Williams starts scoring Episode VII in two (!) weeks..?

[Muad'Dib 1,871]

Tintin sounds fantastic most of the time except when the trumpets have to play really high-pitched chords. It sounds like they're suffering a little to get to that place, and they don't reach it perfectly, at least to my ears.

As I said, that's my only gripe with it. The rest is delicious.

[Datameister 2,282]

Tintin sounds good overall, but I definitely prefer the sound of the prequels - again, especially TPM, and especially on the UE. The biggest problem with the sound of Tintin is this weird mp3-like distortion that happens in certain brass-heavy passages. Really weird.

[Darth Crossfader 577]

You've got a point there, Data. War Horse suffered from that as well. I don't know about Lincoln, it's been a while since I last listened to it. The Book Thief seems to suffer less from it. Perhaps it has something to do with the dynamics compression employed, together with the relatively close miking and the amount of reverb, or the mastering.

I'm wondering, are there any other scores recorded lately by Murphy that suffered from this?

By the way, is a recording engineer hired/payed by the composer, or is he payed by the production company?

[The Train Station 8,763]

He's really hit and miss, that bloke.

[#SnowyVernalSpringsEternal 10,422]

By the way, is a recording engineer hired/payed by the composer, or is he payed by the production company?

He is hired by the composer. Just like the orchestrator, and other remembers of his musical "team".

[The Train Station 8,763]

Paid, not payed!

[BloodBoal 7,541]

Actually... Looking at the ever-trustworthy Wikipedia...

pay (third-person singular simple present pays, present participle paying, simple past and past participle paid or (archaic) payed)

http://en.wiktionary.org/wiki/pay

[Darth Crossfader 577]

Aha!

Excuse me. I should refrain from using archaic forms and freshen up my language as everyone else does.

[The Train Station 8,763]

Exorcise those anachronisms!

[TownerFan 5,232]

Today, we received several reports about John Williams recording Star Wars cues at a Sony scoring stage. The Maestro is apparently recording the music for the new Star Wars: The Force Awakens teaser. As we’ve mentioned before, we heard the rough edit of the teaser was just a little over a minute long, showing off new characters from the film and culminating with the return of the Falcon to the big screen! We also heard that this rough edit was cut to existing Star Wars cues. The music recorded today was described by one source as a medley. Most likely what is being heard features new tiny transitions to make all the various cues line up to hit the beats the editors of the teaser envisioned.

So is it new or old Star Wars music that was recorded today? Most likely you will not be hearing a new leitmotif, you’ll have to wait until The Force Awakens is near release to hear that. Also the full score may not be recorded with the London Symphony Orchestra according to those in the know. John Williams has not left the country in ten years and he feels he’s getting too old to travel abroad. Disney has apparently signed an agreement with the AFM (American Federation of Musicians) to keep movie and television score recording based in the United States. It is much cheaper to go abroad (hence why Kevin Kiner went to Prague to record The Clone Wars final scores with a live orchestra. Anyways, the probability that John Williams will record in Southern California is much more likely.

http://makingstarwars.net/2014/11/john-williams-recorded-star-wars-force-awakens-teaser-music-today/

[Not Mr. Big 4,739]

The decision to re-use previous motifs seems like a good one ultimately. I'd rather not have it be "spoiled" a full year before its release.

[The Train Station 8,763]

Why can't Disney just use a private jet to London? He can go to sleep in that if he wants.

[Jay 39,587]

Sweet,can't wait to hear it!

[Luke Skywalker 1,941]

The decision to re-use previous motifs seems like a good one ultimately. I'd rather not have it be "spoiled" a full year before its release.

The majority of the music used in the prequel trailers was from the OT too.

Nothing new there, except this time, it's new recordings made to fit the images.

Maybe they recorded music for use in the full trailers too. (all this work to record only 1-2 minutes for a teaser would be a waste of money i think)

[indy4 155]

I think the performances in the JW/LSO collaborations since 1999--from a technical standpoint--are far superior to any other orchestra he's worked with. Tintin was good performance, but pales in comparison in many respects. I think the biggest problem with session orchestras is that they aren't used to playing with specific other orchestra members (at least not to the extent that an established orchestra is), and so they are often not as tightly in-sync with each other (both rhythmically and pitch-wise).

[Balahkay 629]

Cool! I was kind of hoping for a "Harry Potter" kind of music preview, but I'm still eager to hear this medley of familiar music.

[John Dutton 7,423]

I hope the new themes don't suck (by Williams standards) like in his most recent work. Sorry, guys. I love him too and I'm sure you'll all disagree with me, but his themes for Crystal Skull, Tintin and War Horse were pretty bland, forgettable and just kinda awful by Williams standards. For me, the majority of the standout music in those scores were little one-off moments. I can barely listen to Crystal Skull and that's a ******* Indiana Jones score for Christ's sake. I know the movie was about as terrible as they come, but Jesus. I guess Williams is no Goldsmith.

