az-links.info - Transformers (Complete Score)
Steve Jablonsky, Jacob Shea, Joseph Trapanese, David Fleming . Also like: Punch Hold Slide Repeat, Your Creators Want You Back and Drive Backwards Although, I really love "Tomb of the Primes" from 2 and Prime's theme and how it The percussion, for example doesn't actually kick in until the final battle cues. Like the Vikings in Led Zeppelin 's ' Immigrant Song ' I come from the land of the." "Two Steps From Hell Ender's Game Soundtrack Music by Steve Jablonsky. Steve Jablonsky, Lorne Balfe, Clay Duncan, TJ Lindgren . I can hear some tones in the score from Jablonsky Themes, not the themes itself. . (to be honest if he just toned down the humor I'd probably like them a lot more), Hell, even some of them like Movie Music UK end up pulling back later and Pentagon Meeting.
How did this artistic encounter occur? Someone recommended me to him, perhaps the musician contractor. Are you also the choir contractor for him? I worked for James on numerous projects, just as a singer, for one of his earlier contractors, Ron Hicklin. Then I had a chance to contract for him on later projects.
The titles of films kind of blend together, and I can't honestly remember which ones I contracted and which ones I just sang on. When James Horner is about to record a choir part of his score, do you receive the sheet music ahead of time or do you learn them on the very first recording session day? As with almost all film score projects, we do not see the music until we arrive at the session.
Sight-singing sight-reading is a required skill for session singers. You're certainly used to it, but isn't that a tad stressful not to know how complex it will be?
It can be stressful. Of late, some of the younger composers are sending pdf files of the music through the music prep people to me so that as a contractor, I can be sure I book singers who can cover the range, the style etc.
But as a singer, those people do not see the music ahead of time, and when I work for others I don't. It is rare even for the contractor to be sent the music ahead of time, but it is happening more often these days. James Horner is used to speaking to the musicians about the mood of his score and how it should sound like.
Does he do the same with the choir? Yes, he does give us a sense of the feel and purpose of the cue. In a James Horner score, are the choir parts always recorded separately from the Orchestra? Most usually the vocals are done as overdubs. Does James Horner conduct the choir? Yes, most usually James conducts the Orchestra and the choir. What are to date your best recording session memories with him? The number of scores composed by James Horner, in which you are credited is impressive. Do you have any favorites of these scores?
I enjoyed the music of Beyond Borders because it was a small ensemble of women, and James had made a real effort to be authentic in the interpretation of the score, using African language and musical styles.
You seem to like African singing a lot, don't you? Not necessarily — I just love the energy and the sound of that Power Of One score! Hans Zimmer and it was great fun to conduct some of the sessions. Among his scores with choir, which one is, according to you, his most complex work? I think the music for Avatar was magnificent.
I sadly was not called to work on it! That means you are very aware of what James Horner does. Are you actually a "Horner listener"? I don't often buy the CDs of the scores, but I am very tuned in to the score when I go to see a film.
And I was very impressed with Avatar, the conception of the music. Are you also in charge of 'guest star' vocalists i. That is usually James' field. I did also very much admire the score of A Beautiful Mind. Do you admire it for its vocal solos or for its dark and schizo feel? Fascinating film, and I just felt the score was very effective. Ideally I suppose, a score should not even be noticed if it is doing its job, but we who love and understand music, of course, always notice!
What do you think of your not being credited as vocalist in the Sneakers album leaflet, whereas your performance and that of your colleague is as much important as Brandford Marsalis' saxophone, who is though credited? I think it was rather thoughtless, truly. But composers traditionally, and especially back a few years, think more in terms of the musicians than the singers.
And we are not represented by agents, so often the composer doesn't even really "know" the soloists. Isn't that something that is changing nowadays?
I mean now in the CD's leaflet there is a list of the Hollywood Film Chorale members who participated in the score.
That is because there are "waiver" reduced rates the unions have established, but record companies don't get those rates unless they abide by the terms of the waiver, which include listing of names! How do you feel when humming a tune like Casper's Lullaby? Of course you also work with other composers and the names "Hollywood Film Chorale" and "Sally Stevens" are often credited in many scores.
Does the HFC have an almost monopoly? Hollywood Film Chorale, and myself as a vocal contractor, have been very fortunate for many years. But things do cycle and change. I have done several films in the last year or so, but without screen credit in some cases. Warner Brothers has a policy of not crediting contractors.
Very creative writing, imaginative, and fun to do! Watchmen, which was not a widely seen film here in the states has got some beautiful writing chorally. I'm very grateful to have been fortunate enough to establish new working relationships with these fine young composers, Tyler Bates and Steve Jablonsky.
Sally Stevens is in the middle, next to Don Davishis arm around her. Have you ever worked on TV Series as well? I also do some supervisory work on Glee. What composer have you worked the most with?
They each have distinctive personalities and styles in the studio — Danny is quirky, but a little bit shy. James Newton Howard is a consummate professional, as is John Williams, and they are both very respected by the musicians. Alan is totally charming, but also a consummate professional. What composer has impressed you the most?
That is really hard to say! One of my most favorite scores of all time is Elmer Bernstein's To Kill A Mockingbird, and that was done long before I got into the film music business!
I did get the chance to work with him several times, and also with Jerry Goldsmith, who was an incredible composer.
SALLY STEVENS: A VOICE OF FILM MUSIC
I truly have loved most all of the composers I've had the opportunity to work with. Most recently I have been very impressed with Steve Jablonsky, because of his variety of styles. One of my most favorite scores, in terms of the vocal cues, was Edward Scissorhands, which I did with Danny Elfman.
