If the story is true, they had CD masters for Moonraker, License to Kill and Tomorrow Never Dies ready to go.
Errr—not quite. Nobody ever said quite that.
That's the Chinese Whispers factory at work again, and it is prolific.
All that was actually said is that LLL had plans to release Licence To Kill, Moonraker and OHMSS in 2019 for their 30th, 40th and 50th anniversaries respectively.
(And, yes, I think Tomorrow Never Dies.)
That doesn't necessarily mean they had CD masters ready to go.
It was never clarified at what point the plans had to be dropped or why.
Or whether they were dropped completely or merely put on hold.
Or whether some might yet be done and others not.
However, if we look at one clue, we might make a reasonable guess at something.
The Bond scores LLL have done have been ones where they have had assistance from the composer to get access to the music.
The Michael Kamen estate is known to be very cooperative.
So, I wouldn't be surprised if the remaining David Arnold and Michael Kamen scores prove to be easier and more likely to get done than the scores that go further back.
That's the Chinese Whispers factory at work again, and it is prolific.
I don't understand the "Chinese" element, but the way I've heard it described is "a game of telephone" which seems absolutely right for the way a story can grow with each new telling. Just like the persistent rumor that Moonraker was lost and needed a new recording, even though all Lukas Kendall said was that it wasn't with the other Bond score elements he was given access to two decades ago...
That's the Chinese Whispers factory at work again, and it is prolific.
I don't understand the "Chinese" element, but the way I've heard it described is "a game of telephone" which seems absolutely right for the way a story can grow with each new telling. Just like the persistent rumor that Moonraker was lost and needed a new recording, even though all Lukas Kendall said was that it wasn't with the other Bond score elements he was given access to two decades ago...
Yavar
Rumors spread for years the Moonraker elements were lost before anyone in the know bothered to say that wasn't true. You can't really blame the fan base for getting it wrong when those in the know let the rumor fly for a very long time.
If the story is true, they had CD masters for Moonraker, License to Kill and Tomorrow Never Dies ready to go.
Errr—not quite. Nobody ever said quite that.
That's the Chinese Whispers factory at work again, and it is prolific.
All that was actually said is that LLL had plans to release Licence To Kill, Moonraker and OHMSS in 2019 for their 30th, 40th and 50th anniversaries respectively.
(And, yes, I think Tomorrow Never Dies.)
That doesn't necessarily mean they had CD masters ready to go.
It was never clarified at what point the plans had to be dropped or why.
Or whether they were dropped completely or merely put on hold.
Or whether some might yet be done and others not.
However, if we look at one clue, we might make a reasonable guess at something.
The Bond scores LLL have done have been ones where they have had assistance from the composer to get access to the music.
The Michael Kamen estate is known to be very cooperative.
So, I wouldn't be surprised if the remaining David Arnold and Michael Kamen scores prove to be easier and more likely to get done than the scores that go further back.
However, only time will tell.
Cheers
Indeed, I may have fallen for that too. "Did I really read the masters were done"? I don't have time to go back to the original post, which may have been on another board anyway.
Back to the Kamen Estate, I love that they are eager to work with the music labels. Hopefully that effect may help get Event Horizon out too.
Yeah, still on a roll for mooching other titles. Sorry, but not sorry. LOL
Rumors spread for years the Moonraker elements were lost before anyone in the know bothered to say that wasn't true. You can't really blame the fan base for getting it wrong when those in the know let the rumor fly for a very long time.
I'm pretty sure I remember Lukas repeatedly trying to correct it, over the years. But certainly the fan base took his original statement and ran with it, to some degree.
Rumors spread for years the Moonraker elements were lost before anyone in the know bothered to say that wasn't true. You can't really blame the fan base for getting it wrong when those in the know let the rumor fly for a very long time.
To be fair though, the people in the know don't have an obligation to monitor film score discussion boards looking for fan rumours to quosh.
And nobody's blaming anybody. Just pointing out that rumours born from misquotation and addition are rife in film music world and Moonraker in particular seems to attract them!
Rumors spread for years the Moonraker elements were lost before anyone in the know bothered to say that wasn't true. You can't really blame the fan base for getting it wrong when those in the know let the rumor fly for a very long time.
To be fair though, the people in the know don't have an obligation to monitor film score discussion boards looking for fan rumours to quosh.
And nobody's blaming anybody. Just pointing out that rumours born from misquotation and addition are rife in film music world and Moonraker in particular seems to attract them!
Cheers
Fair enough and likewise maybe (like Yavar said) I missed Lukas's statements regarding those elements for the very same reasons.
Yes..The a internet is fill with people who often get this 100% Wrong!
The Last 15 Minutes of E.T. film was Edited into John Williams score!
No! That be 100% Wtong.
John Williams in interviews said..at the beginning chase sequences where the film stopped, and Spielberg went back and edited the film into the music…Not the last 15 minutes of the film. IMDB should correct that true fact.
And the other often misquoted mistake is the Last Seven Minutes of A.I. is edited into John Williams Piano Concerto.!!! This would wrong also..
