LucasFilm contract prevented him from talking to use in detail about the movie. However, he was able to tell us how his experience scoring “Willow” was different than anything he had done to date. How was “Willow” different from any of the other projects you had done in the past? I used women’s and boy’s choirs, plus more electronic stuff and more ethnic instruments than I’ve used before. Was the use of the electronics different from any of the previous things that you’ve done? I wasn’t using any radical new pieces of machinery; I don’t often change machines. It takes me too long to learn how to use and program one machine, let alone switch around. As far as the actual sounds went, there were a lot of different sounds that I’ve never used before – atmospheric choral sounds and other sounds that blended well with the ethnic instrumentation. How did you use the ethnic instruments? They were mostly flutes and shakuhachis, which are Japanese flutes, and South American flutes of various sizes, shapes, and sounds. I was using the group Incantation to play on the sessions; they specialize in ethnic styles. The sounds that I was after were a mesh of all these elements. Were there any particular ideas that you had in the actual scoring of the music with these instruments, any particular things that you went after that you felt were new and different? I had never used all of those elements together before. In terms of any unique approach, I believe that there are very few unique approaches to be tried anymore with live performers. I say the players down in front of their parts and told them what I wanted, and that was that. The fact that it comes out sounding the way it does it because of the sound of the instrument or the unique coloring that the player puts on it. I didn’t have them doing acrobatics while playing to get specific weird sounds or anything like that. Are there any particular scenes or particular parts in the movie that you had trouble with, that you really enjoyed, or that were really difficult to get together? There are roughly 117 minutes of music in the score. 95% of the cues in “Willow” are over five minutes long. I would even say 90% of those cues are seven or eight minutes long. So each cue was a little symphony movement in itself. And in the course of any one cue, I might have had 50 synchronization points that I was trying to hit. Some subtle, some not so subtle – trumpet fanfares, or weird orchestral textures, or stuff I was doing with the shakuhachi. Can you give an example from the movie? I’m not allowed to talk specifically about the film. Just about every sequence in the film had some special effect or something going on which required a unique approach, or it required me hitting something on the screen. It was a major job getting through almost every sequence, because they were so long. And primitive instruments don’t always play in tune. If you’re playing a melody six minutes into a cue, and the panpipe comes in and the fellow’s note cracks or the instrument doesn’t speak properly, the whole six minutes is shot. You either have to do the whole cue again or do an innercut. There were a lot of complicated things going on just because of the length of the cues. Do you ever feel limited as a composer and musician in the movie domain, that you can’t really stretch out? Was “Willow” a breath of fresh air, musically? Yes, it was. Reel one, for instance, is literally music from the very beginning of the main credits all the way to the end of the reel. And reel one goes into reel two, where music starts at the head and goes straight through to the end. And that goes to reel three and reel four and reel five and up to reel 12 like that. In the movie, there was a total of about eight minutes that wasn’t scored. I’ve done long cues on other films, but I’ve never done so many for one movie. Every cue in “Willow” is a long cue. I think my longest score before this was about 92 minutes or 88 minutes, somewhere in there. This is sort of a world record for me. Do you enjoy that freedom to stretch out? Oh, yes, very much. But it’s a complicated thing. Not only do you have to keep your thoughts straight in the course of eight minutes and be able to make a beautiful piece of music, but you have to keep your thoughts straight in the whole piece, in the whole movie, so that you have recurring ideas or new twists on old ideas. It’s a huge canvas that you have to keep very tight control of. You really have to keep your wits about you. Especially when you’re doing the reels out of sequence, as I was. I would write something in reel three and then I’d have to jump to reel nine, because reels four, five, six, seven, and eight weren’t ready yet. So I’d jump to reel nine, then to reel six, then to reel one and two. You have to keep all your ideas in your head all the time so that you know what you’ve done and what you’re going to do. You have to keep all the balls in the air at the same time. When you’re scoring a particular cue, you’re trying to describe the action through music. Do you score according to the whole eight-minute segment, or do you look at it sort of action by action? I watch the whole sequence I’m going to score and sort of get the sweep of it. So, it’s an overall feeling, then? Yes, an overall feeling and mood. I find out where I have to twist an idea or change a mood. In special effects films you’ll be going along and then all of a sudden you’ll cut to a different sequence or a different scene, and then you’ll cut back to the original scene, and so forth. You have to go with the cuts, you can’t score right across them. You have to acknowledge different people, different characters, different time. Also you have the taste of the filmmakers to contend with, and they want certain things accentuated or not accentuated. So it’s a real challenge to get through an eight-minute cue. To answer your question, you do have a sense of the overall feel, but within that feel you have to acknowledge very specific actions and very specific changes. Incanus, Andy, Jim Ware and 1 other 4 Link to comment Share on other sites More sharing options...
crocodile 8,012 Posted June 28, 2022 Share Posted June 28, 2022 Just received shipping confirmation. Karol Link to comment Share on other sites More sharing options...
