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I just learned about this and will be going. I'm surprised there hasn't been more discussion of it.
Should be amazing!
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Are the composers conducting their own works?
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When we got tickets there were NO seats on the floor. NOW there are seats on the floor toward the back and the sides. They must have had a large amount reserved and now are giving them up to us folks.
Wish I would have waited so I could have gotten one of those seats as ours are in the restroom.
I didn't know the composers would be conducting. I skimmed the article as I have a job and working so much 
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Posted: |
Feb 25, 2014 - 10:20 AM
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By: |
Morricone
(Member)
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When we got tickets there were NO seats on the floor. NOW there are seats on the floor toward the back and the sides. They must have had a large amount reserved and now are giving them up to us folks.
Wish I would have waited so I could have gotten one of those seats as ours are in the restroom.
I didn't know the composers would be conducting. I skimmed the article as I have a job and working so much
Wow! Sorry about that, I (and Nancy!) thought you were joking around about that.
When Jon first announced it I made special notes and kept on top of it because it was very important to me, and I brought it here to the board, but that is all I can do. Being new in town you should be aware, you snooze, you lose, really applies here. I've missed out on a number of incredible things simply by not keeping up on them, and then of course life itself can be a damper on that.
And as to this board, the GSPO Elmer Bernstein concert was a good example. I was a one man band here drumming up a crowd for that and when I asked 2 friends on here to help they said I was doing a fine job on my own. The indifference here in this town is tremendous. AND you don't want to just bump threads saying "I care about this and you should too!" It comes across obnoxious, so I would bump with new tidbits that would add something, anything, to the mix.
The GSPO has a Fox night coming up March 15th, and Steven Allen Fox told me it involves everything from Alfred Newman to music that is just being written now. So if it matters you will make sure you don't forget. But for most fans in this town they won't care until afterward when they say "What do you mean they played preliminary music to the next STAR WARS film! Why didn't someone tell me?"
You can't win for losing.
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Posted: |
Feb 25, 2014 - 7:06 PM
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By: |
bagby
(Member)
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Apparently Rupert Murdoch has decided he doesn't have enough money to support a concert, despite the support of fans who've bought numerous releases from the Fox vaults.
I'm being somewhat facetious; Rupert Murdoch himself doubtless didn't make the decision, but the Facebook posting indicates to me that expected financial support from 21st Century Fox is not coming, so, no concert.
"The Golden State Pops Orchestra has experienced great artistic successes, such as the February tribute concert to film music composer Elmer Bernstein.
"However, expected support from the 20th Century Fox Film Corporation has not been granted as hoped for our upcoming March 15th concert. The GSPO, and orchestras all over the United States, face financial challenges. The GSPO is not immune from these national trends: Patron attendance was lower than expected for the February concert, and local business sponsorships have fallen this season. We need to act quickly and decisively to safeguard the financial future of the GSPO.
"Therefore, the GSPO has regretfully decided to cancel its March 15, 2014 performance. GSPO staff will contact each patron who already holds a ticket to the concert, and will offer either a ticket transfer to a future performance or a refund.
"What can you do to help? Please make a contribution now – We have only until March 15 to meet our matching goal of $15,000!
"We hope to see you (and all of your friends) at the Warner Grand in San Pedro on May 10, for a performance of Stephen Sondheim's "Sweeney Todd" in concert by the Golden State Pops Orchestra, featuring Broadway veteran Norman Large and YouTube sensation Sarah Horn! Tickets and information at www.gspo.com."
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AMPAS hopes to make this an annual event. Pencil in the date on your calendars for next year at this time. Last night's inaugural event was tremendous.