[Tom 5,141]

I hope the new themes don't suck (by Williams standards) like in his most recent work. Sorry, guys. I love him too and I'm sure you'll all disagree with me, but his themes for Crystal Skull, Tintin and War Horse were pretty bland, forgettable and just kinda awful by Williams standards. For me, the majority of the standout music in those scores were little one-off moments. I can barely listen to Crystal Skull and that's a ******* Indiana Jones score for Christ's sake. I know the movie was about as terrible as they come, but Jesus. I guess Williams is no Goldsmith.

What an original post. Please tell us more.

[Bilbo 3,850]

Warhorse doesn't have too many identifiable themes but I find it a very enjoyable listen from beginning to end.

[BloodBoal 7,541]

Warhorse doesn't have too many identifiable themes

You gotta be kidding!

[Balahkay 629]

I wouldn't say Crystal Skull, Tintin and War Horse were by any means bland and awful, even by Williams standards. They're all arguably better than the majority of the output (if not among the best) from those respective years. I hope Williams will capture the magic and spirit of the OT, but I guess it all depends on what he's working with. I'm curious to hear what existing music they used to for the teaser before Williams worked it into something, which I assume, is more cohesive.

[Bilbo 3,850]

Warhorse doesn't have too many identifiable themes

You gotta be kidding!

I should have ended that with "that I can pick out". I'm sure it's full of themes but I'm not able to pick them out, probably because I've only seen the film once. Doesn't diminish my enjoyment of the score though.

[BloodBoal 7,541]

I should have ended that with "that I can pick out". I'm sure it's full of themes but I'm not able to pick them out, probably because I've only seen the film once.

That's what LeBlanc and Inky are here for!

http://www.jwfan.com/forums/index.php?showtopic=20971

http://www.jwfan.com/forums/index.php?showtopic=20911

And as an added bonus: http://www.jwfan.com/forums/index.php?showtopic=21177

[gkgyver 1,647]

I hope the new themes don't suck (by Williams standards) like in his most recent work. Sorry, guys. I love him too and I'm sure you'll all disagree with me, but his themes for Crystal Skull, Tintin and War Horse were pretty bland, forgettable and just kinda awful by Williams standards. For me, the majority of the standout music in those scores were little one-off moments. I can barely listen to Crystal Skull and that's a ******* Indiana Jones score for Christ's sake. I know the movie was about as terrible as they come, but Jesus. I guess Williams is no Goldsmith.

I agree about Indy 4 and Tintin, but War Horse is bloody fantastic.

[King Mark 3,729]

I hope the new themes don't suck (by Williams standards) like in his most recent work. Sorry, guys. I love him too and I'm sure you'll all disagree with me, but his themes for Crystal Skull, Tintin and War Horse were pretty bland, forgettable and just kinda awful by Williams standards. For me, the majority of the standout music in those scores were little one-off moments. I can barely listen to Crystal Skull and that's a ******* Indiana Jones score for Christ's sake. I know the movie was about as terrible as they come, but Jesus. I guess Williams is no Goldsmith.

God what an utterly depressing post to read. I don't know why you'd be looking forward to any new Williams score at this point so you may as well start looking for a new favorite composer

Crystal Skull is a fine score and Tintin is light years above what Goldsmith wrote in this last years

[#SnowyVernalSpringsEternal 10,422]

No and no!

[John Dutton 7,423]

Oh, come on! Tintin is cookie cutter Williams! If by "fine score" you mean Crystal Skull is tedious and second-rate Williams, I agree it's a "fine score". I guess we'll just have to chalk it up to the film being so awful. War Horse may be going a bit too far. Actually, forget I said that. It isn't a score in the style of Williams' fantasy and action/adventure music, anyway.

Goldsmith in his later years was far more entertaining than Williams of recent.

[KK 3,308]

Goldsmith in his later years was far more entertaining than Williams of recent.

Not neccessarily. I get more out of Lincoln than Goldsmith's last couple of scores.

[Not Mr. Big 4,739]

Tintin is one of John Williams' best scores. War Horse, Lincoln, and The Book Thief are pretty okay too!

[Cerebral Cortex 3,358]

Lincoln seems to be vastly under-appreciated in my opinion. It easily ranks up there in the top 10 Williams scores for me. Perhaps it is because the movie itself doesn't really showcase the music very well.

[KK 3,308]

Not in my top 10 for sure, but it is definitely a very under-appreciated score. It's grown on me so much.

[Not Mr. Big 4,739]

Perhaps it is because the movie itself doesn't really showcase the music very well.

Lincoln's weak film presentation is a major detraction for me. It's great on album though.