Jim Ware 526 Posted June 28, 2022 Share Posted June 28, 2022 3 hours ago, Jay said: I think my longest score before this was about 92 minutes or 88 minutes, somewhere in there. This is sort of a world record for me. Krull is 93ish minutes I think, but comparing it back to back with Willow shows how much he refined his style in the intervening five years. 1977 1 Link to comment Share on other sites More sharing options...
Jay 37,359 Posted June 28, 2022 Author Share Posted June 28, 2022 The most interesting thing in that interview is that he says they recorded 117 minutes of score for Willow. The 108 minutes on the Intrada CD plus the remaining 6 1/2 minutes of music heard in the film that isn't on it means there still remains 2 1/2 minutes that cannot be heard anywhere (if the 117 minute number is accurate). It's most likely just full versions of the tavern source music that isn't heard in full in the final film, but you never know! Yavar Moradi and enderdrag64 2 Link to comment Share on other sites More sharing options...
Jay 37,359 Posted June 28, 2022 Author Share Posted June 28, 2022 "PLEASE NOTE - as expected we are experiencing a high volume of orders for Willow. If you are just placing your order now, be aware that the earliest it will ship is likely between July 5 - 7. Also be aware that emailing Intrada to check on the status of your order will not make your order go out any faster - the only thing it will do is slow us down. Please have mercy!" https://store.intrada.com/s.nl/it.A/id.12619/.f Edmilson 1 Link to comment Share on other sites More sharing options...
Disco Stu 15,495 Posted June 29, 2022 Share Posted June 29, 2022 I got a shipment notification for Willow a few hours ago. Link to comment Share on other sites More sharing options...
crocodile 8,012 Posted June 29, 2022 Share Posted June 29, 2022 15 hours ago, Jay said: The most interesting thing in that interview is that he says they recorded 117 minutes of score for Willow. The 108 minutes on the Intrada CD plus the remaining 6 1/2 minutes of music heard in the film that isn't on it means there still remains 2 1/2 minutes that cannot be heard anywhere (if the 117 minute number is accurate). It's most likely just full versions of the tavern source music that isn't heard in full in the final film, but you never know! So are these 6 1/2 minutes just source music plus missing 20 seconds? 13 hours ago, Jay said: "PLEASE NOTE - as expected we are experiencing a high volume of orders for Willow. If you are just placing your order now, be aware that the earliest it will ship is likely between July 5 - 7. Also be aware that emailing Intrada to check on the status of your order will not make your order go out any faster - the only thing it will do is slow us down. Please have mercy!" https://store.intrada.com/s.nl/it.A/id.12619/.f On the bright side, I am glad the sales are going great. Karol mahler3 1 Link to comment Share on other sites More sharing options...
Popular Post Jay 37,359 Posted June 29, 2022 Author Popular Post Share Posted June 29, 2022 5 hours ago, crocodile said: So are these 6 1/2 minutes just source music plus missing 20 seconds? There's 6 5 bits of music in the final film that cannot be found on the Intrada CD: BD timestamp 12:03-13:50 (1:47) = source cue "Diggery Doo" BD timestamp 23:20-23:45 (0:25) = a revised ending of 3M1 that is different from Horner's original version heard on the OST or Intrada Nevermind, this is just material tracked in from 1M1 BD timestamp 32:26-34:40 (2:14) = a revised opening of 4M1 that is different from Horner's original version heard on the Intrada album BD timestamp 44:13-45:30 (1:17) = source cue "Tavern" BD timestamp 46:22-46:47 (0:25) = source cue "Tavern #2" BD timestamp 56:41-57:13 (0:32) = score cue "Bavmorda Slaps Kael" Basically they are the least interesting 6 1/2 6 minutes of music in the entire film, and the Intrada CD has everything important on it! Raiders of the SoundtrArk, A. A. Ron, crocodile and 1 other 3 1 Link to comment Share on other sites More sharing options...
Luke Skywalker 1,795 Posted June 29, 2022 Share Posted June 29, 2022 I suppose bavmordas slap is not on the level of arriving to daedalus… Yavar Moradi 1 Link to comment Share on other sites More sharing options...