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Posted: |
Feb 28, 2014 - 1:22 PM
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By: |
Morricone
(Member)
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In 1983 the Academy of Motion Picture Arts and Sciences decided to address an issue that had been brewing for years. The Foreign Language film award had turned lopsided. Whatever foreign film that got the hottest box office seemed to win (usually a Fellini, Bergman or Kurosawa) because no one saw the others and there was a general allergy (to this day) to subtitles by the general public. So the first step was to make this little seminar the Saturday morning before the Oscars where the nominees would present themselves, on an even playing field, and share stories about their filmmaking. It was in a little room in a hotel and open to the public. The only director who didn’t show up was Ingmar Bergman, but he had good representation in cinematographer Sven Nykvist. It was the only time I ever asked a question. This was because the press and filmmakers outnumbered the audience 10 to 1 and if I, and the rest of we happy few, hadn’t it REALLY would have been a short morning. But man was that an eye-opener! It was no longer Bergman’s FANNY AND ALEXANDER and all the others. Each filmmaker had a unique story. Apples and oranges were presented together and they were both good! My armchair cynicism was gone forever! The academy soon brought in a policy that you had to prove you saw all 5 nominees or you couldn’t vote, which changed the face of the results dramatically. This seminar grew over the years until now it is the most popular one, filling the 1000 seat Samuel Goldwyn Theater very quickly each year, as we hear about labors of love and , sometimes, harrowing tales of how the film makers were lucky to come away with their lives.
As this developed the Academy also felt the same policy applied to documentaries, live action and animated short films. These were practically unseen by the public so a seminar and voting policy was created for them. Today the Academy shorts are distributed across the country and now makes as much as a decent feature film does. So these groups of nobodys can now make a claim to box office grosses instead of just “an award winning short”.
Seeing this, the various guilds started to blow their own horn. They were tired of being regarded as the boring “technical award” people had to sit through while waiting for the acting awards. These were artists too! They created their own Oscar program to show, for example, how editors could use very different approaches to their craft, literally changing the type of film result. 5 different editors could edit the same piece of film and create 5 totally different “feels” to it. Each editor picks clips that show the examples of what they consider their best work. While the art directors enable us to see how imaginative you can be with small budgets or big CGI ones and you make up your own mind which is the better effort. Even the make-up people present their artistry in subtle (ALBERT NOBBS, IRON LADY) and obvious (THE HOBBIT, HARRY POTTER) ways.
Finally last night the music branch has become the “last but not least” group to join this crowd. And from the first moment when composer Charles Fox dedicated the opening to his friend Jerry Goldsmith, by conducting the full version of the Oscar fanfare (with his picture projected overhead), I knew I was in good hands. And like the other programs above this one was eye-opening. My well trained heroes (Williams and Desplat) are still so. They can consistently deliver extraordinary work more than any others. BUT that doesn’t mean some relatively inexperienced voices cannot come up with some special and innovative work, at least once. Particularly if you have over a year to work on it (Steven Price GRAVITY). I was seated a couple rolls behind Desplat and he was as fascinated by all the presentations as I was. Special mention has to be made to Joseph Trapanese (Steven Price doesn’t conduct) for his intense conducting.
Each composer(s) explained how they became involved, what their problems were and their approach to each score. It, again, makes for an even playing field for all. Also what was smart was interspersing the songs with the score examples. Even though they are two distinct art forms it put the spotlight on their similarities, particularly with composer Charles Bernstein doing the orchestral background to the song “Happy” which was spectacular! Each suite (all composers put these together in 6 weeks.) were accompanied by clips from the films to give a sense of how they married.
There were little extras like Richard Sherman talking about SAVING MISTER BANKS (getting along with Williams, standing ovations for their legendary careers). Or the Debbie Allen Dancers (youngsters) doing a number along to “Happy”. The place was filled with composers you couldn’t walk around without bumping into the likes of Jeff Beal or Edwin Wendler. Royce Hall had empty seats here and there, but I have the feeling that will change as the word gets out about this amazing night And it IS an amazing night. Now I will chuckle when I hear the snarky remarks about the Academy. In this room I have rediscovered that spark that got me into film music. I will bask in it’s glow and get my tickets early every year.
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