London Symphony Orchestra update-EP3

[AMVANQUISH007 1]

Just thought that you may all like to know from my contact at the LSO that Lucasfilm have booked the orchestra for the entire month starting from now. There are a few concerts on the Sundays in the month of February but intially all the weekdays are sequenced for Abbey Road studios.

After speaking to the admin department at Abbey Studios initial prepping begins this weekend with recordings starting on Monday as we were originally told re. London Voices in a previous thread.

The interesting thing is that usually 2 weeks is the standard time for a Star Wars recording but in this case it looks like 3 weeks has been allocated.

[Jeshopk 8]

I'll betcha the bass singers have a whole week of their own!....what with all the darkness and all.

[John Crichton 4]

Oh my God, could it actually be possible that they've booked extra time to fix the Battle of Geonosis mess? And maybe other prequel score issues?

John- hoping beyond hope.

[tranders 0]

Haven't seen anyone mention it yet, but JW is up and conducting on the Star Wars Hyperspace webcam even as I type! Can't hear anything, though - what I'd give to hear just about 5 minutes at least!!

[Lurker 5]

Oh my God, could it actually be possible that they've booked extra time to fix the Battle of Geonosis mess? And maybe other prequel score issues?

John- hoping beyond hope.

I doubt that.

Neil

[John Crichton 4]

Oh my God, could it actually be possible that they've booked extra time to fix the Battle of Geonosis mess? And maybe other prequel score issues?

John- hoping beyond hope.

I doubt that.

Neil

Yeah, I know it's not likely, but it doesn't stop me from hoping that it could actually happen. If they've booked extra time there must be some reason.

[Bowie 45]

Trust Johnny to take part in our JWFan competition Battle of Geonosis task, let alone during his tight schedule. I'm not actually sure he's a legitimate participant though, considering it's for JW fans...

However I have a feeling - a sense - that it is just to get everything right for this score only.

[Jeshopk 8]

Hey, record the hyperspace cam and then when the soundtrack comes out try to find the part he was conducting and sync it up.

[Luke Skywalker 1,792]

YEEEEE

I would like to be in London...

The extra time could mean more time for last time tinkering and fixxing? (though one week does not help much)

Or great ammount of music to be recorded....

Generic music to use 'at (GL's) will' ? Not to make AOC again...

[Trumpeteer 302]

Or maybe they need the extra week to wait for George to do his last-minute editing and Williams can actually conduct a cue or two to the actual print, instead of going with previous tracks.

Jeff -- hoping

[Lurker 5]

Or maybe they need the extra week to wait for George to do his last-minute editing and Williams can actually conduct a cue or two to the actual print, instead of going with previous tracks.

Jeff -- hoping

This sounds much more sensible to me.

Neil

[Eplicon 53]

This summation was posted on swsaga.com concerning the first recording session:

John Williams has written over 40 different pieces to be recorded for the score of Revenge of the Sith. Over the next week or two, he and the London Symphony Orchestra will be performing this music. The order the tracks are recorded are not chronological, nor are the cue labels anything like they will be on the soundtrack. Today, the orchestra began recording the theme between Anakin and Padme, as they are bearing the burden of war, in a cue entitled "Padme's Visit". The theme will contain a low tone from the famous Imperial March. Next, the cue played during the epic duel with Dooku in the beginning of the movie is recorded, a frenzy of aggressive music that lacks a real central theme based with any characters. A load of percussions and cymbals add to the lightsaber duel. A fierce roll of the timpani silences the orchestra, followed by strings filling the space that accompanies an eerie silence. Williams and his leading musicians then review the recordings in the control room, and make changes for additional takes, mostly in trouble spots. Next, the orchestra plays a cue entitled "Palpatine's Seduction", filled with low tones, that underlies the conversations between Anakin and Palpatine in the movie. This scene then ends with the Emperor's theme, sans choir, ending with a cymbal roll that labels the switch between this scene and the events on Utapau, with Obi-Wan and General Grievous. George Lucas loves the tones, especially the dark moments, he comments. "Heroes Collide" is recorded next, the start to the duel between Anakin Skywalker and Obi-Wan Kenobi. It is an entirely new theme, with an emphasis on the brass instruments. At one point, the music mirrors the scene in The Empire Strikes Back, when Darth Vader telekinetically bombards Luke with all sorts of objects and then blows out the window. This must be the scene described in the earlier spoiler report where Anakin is Force throwing things at Obi-Wan. At this moment, there is a grand performance of the Imperial March. The Force theme comes out as both combatants are trying to push each other away, but the music is strained, mirroring the struggle in both duelists. Lucas points out that they are lacking an important theme, the expected "Duel of the Fates" theme. Williams smiles and says "That comes later. In the big duel." This probably means the very end of the Anakin/Obi-Wan duel, or the epic Yoda/Palpatine duel. Contrary to their schedule, they record an additional 4 cues. "Another Happy Landing" labels the scene where Anakin and Obi-Wan land on Coruscant after the heated space battle overhead, in a crashing Trade Federation cruiser. "Yoda's Fall" accompanies the escape of Jedi Master Yoda after the duel with Palpatine, where he is rescued by Senator Bail Organa. "Revisiting Padme" is then recorded, detailing a reunion between Anakin and his secret wife, Padme. It has part of the love theme from Attack of the Clones still, but with a twist. Williams then records a secret theme, left for the 7th reel of the film, the title unrevealed as to not spoil the majority. On a sidenote, Hayden Christensen attented the recording session, as well did Frank Oz, who still has some loop lines to rerecord this weekend. Finally, the main title won't be recorded, but a previous version will be used in the film.