Jay 37,359 Posted June 29, 2022 Author Share Posted June 29, 2022 No, it's literally the least interesting cue in the entire score Link to comment Share on other sites More sharing options...
crocodile 8,012 Posted June 29, 2022 Share Posted June 29, 2022 So, ignoring the source music, it's 2:40 minutes of alternates and half a minute of actual score missing. Not a whole lot. I can live with that. Thanks for the timestamps. I shall check those out on Disney+ tonight. Karol Edmilson and Yavar Moradi 2 Link to comment Share on other sites More sharing options...
Jay 37,359 Posted June 29, 2022 Author Share Posted June 29, 2022 The revised ending of 3M1 is very similar to the familiar album ending. You can hear it at 3:38-4:06 in this video The revised opening of 4M1 is just a simple repeated drum hit. You can hear it at 2:55-5:08 in this video Bavmorda Slaps Kael is 7:08-7:40 of this video As you can tell these are the least interesting bits of score in the whole movie Though obviously they would have made nice bonus tracks had the elements survived ThePenitentMan1 and crocodile 2 Link to comment Share on other sites More sharing options...
ThePenitentMan1 743 Posted June 29, 2022 Share Posted June 29, 2022 26 minutes ago, Jay said: The revised ending of 3M1 is very similar to the familiar album ending. You can hear it at 3:38-4:06 in this video If it's similar to the album ending, then what about the ending was changed? Penitent, who has only just recently seen this film and is eager to learn as much about this score as possible. Link to comment Share on other sites More sharing options...
Jay 37,359 Posted June 29, 2022 Author Share Posted June 29, 2022 11 minutes ago, ThePenitentMan1 said: If it's similar to the album ending, then what about the ending was changed? I mean, just listen to the album (2:06-2:42 of track 3) and then listen to this - they are slightly different. Why? I have no idea. Ron Howard asked Horner to re-write it, but he liked his original version better so put that on the album? Who knows! The Omni book also matches the album, so is clearly how Horner originally envisioned the cue to end. The film ending is so similar, it could actually be a weird tracking/edit job and not an actual later-recorded pickup ending - hard to tell, to be honest. Yavar Moradi 1 Link to comment Share on other sites More sharing options...
ThePenitentMan1 743 Posted June 29, 2022 Share Posted June 29, 2022 55 minutes ago, Jay said: I mean, just listen to the album (2:06-2:42 of track 3) and then listen to this - they are slightly different. Why? I have no idea. Ron Howard asked Horner to re-write it, but he liked his original version better so put that on the album? Who knows! I just compared the two directly and all I came up with was this: There's also what seems to be a small edit in the film, shortly before the baby vomit shot. I suppose it could just as easily have been the revised insert, I suppose. Album version I used here was this video. Link to comment Share on other sites More sharing options...
Jay 37,359 Posted June 29, 2022 Author Share Posted June 29, 2022 So what are you saying? The film ending just edits out a bit of the cue but doesn't contain anything that isn't heard on the album? Link to comment Share on other sites More sharing options...
crocodile 8,012 Posted June 29, 2022 Share Posted June 29, 2022 Oh yeah, not exactly a huge loss. Thanks @Jay! Karol Link to comment Share on other sites More sharing options...
ThePenitentMan1 743 Posted June 29, 2022 Share Posted June 29, 2022 23 minutes ago, Jay said: So what are you saying? The film ending just edits out a bit of the cue but doesn't contain anything that isn't heard on the album? I mean, I trust you know this score better than I do, so if you have evidence to the contrary (The Omni book, for instance), I'd love to see it. I just want to know what is going on with this cue/track. I take it that gigantic missing chunk on the album track is the start of the cue 3m2 Bavmorda & Kael? Link to comment Share on other sites More sharing options...
Jay 37,359 Posted June 29, 2022 Author Share Posted June 29, 2022 16 minutes ago, ThePenitentMan1 said: I mean, I trust you know this score better than I do, so if you have evidence to the contrary (The Omni book, for instance), I'd love to see it. I don't understand what you are saying here. Like I already said above, the Omni book matches the OST track. The film sounds different. I already said I don't know why. It's either a pick-up ending Horner recorded later, or it's a edit/tracking job by the music editors. I think you are trying to tell us that it is the latter via your screenshot, but I don't know because you only posted the screenshot - you didn't explain it, and crucially, it doesn't have timestamps showing, so I don't have a clue what I'm looking at. 16 minutes ago, ThePenitentMan1 said: I just want to know what is going on with this cue/track. I take it that gigantic missing chunk on the album track is the start of the cue 3m2 Bavmorda & Kael? I don't understand what you are saying here. OST track 3 "Willow's Journey Begins" is comprised of 0:00-2:42 = 3M1 Willow's Farewell ("Saying Goodbye" in the Omni book) 2:42-end = 3M3 Willow's Journey Begins ("Search / Travel Montage" in the Omni book) 3M2 Bavmorda's Castle ("Bavmorda & Kael" in the Omni book) was not on the OST album. It debuts on the Intrada CD as "Bavmorda's Castle". Link to comment Share on other sites More sharing options...
