 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
John,
I understand why you feel reluctant to discuss this, but it is really an interesting subject. Maybe because you've been out there in the field for a while, this subject seems like old hat, not worth deeper inquiry. But E.T. and the Star Wars scores are as important to some people in the history of symphonic music as Mahler's symphonies. Anyone studying Beethoven or Mozart would be quite curious to have confirmation whether part of a work they were told was theirs was actually of someone else's invention. That is they would question it IF someone on the inside indicated as such. Because I choose to investigate the matter further with you does not mean to lower your spirits, but to zestily question the details with much interest. In the future, I will try to get confirmation, either by contacting Universal or asking Williams himself whether I could look at the sketches, which he keeps in his office. This would be some time down the road, and I will not make it a priority, but I will use whatever resources I can to solve this puzzle you have placed before me.
I believe what you said. I believe that you saw Fred Steiner trying things out on the piano, writing in short score and then transfering to orchestration paper. You'll be disappointed to hear that this still leaves it up to debate whether Steiner was adapting from Williams themes as you believe was the case, or whether he was just creating the cue that was pieced together from old star wars IV music. He would still have to try out the new transitions on piano, as well as lay it out in short score in order to follow the new cues, as well as orchestrate it. So the mystery is one I will be trying to solve.
Best,
Jesse
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Oct 8, 2005 - 12:10 AM
|
|
|
|
By: |
corda
(Member)
|
I think issue of ghost scoring is an interesting one.
As far as William Ross goes, he's one of the most prolific 'background' composers and orchestrators in the industry. It's my bet that his screen credit has as much to do with his agents insistence and his weight in the industry than it does to do with the amount of score he actually composed.
From what I heard (and I believe it to be true), Williams composed about 25-35 minutes of 'themes' for Harry Potter and the Chamber of Secrets. My bet is that he sketched out themes and ideas for all the major sequences in the film (the Phoenix Theme, the Flying Car theme, Gilderoy Lockhearts theme etc.) and then Ross came in and used these sketches, expanding the major cues and using the material in other such cues.
For example, there are elements in the very first track on the soundtrack CD (Prologue and escaping the Dursleys) which seem somewhat un-Williams to me. Particularly the use of the low strings and some of the instrument changes. I'm no expert so I can't pick apart the score completely - But I think in that opening scene we can see a clear use of Ross adapting Williams' themes but effectively writing the incidental cues by himself.
Ghost writing is certainly nothing to be ashamed of, or is it a revelation in the industry. I think that what needs to be remembered, even if it isn't totally pleasant, is that the creation of a film is an industry thing. A film is a product - it's designed, the components decided and each part is created and placed together. Most of the films Williams will write for make extensive use of music (nearly wall to wall in much of his films) and nobody, not even Williams, can get an extension to his deadline.
For me, I think its more important that we recognise that a score is created from one person, even if it is worked on by others. I have no doubt Williams has written pretty much all of the major themes and ideas we have come to respect him for. But, if a director makes a last minute change to a scene in the film, and you've got 3 days to get 11 minutes of music re-written from scratch, chances are you'll just get somebody in to work on the incidentals. Time stops for no man, even great composers, and no producer will understand excuses like "writers block" or "need more time to expand the work". There is so much to do and Williams, like everyone else, is a mere mortal.
...At least I think he is
|
|
|
|
|
|
|
|
|
|
Posted: |
Dec 18, 2012 - 5:47 PM
|
|
|
|
By: |
TerraEpon
(Member)
|
Bill and I will not make public who did what on Troopers 2. We know each other styles, we each wrote about 50% of the score, and we exchanged themes and commented about each others music. If we say who did what, everyone will say, Yes, I hear the difference, if we don't, Bill and I will enjoy all the wrong guessing.
So I found this thread because I'm currently going through all my CDs and making digital copies, including absolutely correct tags as best as I possibly can. Scores like this where two composers (or more, some game music has has that), are equally credited are kinda annoying in this respect...but it's interesting to see this statement.
(And the rest of the thread is interesting too, though mostly unrelated this this really fine score...)
|
|
|
|
|
|
Giving this little gem some more listens lately. So many moments on this that feel like classic war film scoring. No accident from Messrs Morgan and Stromberg, I know, but it still bears mentioning. I can see full cues put against classic war pictures. This score, some of the new characters, and the slight genre change are why I actually think this film works quite well, despite its many detractors.
I'm curious, though: In the track "Bug Zapper," I hear a passage that sounds very close to a piece from the original STAR TREK, the episode name of which escapes me. I also hear some Horner-esque passages in other cues. Given Morgan and Stromberg's very ample film score vocabulary, these seem more like homages than outright grabbing. Would love to get their take on this.
The soundtrack album is also beautifully recorded - again, no surprise given the superb film score re-recording work they've done.
|
|
|
|
|
|
Just noticed toward the end of the track "Reunion" what sounds like a bit of a folk song quote in the score, much like Victor Young does in his RIO GRANDE score by quoting the traditional songs the Sons of the Pioneers' sing. Again, gotta be purposeful! Morgan, Stromberg, please tell us. Or if there's a great piece online somewhere, please link to it.
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