[Falstaft 2,132]

Joy!

[John Crichton 4]

8O 8O

John- cherishing every moment of this final Star Wars score experience.

[Bowie 45]

Lucas points out that they are lacking an important theme, the expected "Duel of the Fates" theme. Williams smiles and says "That comes later. In the big duel."

Sounds like somebody knows what the hell they're doing. And isn't afraid to run the show just like he deserves to.

[Jeshopk 8]

Maybe we should already start petitioning against the use of the concert version of duel of the fates to replace the music where george expected it.

[Ray Barnsbury 8]

Holy shazzer!

That's an enticing report, it really piqued my excitement.

Ray Barnsbury

[Lurker 5]

Post Notes: The Score Begins

February 03, 2005

When theater lights darken this May, and the rolling drums and fanfare of the 20th Century Fox and Lucasfilm logos fade out, fans will brace themselves for that first triumphant blast of brass that signals the start of Episode III. The famous main title theme is not what started off today's scoring sessions at Abbey Road Studios -- like the filming process, scoring is rarely ever done in movie-sequence. The first piece of music recorded for Revenge of the Sith was instead something six reels into the story.

Composer John Williams has written over 40 distinct cues for the Episode III score, to be performed over the next few days by the London Symphony Orchestra. The recording order is delineated on an oversized printout, marking the title of the cue and the reel where it resides. These titles are more for internal use -- they rarely ever make it to the liner notes of soundtrack albums since these cues are often combined and edited to make playable tracks. My guess is that cues like "Boys Into Battle" and "Palpatine's TV Set" will likely get renamed before readied for public consumption.

Today starts with "Padmé's Visit," the music that accompanies a tense and dramatic encounter between Anakin and Padmé. The young lovers have shed the starry-eyed innocence of Episode II, worn down by witnessing years of warfare and deception. Though the love theme from Attack of the Clones appears in this cue, there's a sense of desperation behind it, of time ticking away. Anakin's troubled nature is signaled by the creeping approach of the Imperial March -- Darth Vader's theme from The Empire Strikes Back. The deep bass tones that lurk behind the love theme color the drama.

The next cue jumps to the early moments of film, to the first lightsaber duel in a movie packed with many. It's the three-way rematch that sees Anakin and Obi-Wan once again square off against Count Dooku. The frenetic on-screen action is accompanied by aggressive combat music devoid of any familiar character-based themes. The percussive music, accented with cymbal hits, underscores the lightsaber attack, but it isn't particularly timed to each hit. To do so would be impractical, given the intensity of the sound design that will accompany this lightsaber action.

An angry roll of timpani accompanies the fight's denouement, silencing the orchestra in its wake. Then come some tentative strings, exploring the uncomfortable silence that follows.

"Can the clicks be louder," asks Williams of the control room. The assembled musicians all wear headphones that play a "click track," a series of timed clicks meant to keep them all in the same beat. "They sound a bit wooly," says Williams.

Shawn Murphy, the Scoring Engineer complies. He sits in the control room, carefully listening to the orchestra as they are recorded. He makes notes on any irregularities in the music, citing measures that need to be revisited.