The First Alternate Cue Runs 7:03…With less Piano
The Film Cue is 7:45 Seconds…With Tons of Piano Music
At least :42 Seconds of film was edited back into John Williams Piano Concerto unedited music cue???
That would be more truthful. IMDb needs to correct that true fact.
John Williams has written several concerti but not a piano concerto. (Pity, it would probably be a good one.)
But yes, IMDB is a bit like Wikipedia, it's maintained by its users, so while many of the information is accurate and useful, there is also a considerable amount of unsubstantiated or flat out wrong information in there.
John Williams has written several concerti but not a piano concerto. (Pity, if would probably be a good one.)
But yes, IMDB is a bit like Wikipedia, it's maintained by its users, so while many of the information is accurate and useful, there is also a considerable amount of unsubstantiated or flat out wrong information in there.
John Williams has written several concerti but not a piano concerto. (Pity, if would probably be a good one.)
But yes, IMDB is a bit like Wikipedia, it's maintained by its users, so while many of the information is accurate and useful, there is also a considerable amount of unsubstantiated or flat out wrong information in there.
Love it when we all see over at IMDB that John Williams used the LSO to perform the recording of The Towering Inferno. Lol.
We all know John Williams first recording with the LSO for a movie soundtrack was Star Wars.
John Williams has written several concerti but not a piano concerto. (Pity, if would probably be a good one.)
But yes, IMDB is a bit like Wikipedia, it's maintained by its users, so while many of the information is accurate and useful, there is also a considerable amount of unsubstantiated or flat out wrong information in there.
The Kamen synth tracks sound more comedic to me. Anyone calling that stuff "music" is telling jokes.
It is certainly not music which had been composed, but all of it had been improvised - and very quickly at that time. Kamen himself didn´t talk about "real music" regarding these tracks, but about "weird sounds" which according to the wishes of the Cannon producers should create a spooky, scary atmosphere in the film itself. It is more or less a kind of sound design which only works within the context of the film. Therefore I am not quite sure whether Kamen himself had wanted that all these tracks with tape manipulations should appear autonomously on CD just for listening purposes. In an 1988 interview in the Belgian Soundtrack Magazine he had this to say about the creation of the synth tracks:
"I recommended they hire James Guthrie, who is a great mixer, and have him take some of the tapes I have of various techniques and orchestral things and have him mix them into the soundtrack with his weird machines and black boxes. They agreed...James Guthrie and I played around in the studio and I wrote a little bit of orchestral music for the beginning of the film to set things up... I feel my contribution made the opening scarier and the sounds we created were confusing enough to the audience to be worrying."
I think, for Kamen fans, considering the great man will sadly never be creating new music, any releases of his past work will be a welcome addition. I know it is for this one.
Starting at 0:35 - sounds to me like it's coming out of a Pink Panther movie, or, even worse: The Prisoner Of Zenda. Then again, continuing the comedy at 1:30.
My association with it wasn't as comedic music but I understand why one would think so. Basically that section is riffing off the half-step intervals that are heard in the chromatic scale, which is featured in a lot of Mozart symphonies, Chopin etudes, even the arguably-comical "Flight of the Bumblebee".
The Warner Bros. cartoons featured a lot of classical music excerpts in comedic moments, one of which is this Mozart piece in which you can hear an excerpt at 2:14 that is quite similar to the "comedic" example from LIFEFORCE:
To me I'd hypothesize that it sounds like "comedic" music to people who are more familiar with classical music through its use in cartoons, and to people who are more familiar with classical music in its regular use, the section from LIFEFORCE would have sounded "classical" (I was in the latter camp).
My guess is Mancini was aiming for a lighthearted, energetic "classical" feel for that particular section but that the chromatic half-step intervals that cartoon music uses to generate similarly lighthearted and energetic comedy is why it would sound both ways to different people here, especially given the Mozart example I posted above and its use in cartoons.
After all, HOME ALONE was very classically inspired and Williams used a ton of chromatic scale techniques throughout his comedic music. It just works because those intervals are as small as you can get with Western tunings and there's nothing "funnier" than wavering between two adjacent notes like a character comedically walking or running or scurrying
Jurassic T. Park, I think you have put it very aptly and your explanations are as usual enlightening for me.
For me, Henry Mancini was never an attractive composer of symphonic music. So I could never get really hooked by stuff like The Thorn Birds. I appreciate Mancini mostly for the music where he showed his real strengths as a jazzman, big-bander with a dash of symphonic.
Having just rewatched the "International Version" of the magnificently mad LIFEFORCE on Blu this week, and with the BSX 2-CD set currently in the car, I'm in two minds about this. On the one hand I think the BSX completely covers the Mancini side of things and I really don't think I need to upgrade it. On the other, I'm really intrigued by the Kamen score, particularly the 14 minutes of orchestral music (none of which was in the version of the film I watched), though I'm wondering whether a whole 50+ minutes of electronic soundscape will make for a good listening experience: do I need more than the fifteen minutes or so on the BSX?
Out of curiosity (and possibly to prepare a complete playlist), does anyone know exactly what music from each composer actually appears in the US version of the film?
(I just received my Kamen disc, but haven't had a chance to listen to it yet.)