One of the composers who I've enjoyed tremendously, and in addition to being a fine composer is a darling man, is Marc Shaiman. Who is the most demanding composer? Interestingly, James Horner spends the most time I think, rehearsing cues. Is he respected as well by the musicians? Do you sometimes catch reactions from singers and musicians about his music? Honestly, the people I work with have very professional demeanor and if they don't especially like or respect a composer, I would not be aware of it.
There is not a lot of discussion about James but I think everyone, most recently, has admired his Avatar score as truly brilliant and interesting.
Are there any scores in which you voice is more prominently heard than the other voices? How did you feel when singing for Edward Scissorhands for the very first time? Besides, look where you are: And Zimmer, just like Bay, is an artist who regularly gets trashed on the internet, by some critics and especially militant film geeks.
Hell, there are haters who come and trash even here on the fan site. So yes, calm down with the snarky comments, my man. You're not achieving anything with negativity. By the way, no one talks about TF4 or TF5. I clearly mentioned the first live-action TF movie from And there WILL be a connection to the first one.
And my guess is that there will be a "musical connection" as well. Because the Bumblebee movie is a prequel. Hell, he even hides behind Anonymous which typically doesn't bode well for thoughtful opinions.
If half of the critics of the score actually analyzed the them, there'd be a lot less complaints about Steve Jablonsky. Granted they don't review the complete scores so that's also part of the problem.
He didn't even get the number of uses right! In TF5, Optimus appears 4 times twice in the finaleand Autobots appears around times including both the complete score and the 34 track album. Granted Steve complained that the editors used almost no temp tracks from the old films so the constant use of the old themes might have been a sort of "fuck you" to them. I still believe that no one's going to push Dario to use the old themes, that's up to him.
Steve is the one responsible for TF5's score, not Bay. So I agree with the troll to the extent of "the director doesn't care about musical story-telling," but I don't think that's exclusive to Bay. Some critics just seem to hate everything, or love everything with no real backing, sure. But you get film critics like RedLetterMedia who yes, are extremely critical, but they carefully explain why they do or don't like something. They talk about script-writing, camera use, direction, etc.
Yes they make fun of people like Bay, but that doesn't mean they hate everything.
They recently talked about their love for Infinity War, and are usually fairly positive about Marvel, Indie films, and more obscure movies in general. Just because it's something you don't care about as much doesn't mean they hate everything. I've also seen some film music websites that hate the first 3 TF scores but I read them anyway to see why they didn't like it, and I learn more about film and film music techniques.
Hell, even some of them like Movie Music UK end up pulling back later and saying things like " You can't be so defensive about criticism of something you liked. It's not the end of the world, people have different opinions. Apologies for the long ass rant but I hope I got my point across. Personally I tend to just ignore it, everyone has different opinions and on the internet there definitely is no shortage of people who immaturely express them.
az-links.info - Transformers - Age Of Extinction (The Score)
Not criticizing you at all, I love hearing others opinions and perspectives. For me personally, Bay is a director who falls on either side of the coin.
At his best, he genuinely is one of the best action directors working today. On the other side of the coin though, he has made a number of films I outright despise. I do agree with most people that the TF films are fairly formulaic, and do suffer from the humor that extends from the human characters.
Likewise, Pearl Harbor is a movie that did not need a badly written love story the action scenes are brilliant, everything else not so much. I think one of the biggest weaknesses of Bay tend to be some of the scripts he works with. Great acting and a genuinely sympathetic villain They seem to think that he only directs Transformers movies. People don't like to actually do a research Let's look at his other popular movies.
There is nothing offensive or "wrong" with the humor in those movies. As for Transformers and the humor there, ask yourself the question: As Bay said on the TF2 commentary, ordinary people all over the globe laugh their asses off during the comedy bits in the TF movies. And as someone who has seen the TF movies in different countries around the world, I can confirm what Bay said.
For the ordinary audience, for the teen audience which is the target audience anyway the humor works.
People laugh every time. Those who complain - not all, but most - are not surprisingly those who hate those movies in general and just look for any reasons to dismiss them. They simply don't like the films.
Trust me, my friend. I know what I'm talking about. I worked with those people. I wrote for a film site for 5 years and turned down the opportunity to be a critic.
I know how hypocritical, how snarky, how agenda-driven and how flat-out hateful they can be. Simply because they don't like a freakin' movie. I didn't want to transform no pun intented and be one those people. I don't hate it. That is a well-known fact. There are countless articles on the serious decline of film criticism.
As Bay himself says constantly: I always remind people that the reason all those great TF themes exist in the first place is because of Bay. It's HIS type of film music.
No one takes away anything from Steve. But Bay pushed for that music. He approved every single cue. He guides the composer constantly. And not just for the action bits. Zimmer himself said that Bay is a director who very much cares about the music and how it accompanies the screen story.
And clearly he knows what he's doing. You think that's a coincidence? One filmmaker and so many great, popular scores? It's more than just Bay picking a good composer.
If the director doesn't care about the music as a whole, how it affects everything on the screen, and he's not out there for the composer MOST critics nowadays hate everyone and everything.
They're not even critics. Because of social media and militant fanboy film sites like Collider, Slash Film and Screen Rant, every hateful film geek with an agenda can become a "critic". Negativity and hatefulness always bring more clicks to these sites. Which is one more reason as to why these "critics" are so hateful and disrespectful. Hell, I don't even have to tell you this. You know it very well. There are multiple articles from respected people and respected outlets who explain in great detail how modern film criticism is not criticism anymore.
As Bill Maher said last week: There's really nothing else to be said here. It's all pretty obvious. People like you and I, who never attack without being provoked, who actually think objectively and most of the time support their statements with cold, hard facts, OR the people who post short, trollish comments with the intention to stir shit up?