After each take, Williams comes into the control room along with principal musicians to hear what the microphones captured. From there, they can make adjustments for subsequent takes. Together, Murphy and Williams gauge each performance and determine how much to re-record. Rather than wear down the orchestra by re-recording entire cues, they often target specific trouble spots, prompting the orchestra to replay certain measures to be edited into the surrounding music. Still, sometimes the entire cue is re-recorded.

The next selection for the day is "Palpatine's Seduction." Even in the heavily soundproofed confines of the control room, I can still feel the low vibrations. The music covers a conversation between Anakin and Palpatine within the Chancellor's office. We in the control room hear none of the dialogue. The picture, played on a regular television monitor in the booth and on a relatively washed out screen on the scoring stage (projection in a fully lit room will do that) has graphical pops and streamers atop the image in sync with the click track.

Perhaps my ears are playing tricks on me, but I think I can hear a little refrain of Shmi's tragic last moments in this scene. A strong connection stirs between Anakin and Palpatine, as voiced by the strings. A bass drum is responsible for the tremors. By scene's end, the Emperor's theme rises -- played here without a choir -- with the luring strings continuing underneath, finally culminating in a growing cymbal roll that accompanies the scene-wipe that takes us to Utapau and Obi-Wan's continued hunt for General Grievous.

"I love the dark stuff," says George Lucas, relishing the tones prevalent throughout this score.

Next up is "Heroes Collide," the much anticipated start to the duel between Obi-Wan and Anakin. A new theme, carried mostly by the brass section, follows the two Jedi as their duel takes them from an outside landing platform to the inside of an industrial facility. The music alternates between sweeping strokes and fast punctuation -- not unlike the lightsaber duel itself. As is common in the final reels of a Star Wars movie, the action intercuts from one story to another. Those concerned about the action being compromised by cutting away needn't worry -- what's playing opposite this duel is a confrontation just as big and anticipated, though it doesn't last as long, so the remainder of Obi-Wan and Anakin's battle plays through uninterrupted.

At one point in this cue, the music sounds almost exactly as it did in The Empire Strikes Back, when Darth Vader begins pummeling Luke with equipment tossed telekinetically. In both that Episode V moment and this Episode III moment, we hear a grandiose presentation of the Imperial March with sharp brass accents.

Closing your eyes, you can still track the progress of the battle. The music holds to accommodate dialogue during the fight. When lightsabers lock and opponents stare at each other over crossed blades, the strings vibrate brilliantly, building the tension and drama. At one point during in the duel, Obi-Wan and Anakin are caught in competing Force pushes, outstretched hands locking a few centimeters apart. Here, the elegant Force theme emerges from the frantic fighting, but it sounds pained, echoing the struggle.

Shawn notes that the sound quality of the loud percussion affects that of the rest of the orchestra, so William conducts the next take without percussion. As it turns out, even this huge stage is too small to contain the powerful drums. They may be recorded later, under different circumstances.

Lucas points out that this portion of the fight seems to be lacking an expected ingredient: the Duel of the Fates from The Phantom Menace. "That comes later. In the big duel," says Williams.

According to the schedule, those were the only four pieces slated for today, but the orchestra continues, and four more cues are performed. "Another Happy Landing" is a short piece of music, the first cue to occur after the hectic pace of the chaotic space battle. Now, we can take time to peacefully introduce Coruscant and its skyline with a pageantry reminiscent of the first majestic introduction of the city-planet back in Episode I. "Yoda's Fall" is a very brief piece, less than a minute in length, that underscores a specific action.

Next is "Revisiting Padmé," which covers the reunion of the lovers, Anakin and Padmé, in the film. It contains the familiar love theme from Episode II, but there's an interesting juxtaposition in tone. Proof that music greatly affects the perception of a scene, I remember seeing this sequence un-scored and feeling one way about it. In the rough cut, creepy temp music was inserted to an otherwise tame scene of tender exchanges. Here, in the final score, it's not so much creepy, but there is an undercurrent of dark uncertainty. Padmé brings a purity to it, in the form of a unblemished woodwind recitation of the love theme that crescendos to the next wipe.

"So, people, what I'm proposing what we do for the remainder of today is 7M1," says Williams. It's title is, currently, unprintable for the sake of the spoiler-free majority that reads these reports. That's the case with almost everything that happens in the 7th reel. And, true to the film's end, it is tragic and emotional.

Neil

[Josh500 1,615]

Haven't seen anyone mention it yet, but JW is up and conducting on the Star Wars Hyperspace webcam even as I type! Can't hear anything, though - what I'd give to hear just about 5 minutes at least!!