ThePenitentMan1 743 Posted June 29, 2022 Share Posted June 29, 2022 11 minutes ago, Jay said: Wait, what? I thought you were telling me what was going on? I'm asking you, what are you trying to show us with that screen shot? You provided the screenshot, but didn't explain it. I thought you were going to tell me what I was missing! At any rate, my biggest point of confusion was that chunk missing in the middle of the track (which I'd assumed was a long 5+ minute cue)... And I also happened upon the microedit to 3m1. Then I had the brilliant idea to go back and edit my post: Quote There's also what seems to be a small edit in the film, shortly before the baby vomit shot. I suppose it could just as easily have been the revised insert, I suppose. Quote OST track 3 "Willow's Journey Begins" is comprised of 0:00-2:42 = 3M1 Willow's Farewell 2:42-end = 3M3 Willow's Journey Begins 3M2 is on the Intrada CD as disc 1, track 6, "Bavmorda's Castle" That answers my biggest point of confusion; I thought that might've been what you were referring to this whole time, except it wasn't. Sorry about the confusion! Link to comment Share on other sites More sharing options...
Bounty95 558 Posted June 29, 2022 Share Posted June 29, 2022 1 hour ago, Jay said: The film ending is so similar, it could actually be a weird tracking/edit job and not an actual later-recorded pickup ending - hard to tell, to be honest. I think it's tracked from Elora Danan (from 7:34) Jay 1 Link to comment Share on other sites More sharing options...
Jay 37,359 Posted June 29, 2022 Author Share Posted June 29, 2022 2 minutes ago, Bounty95 said: I think it's tracked from Elora Danan (from 7:34) OOOOH! You're right! That's it! That settles that - there is no revised ending of 3M1, just some tracking in the final cut. Mystery solved! Yavar Moradi 1 Link to comment Share on other sites More sharing options...
Yavar Moradi 2,599 Posted June 29, 2022 Share Posted June 29, 2022 I still wonder if Bavmorda Slaps Kael isn't tracked from somewhere too. I mean, it's so short, it was the *only* score cue not present on Intrada's source, *and* I think Omni said they had to do a takedown from the film itself because it wasn't a part of the written score materials they had. (Am I remembering it correctly?) So yeah maybe it was somehow done at a pickup session, but would they really do a whole pickup session for one 20-second cue? I'll bet it's tracked from something else. Yavar Amer 1 Link to comment Share on other sites More sharing options...
Jay 37,359 Posted June 29, 2022 Author Share Posted June 29, 2022 2 hours ago, Yavar Moradi said: I still wonder if Bavmorda Slaps Kael isn't tracked from somewhere too. I mean, it's so short, it was the *only* score cue not present on Intrada's source, Yes, and it's not in GEMA either! 2 hours ago, Yavar Moradi said: *and* I think Omni said they had to do a takedown from the film itself because it wasn't a part of the written score materials they had. (Am I remembering it correctly?) You are in fact remembering incorrectly. Here is what he said (it was the source music-esque piece that opens the end credits in the final film that he had to transcribe himself) 2 hours ago, Yavar Moradi said: I'll bet it's tracked from something else. It absolutely could be! Listen to the clip above and see if it sounds familiar to music on the OST album! Yavar Moradi 1 Link to comment Share on other sites More sharing options...
Yavar Moradi 2,599 Posted June 29, 2022 Share Posted June 29, 2022 17 minutes ago, Jay said: You are in fact remembering incorrectly. Here is what they said (it was the source music-esque piece that opens the end credits in the final film that he had to transcribe himself) Here's what's weird though -- Tim/Omni says Bavmorda Slaps Kael is "6m0" -- I'm pretty sure that's not how reel/part numbers work! There shouldn't ever be a "0" after an "m" -- the "1" means "1st piece of music on this reel" and there's no such thing as a zeroth piece of music in a reel. Right? Same thing with 7m0...just weird, IMO. Yavar Link to comment Share on other sites More sharing options...
