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Posted: |
Feb 28, 2019 - 9:35 AM
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By: |
alexp
(Member)
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...sign me up for the music-to-screen concert with music added back that had been dialed out.
Me, too.
I support Mike M's idea of restoring as much of the music that was edited-out of the final cut as possible to the Live-to-Projection concert, as he stated in Maurizio's part-2 podcast. It would be a real treat to fans of both the film and the music. It should definitely be something exclusive to the concert. Hell, with the amount of money going for symphony concert seats these days, that idea should be a given.
I can image Maestro Williams reviewing a scene from STM where a music track would constantly be dialed out and in. It would have a replacement music track of a suggested music-edit made from the music session tapes. Because the scene was edited-down from the original working edit, the music would be truncated, but it would be listenable. Before Williams signs-off on the music edit, he may say, “Hmm, let me try something.” Going into his studio, he would study the edited music and his copy of the entire score preserved in his leather-bound book. Before anyone would know it, he would have a polished music edit for that scene where it improves, greatly, over the proposed music-edit, composed with paper and pencil and have his assistant transcribed the handwritten score to a MIDI music file to be listened for feedback.
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This is a great image and would be cool to have clean, actually.
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This is a great image and would be cool to have clean, actually.
Titus is the bee's elbows*.
* I may have remembered that wrong.
I think it's worth creating a new category for him. (Seriously, his Star Trek: The Motion Picture stuff? Phhheeeeowwww!)
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The reason it was not used..if you listen to Mike in the 2nd podcast...was Williams scored what was presented to him...the fortress just shows up...The scenes of Jeff East throwing the green crystal and the fortress growing out of the sea...was scored latered on. Waiting on the Visual Effects.
Was that not just speculation on his part? Why would you score a sequence without seeing the whole thing?
e.
Because the special effects were not done in time for him to see the scene as it would be in the finished film!
He couldn't wait any longer to conduct the scoring sessions>
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I was truly blessed to be working at the theater with the best sound in the country when this played!
The Northpoint in SF was especially designed by Dolby Labs, headquartered in the City.
As MM stated, it was a six-track sound track with split-surrounds - the first ever!
I would go down to near the screen whenever the End Credits played.
Three large speakers plus a sub-woofer with perfect acoustics, spread across a true 2:35 widescreen.
You cant beat that- unless you were at the recording sessions!!!
brm
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Listening to the podcast now.
Superb commentary by MXMX and Maurizio!!!!!
brm
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I think we all owe a great deal to Andre Previn for hooking up John Williams and the London Symphony Orchestra, a match that will live in Pop Movie History forever.
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Why would you score a sequence without seeing the whole thing?
This is a pretty common practice; visual effects sequences are often finished way late in the game, and the score has to be recorded when the sessions are booked.
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Updated to SATURDAY! Be still my heart!
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Why would you score a sequence without seeing the whole thing?
This is a pretty common practice; visual effects sequences are often finished way late in the game, and the score has to be recorded when the sessions are booked.
In this case, my guess is that it was originally a different scene entirely, with young Clark discovering the Fortress already built. The cue summary in the spotting notes says "Clark finds fortress." For the revised cue it says "Clark throws crystal. Fortress builds." Perhaps after it was assembled, and as more of the movie was coming together, the filmmakers felt that this scene could be more dramatic and feature additional effects, so all of the miniatures of the beams rising up out of the ice, etc. were added. By this time, Williams was rethinking some of the cues such as the phantom zone material, the mugger scene, etc.
Interesting that the motif in the cue, which is also heard in the music for the start of the trial sequence at the beginning of the film (not used in the final mix), bears a slight similarity to the one heard in the early sunset music from Star Wars. In that cue, the motif also reappears a bit later - in the scene where Luke discovers Threepio's severed arm after the Sand People attack.
Finding and playing these cues were uncannily similar experiences, just 22 years apart!
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But really...I've got plenty to listen to and don't listen to music everyday now so...I can wait 