Hey where is that? How much does it cost to watch the recording sessions? 8O

[Docteur Qui 1,544]

To say I'm excited for this score is an enormous understatement. I simply cannot wait any longer.

[Mr. Breathmask 555]

a cue entitled "Palpatine's Seduction", filled with low tones, that underlies the conversations between Anakin and Palpatine in the movie.

Fingers crossed for a statement of "The Dark Side Beckons"

Lucas points out that they are lacking an important theme, the expected "Duel of the Fates" theme. Williams smiles and says "That comes later. In the big duel."

You tell him, Johnny!

Finally, the main title won't be recorded, but a previous version will be used in the film.

Balls indeed.

- Marc

[Lurker 5]

Lucas points out that they are lacking an important theme, the expected "Duel of the Fates" theme. Williams smiles and says "That comes later. In the big duel."

You tell him, Johnny!

It's been pointed out to me already that Lucas will probably just track in "Duel of the Fates" in the sections he thinks need it.

Neil

[Josh500 1,615]

Oh my God, could it actually be possible that they've booked extra time to fix the Battle of Geonosis mess? And maybe other prequel score issues?

John- hoping beyond hope.

I doubt that.

Neil

Why do you doubt it? I think it's possible. Music is an integral part of every Star Wars installment, and Lucas must realize that the pieced-together music for Battle of Geonosis sounds horrible. Maybe he wants to fix what he did wrong three years ago. Besides, how else do you explain that the recording sessions take three instead of two weeks??? There certainly can't be much more music than there was for TPM or AotC.

BTW, if the orchestra is booked for the entire month, I wonder whether JW will be present at the Oscars to accept his award.

[Lurker 5]

Oh my God, could it actually be possible that they've booked extra time to fix the Battle of Geonosis mess? And maybe other prequel score issues?

John- hoping beyond hope.

I doubt that.

Neil

Why do you doubt it?

Because they aren't even recording the main title for this.

Neil

[Josh500 1,615]

Oh my God, could it actually be possible that they've booked extra time to fix the Battle of Geonosis mess? And maybe other prequel score issues?

John- hoping beyond hope.

I doubt that.

Neil

Why do you doubt it?

Because they aren't even recording the main title for this.

Neil

Well, the new recording of the Main Title for all three prequels was done for TPM. I think this doesn't tell us much.

[King Mark 3,625]

Well that was interesting to read.I can't wait.

K.M.Who notes Neil chooses to focus on the only slightly negative bit of this report.

[Josh500 1,615]

I agree, this is so exciting. You know, with every new score JW produces, my admiration for him grows. I think I'm not the only one who feels that way.

[Lurker 5]

Oh my God, could it actually be possible that they've booked extra time to fix the Battle of Geonosis mess? And maybe other prequel score issues?

John- hoping beyond hope.

I doubt that.

Neil

Why do you doubt it?

Because they aren't even recording the main title for this.

Neil

Well, the new recording of the Main Title for all three prequels was done for TPM. I think this doesn't tell us much.

I think it's very telling. If Lucas isn't going to spend the money to record a new main title, then he certainly isn't going to spend money on scoring a three year old movie. You weren't here when AOTC came out, a lot of people were really stunned that it opened with the exact same performance of the main title as TPM. It reeks of cheapness.

Neil

[nightscape94 965]

- mental projection of my feeling that Williams is recording right now!

BTW, if the orchestra is booked for the entire month, I wonder whether JW will be present at the Oscars to accept his award.  

He might even do it via satellite, you know one of those live link ups. But don't jinx the man!

Isn't it sad that we will never hear another Star Wars score done by Williams? I word it like that because my trusting with Lucas is on thin ice right now. There are even strong rumors that their will be a live action TV series (possibly involving Kevin Smith who directed Clerks...???). So the idea that Lucas will return to the film medium in the future is not out of the realm of possibility. Here's hoping that Lucas knows when to stop, even if it means Williams won't get the chance again (and by this time I'm sure he's dog tired)

And to be honest, he's recorded that march so many times, that it really isn't all that necessary to do it again. Is it that big of a loss? I hope that extra week at Abbey Road is being put to good use.

[Docteur Qui 1,544]

It's not really that sad, considering most people thought they'd heard the last when ROTJ came out. It might even be a relief for some people.