[mrbellamy 6,772]

Indy 4 and Book Thief haven't compelled me to go back for repeat listens much but I think they're both fairly likeable scores, anyway, especially the latter. Lincoln's too solemn for me to repeatedly go back to it from start-to-finish, but it has some seriously outstanding writing and I listen to individual pieces like "The American Process" all the time. And I still get a hell of a lot out of Tintin and War Horse, I'd put those just below top-tier Williams. Really entertaining albums overall and a few great themes each. Maybe not up to Williams' highest, timeless standards, but certainly a far cry from "bland, forgettable, awful." I thought they made for a terrific comeback three years ago and they still hold up.

[gkgyver 1,647]

Goldsmith in his later years was far more entertaining than Williams of recent.

Not neccessarily. I get more out of Lincoln than Goldsmith's last couple of scores.

Funny, I get more out of Star Trek Nemesis. Lincoln does nothing for me.

[Doo_liss 6,500]

Goldsmith in his later years was far more entertaining than Williams of recent.

Not neccessarily. I get more out of Lincoln than Goldsmith's last couple of scores.

Funny, I get more out of Star Trek Nemesis. Lincoln does nothing for me.

QFT (I probably like Nemesis more than GK though)

And I would rather listen to Indy 4 than Tintin.

[KK 3,308]

Meh.

The virtuosic quality of Lincoln made quite an impression on me. And I think this might be one of his best takes on the Copland-esque Americana sound.

[John Dutton 7,423]

Nemesis > 2010s Williams

We just need to accept that he's lost it.

[KK 3,308]

Sigh.

[John Dutton 7,423]

I...apologize.

[Balahkay 629]

I guess we can conclude that there are all kinds of tastes and opinions in this world. Personally, I'm just happy and grateful that he's working and still doing film scores. He could be retired now and we'd have nothing. You got to give him some slack, though... he's been in the film business for over 50 years. He's going to start burning out at some point... but, I don't think he's started to, yet.

[Datameister 2,282]

Williams seems to have moved away from the sort of strongly thematic writing that used to be more prevalent in his scores, and I would agree that the themes he does write these days tend to be a little less catchy. Still beautiful, for the most part, especially in cases like his wonderful work on War Horse (or Lincoln, which is growing on me too). Just not as overtly earwormy as some of his earlier, more famous themes.

Tintin does contain some melodic misfires, though, and KOTCS is easily the weakest of the Indy scores, so I can understand where you're coming from, E.T. and Elliot.

[Code 000. Destruct. 0. 4,260]

Guess I'm the only one who's actually pleased that this is apparently an LA deal....

[Balahkay 629]

I'm not sure if I'll even notice the difference... unless if I heard side-by-side comparisons.

[Not Mr. Big 4,739]

Guess I'm the only one who's actually pleased that this is apparently an LA deal....

How so?

[KK 3,308]

Guess I'm the only one who's actually pleased that this is apparently an LA deal....

Is it because you'll be going down there yourself soon?

[igger6 953]

As someone who only recently discovered that the SW Main Title sounds noticeably different between ANH and TESB, I'm sure I won't notice the difference.

As for E.T. and Elliot's claim, I doubt there's anyone here who honestly, deep deep down, really claims that any of the 2010s scores match the Maestro's '70s, '80s, or '90s output, regardless of genre. (Reasonable people can disagree on '00s vs. '10s.) I've spent more time than I care to admit trying to pinpoint the last drop-dead gorgeous or utterly rip-roaring theme he wrote (for the record, I vote "Fawkes the Phoenix" and the Battle of Coruscant motif from Episode III).

But at the same time, E.T. and Elliot, can't you muster some love for "The Adventure Continues" or "Sir Francis and the Unicorn"? Those are bangarang action cues. Sure, we all notice a drop-off, and nobody wants it to be as steep as we fear it is. (There, I just summed up the fundamental psychic conflict in every non-trolling JWFan member's mind.) But in my book, that dropoff has been just shallow enough that the story now is not how far the Maestro has fallen, but the fact that he's still this high up on his game at 82.5 years old. We're approaching a point where literally no one in film music writes in this style anymore, and yeah, we may never get "The Asteroid Field" again, but Episode VII is guaranteed to have its moments. And who knows? If I'd been paying close enough attention when Stepmom came out, I'd have said Williams had lost it then. A year later, I was whistling "Duel of the Fates."

[Code 000. Destruct. 0. 4,260]

As for E.T. and Elliot's claim, I doubt there's anyone here who honestly, deep deep down, really claims that any of the 2010s scores match the Maestro's '70s, '80s, or '90s output, regardless of genre. (Reasonable people can disagree on '00s vs. '10s.)

Ahem.

[Jay 39,587]

Yea, I'd put War Horse up there with his best scores for sure.

[Arpy 4,159]

E.T. and Elliot just misses the old days and who can blame him. Would anyone rather have no new Williams music at all?

[Jay 39,587]

Would anyone rather have no new Williams music at all?

That's the part I don't get. I'd rather have new Williams music that isn't as good as the unbelievable scores he wrote from my childhood than no new Williams music at all, personally.

Luckily, I find the music he's writing in his 80's to be spectacular.