I'd like to hear more about the politics of scoring. Projects go through several layers of approvals and everyone has to get their 3 squirts of territorial piss on it to feel like they are a part of the process. The video edit can change, an executive can not like particular tracks... you can always be chasing revision. How is that handled... contractually, time management, creatively?
Is that a new thing, making shorter videos? It’s actually not such a bad idea, so you can have snippets of great interviews and songs played. Thank you very much Rick!
it’s important to precise that they are talking about music score for blockbusters that why directors can so much control on the music files. This can explain why block busters music score are lacking of uniqueness. Business wise.
Remember the "Rock Licks series that came out in the 80s. I still own the VHS with Brian May. Had learned several of his solos by then (starting in 71'), and was very embarrased to discover, that I had learned them all wrong.
Started learning to play in 71, and yeah, finding sets with an .08 top end was nearly impossible, by the mid to late 70s, all of a sudden, several makers started releasing sets with an .08 Top End you could find in the local shops.
If I had a dollar for every tear shed from the ineffably beautiful longing of this song... Those feelings touch the eternal and are worth more than mere earthly wealth.
I’m honestly getting so sick of seeing these people with these absurd modular setups that are just complete money pits that require mountains of space , that type of nonsense is just not necessary at all in 2024, it’s overindulgent and you got nobodies now racking up debt trying to mimic this stupidity
The issue is that people are using the sample libraries too much. Playing a cue on the piano prevents the director from getting used to sampled sounds and it will train their ears to hear a reduced version on the piano and wonder what it will sound like in the recording session. From what I hear....the musicians HATE being separated from each other when in recording sessions. They see it as a few things: 1. the composer is trying to get the players to do things that they can't replicate from the samples because they are human and not a computer, 2. they can't orchestrate or control the orchestra so they divide them up with walls or record them on separate days and use faders to replicate that orchestras can do ANYTHING
I'm not a fan of colored finishes, Rick, because the paints and such are done to hide the fact that often inferior wood is being used by the manufacturer.
Webb has composed some of the most Classic songs ever recorded. Interestingly, I don't consider Wichita Lineman his greatest work. Not that I'm talking crap about the song, I just think he's had many others that equal or eclipse it.
Rick, can you try and do an extended interview with John Williams on the issue to get his opinion on traditional methods of scoring? Would love to see it!