[Josh500 1,615]

Isn't it sad that we will never hear another Star Wars score done by Williams?

Don't jump the gun! We haven't even heard a single note from RotS yet!!! LOL

[Lurker 5]

K.M.Who notes Neil chooses to focus on the only slightly negative bit of this report.

Because my favorite composer is going to get the shaft again on a project that should be treated with the utmost respect. It ain't going to happen. His music has been mistreated progressively worse and worse since 1980 and I expect this to be the worst yet. I really wish I was wrong, but I see no evidence otherwise. We already know Lucas wants "Duel of the Fates" and Williams didn't give him that in the section Lucas wants it in. Judging by previous films, what do you think will happen?

I don't see this as being negative, I see it as being realistic.

Don't jump the gun! We haven't even heard a single note from RotS yet!!! LOL

We've heard the main title.

Neil

[nightscape94 965]

.....that comment was made to reflect my depression upon the release of the now pending RotS score. So please apply when applicable

[AMVANQUISH007 1]

Well I was almost correct in my information that was given to me.Good to know that the sessions have already started.

[Josh500 1,615]

Because my favorite composer is going to get the shaft again on a project that should be treated with the utmost respect.  It ain't going to happen.  His music has been mistreated progressively worse and worse since 1980 and I expect this to be the worst yet.

Neil

Well, if that's not negative what is???

Josh (who wishes Neil would give George Lucas the benefit of the doubt).

[Lurker 5]

Josh (who wishes Neil would give George Lucas the benefit of the doubt).

With 25 years of experience, why should I?

Neil

[nightscape94 965]

I think saying that his music has been mistreated exponentially is quite a bold statement. On the contrary, I think that his music has been the forefront of many scores in the last 10 years, and used appropriately more often then not. Unless of course are you strictly referring to the Star Wars flicks, in which case you would be correct.

[Lurker 5]

Unless of course are you strictly referring to the Star Wars flicks, in which case you would be correct.

I am.

Neil

[nightscape94 965]

Stick a fork in me!

[Lurker 5]

Stick a fork in me!

No use. It wouldn't get through the adamantium.

Neil

[Jim Ware 526]

Nice to see an excerpt from the cuesheet for once. If they're so concerned about spoilers, why show a picture with 7M5 - Plans for the Twins?

Edit: Never mind. I'm sure that anyone keeping an eye on the spoilers can probably figure out why they won't show the title of 7M1.

[TownerFan 4,983]

Just let's hope that things will turn out better this time. At least this time we can be pretty sure that Williams composed music for the entire movie (as it's seen through the portion of the cue sheet and the SW.com report).

For all the other kind of matters, I'd say: just let's wait until May and then start discussing about those.

[Jeshopk 8]

The article was spoilery for me. I didn't think they were letting so many details out so easily!

[TownerFan 4,983]

True, I think they're giving away too much and too early. I really miss those times when you could actually discover a movie only when watching it in theater for the first time...

Anyway, reading that report got me excited mainly about the music more than the movie itself. I'm sure Williams will deliver a knock-out, balls-to-the-wall score, regardless of the quality of the film.

[Eplicon 53]

With Lucas sticking his nose into the scoring of the film the way he has the last two times, I just wonder what goes on during the spotting sessions? Isn't the whole idea to come to an understanding of what type of music or themes to use for specific scenes?

I suppose the "Battle of Geneosis" could only be "forigiveable" in that it was a scene tacked on late into the movie's post production after the scoring sessions were completed, and Williams was already doing his next project.

I'm hoping "Anakin's Theme" makes the appearance at the end credits this time. It would make more sense and be more profound than its use at the end of AOTC (which was removed from the film in favor of additional statements of the love theme).

[SturgisPodmore 0]

That report got me really excited! I can't wait for this score! Sounds very dark and wonderful!

~Sturgis

[Duster 0]

Hi there!

I'm a new member, so let me introduce myself first.

I am webmaster of germany's most visited Star Wars Site, www.starwars-union.de .

I read with great interest the report in the first post in this thread, but I have been wondering, if it can be trusted.

It says the recording will start next Monday, but we all learned from starwars.com that recording already has begun.

So maybe anyone can shed some light on this?

Thank you!

Duster

[Docteur Qui 1,544]

It's probably an older article...

[QMM 4]

I got pretty excited with the article now on the main page, sounds very good

[Henry B 50]

Too bad about the Main Title... :?

But otherwise, *blood pressure shoots up*.