Jay 37,359 Posted June 29, 2022 Author Share Posted June 29, 2022 1 hour ago, Yavar Moradi said: Here's what's weird though -- Tim/Omni says Bavmorda Slaps Kael is "6m0" -- I'm pretty sure that's not how reel/part numbers work! There shouldn't ever be a "0" after an "m" -- the "1" means "1st piece of music on this reel" and there's no such thing as a zeroth piece of music in a reel. Right? Same thing with 7m0...just weird, IMO. Yavar Not weird in the slightest. Plenty of films have m0 cues. There's two things that may cause it 1) Is when they later want to add music to a scene that they originally didn't think needed score, and the scene is early in a reel before the first cue had been assigned (IE, they already assigned a scene to get cue 6M1, but now a scene a few minutes early needs score, so that's a 6M0) 2) is when the film gets rebalanced, and a scene that was near the end of one reel ends up early in another (IE, the scene was originally near the end of reel 5, but but moved to be the start of reel 6, which had its own 6m1, so it becomes 6M0) Happens all the time Some examples Jaws 5M2/6M0 Ben Gardner's Boat Jaws 8M3/9M0 A Tug On The Line Jaws 9M1/10M0 Man Against Beast Star Trek II 2M3/3M0 Khan's Pets Star Trek II 4M2/5M0 Spock Star Trek II 5M2/6M0 Surprise Attack Star Trek II 7M5/8M0 Captain Terrell's Death Back To The Future 12M0 Clocktower / Part IA Back To The Future 13M0 Helicopter Back To The Future 14M0 4x4 Star Trek IV 1M0 Logo Star Trek IV 2M0 Ten Seconds of Tension Predator 9M3/10M0 Off To Battle Masters of the Universe 1M7/2M0 Quick Escape The Abyss 1M0 Opening Title The Abyss 7M0 SEALs Return Homeward Bound the Incredible Journey 5M0 Fording The Stream Hunt For Red October 4M0 The Anthem Of The Soviet Union Hunt For Red October 10M0 Necessary Force Backdraft 1M0 Chicago 1971 Falling Down 7M0 Little Girl Falling Down 8M0 Pre-Moon Wyatt Earp 1M0 Pre Main Title Independence Day 2M0 Mysto Bridge Independence Day 5M4/6M0 Evacuation Independence Day 13M3/14M0 Jolly Roger Star Trek VI 1M3/2M0 Spacedock Scream 1M0 Dimension Logo Superman Returns 1M0 Warner Bros. Logo Ratatouille 1M0 Pixar Logo The Village 4M0 The Kiss Avatar 2M0 The Link Room Inception 1M0 Logos Mission Impossible Ghost Protocol 1M0 Logos / Cold Open Lady In The Water 2M0 First Scrunt Nanny McPhee and the Big Bang 4M0 Damn Feet The Green Hornet 4M0 Drug Dealer The Green Hornet 6M0 Kato Laptop The Green Lantern 1M0 Prologue The Amazing Spider-man 1M5R/2M0 Inside OSCORP The Hunger Games 1M0 The Scroll The Hunger Games 2M0 Katniss Says Goodbye The Hunger Games 4M0 They're Flying Yavar Moradi 1 Link to comment Share on other sites More sharing options...
ThePenitentMan1 743 Posted June 29, 2022 Share Posted June 29, 2022 I didn't want to go to bed without posting this first: 2:11-2:30 was cut in the film; that's what I'd found in the screenshot I posted above. I realize now that the screenshot didn't have enough contextual information to be useful; it's late for me and I haven't gone to bed yet. Really not the time for me to try to figure out a new film score. Again, I'm sorry for the confusion. Link to comment Share on other sites More sharing options...
Popular Post Jay 37,359 Posted June 29, 2022 Author Popular Post Share Posted June 29, 2022 In other news, I just figured out that "Willow's Theme" is not just extremely similar to the end credits - it's literally just an edit of the end credits!! OST 6 Willow's Theme 0:00-2:44 = OST 8 Willow The Sorcerer 7:33-10:16 2:44-2:45 = OST 8 Willow The Sorcerer 7:33-7:34 again 2:45-3:08 = OST 8 Willow The Sorcerer 8:15-8:38 again 3:08-end = OST 8 Willow The Sorcerer 10:42-11:27 How about that! In all these years, I had no idea!! So all along, the OST album only had 69 minutes of original score over 7 tracks, with 4 minutes of repeated material combined to make an 8th track. Who knew? A. A. Ron, enderdrag64, Yavar Moradi and 1 other 4 Link to comment Share on other sites More sharing options...
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