Podcasts about century fox fanfare

Intro song: "20th Century Fox Fanfare" & "Cantina Band" by John Williams (from Star Wars)25. "End Credits" by Michael Giacchino (from Star Trek)24. "The Ludlows" by James Horner (from Legends of the Fall)23. "The Battle" by Harry Gregson-Williams (from The Chronicles of Narnia: The Lion, The Witch and The Wardrobe)22. "Axel F" by Harold Faltermeyer (from Beverly Hills Cop)21. "End Credits" by Dario Marianelli (from Pride and Prejudice)Outro song: "Main Title" by Max Steiner (from Gone With the Wind)Vote for your favorite theme from today's episode

Mastering engineer and film music restoration expert Chris Malone joins Xanthe for the season finale to talk about all things Empire Strikes Back soundtrack. We cover a ton of ground, from analog recording technology and methodology to the unique issues affecting The Empire Strikes Back releases. This episode contains many visuals, including spectogram displays that allow us to see tangible differences between various mixes. This episode is also on YouTube: https://youtu.be/DVwqsZ9Wv60  Timestamps: 0:00 - Hello there! 5:08 - Do you have one of these Empire Strikes Back soundtrack albums? 12:25 - Film music is recorded to part of the film. There wasn't always an expectation to produce a separate soundtrack album. 18:04 - When, where, and how the Star Wars and Empire Strikes Back scores were recorded. Terminology: 35mm magnetic film, magnetic tape, sprockets, tape machine, magnetic oxide particles, 50Hz tone, reproducer. 24:09 - Using magnetic film for synchronization. Limitations of the tape technology. 33:51 - John Williams editing together multiple takes with Ken Wannberg. 46:05 - What is a 24-track tape? Why does the width of tape matter? 49:58 - What is a live mix, and why is it an important reference for the ESB soundtrack albums? 1:02:53 - Listening to minutes 126-128 (end of the End Title music) while looking at the spectral frequency display. 1:10:27 - Diagonal splices. 1:23:07 - Different version of the Imperial March in the End Credits. 1:37:39 - Differences between the original ESB soundtrack and the Special Edition release. 1:57:37 - Comparison example: "Hyperspace" track on the 4CD and Special Edition releases. Listening for the violin presence and spatial movement of the horns and trombones. 2:09:17 - More spectogram comparisons: "City in the Clouds" and last note of the "Main Title." 2:21:21 - Applying the Hippocratic Oath to score restoration. 2:30:00 - If something was recorded in mono, should it stay mono? 2:40:31 - When it comes to restoring a film score, which sorts of recording artifacts is the engineer trying to correct? 2:42:21 - Example of "wow." 2:48:02 - Flutter. 2:53:13 - Why Chris champions the CD as an audio format. 3:01:21 - What type of gear does Chris use when listening to/analyzing music? (Question from Alex Cunningham) 3:12:06 - Was the ARP 2600 synthesizer overdubbed or recorded with the orchestra for the Empire Strikes Back soundtrack? (Question from Ender Smith) 3:13:58 - What has the transition to digital production done for Star Wars? (Question from Fr. David Mowry) 3:18:14 - Differences between the original 1954 20th Century Fox Fanfare and the one John Williams re-recorded for ESB. 3:20:28 - Eric Tomlinson's technique for recording punchy-sounding brass. 3:25:02 - The original trilogy scores (especially The Empire Strikes Back) could sound 1000x better than they sound on any of the current releases. What might prevent it from happening? 3:28:49 - The 2018 Disney releases of the Original Trilogy (the albums that are on Spotify). 3:39:03 - SWMM Questionnaire Things to Check Out: Cinematic Sound Radio's 2-part interview with Chris Malone: http://www.cinematicsound.net/interview-with-chris-malone/ The Goldsmith Odyssey's interview with Chris Malone: https://goldsmithodyssey.buzzsprout.com/159614/4802774-odyssey-interviews-chris-malone Complete Catalogue of the Musical Themes of Star Wars (by Frank Lehman): https://franklehman.com/starwars/. Cues: 12M3 "Finale" Musical Themes: Imperial March (Theme) Imperial March (Vamp) Han & Leia (A) Han & Leia (B) - Theme Form 1 (1980) Where are we in the soundtrack?: "The Rebel Fleet/End Title" --------------- Star Wars Music Minute Questionnaire: 1. In exactly 3 words, what does Star Wars sound like? Simply the best. Thematic orchestral richness. Well of richness. 2. What's something related to Star Wars music or sound that you want to learn more about? Everything there is to learn about the first three scores (1977, 1980, 1983). How did they get to where they got? What were the spotting sessions like? What were the internal memos like? 3. What's a score or soundtrack you're fond of besides anything Star Wars? Goldfinger (John Barry). The Lion in Winter (John Barry). Out of Africa (John Barry). Early James Bond scores by John Barry. Raiders of the Lost Ark by John Williams. ---------------------- Chris Malone: Website: https://malonedigital.com Articles, Analyses, Commentary: https://malonedigital.com/articles.html Project List: https://malonedigital.com/projectlist.html Twitter: https://twitter.com/Malone_Digital ------------------ Join the Discord server by becoming a patron at any level! (This is the best way to support the show): https://patreon.com/chrysanthetan Leave a voice message, and I might play it on the show...   https://starwarsmusicminute.com/comlink Where else to find SWMM: Twitter: https://twitter.com/StarWarsMusMin Spotify: https://open.spotify.com/show/652WVfMTLwJpVZ82i8uhFA Apple Podcasts: https://podcasts.apple.com/us/podcast/star-wars-music-minute/id1552988763 YouTube: https://youtube.com/starwarsmusicminute TikTok: https://www.tiktok.com/@starwarsmusicminute? Instagram: https://instagram.com/starwarsmusicminute Email: podcast@starwarsmusicminute.com Buy Me A Coffee: https://buymeacoffee.com/starwarsmusmin

We've arrived at another Spotting Session - the moment in our film study where we move cue by cue through every piece of underscore. To commemorate the size, substance and significance of John Williams' STAR WARS, today's entry will be the first in a 2-part Spotting Session. This episode will take us from Alfred Newman's 20th Century Fox Fanfare up to the midpoint of the film - the Millenium Falcon's flight out of Mos Eisley, en route to Princess Leia's homeworld of Alderaan. We revel in exploring the rich orchestrations and story-driven composition of one historic cue after another, calling upon conversations from several of our past guests (including Conrad Pope, Joe Kraemer, and assistant audio engineer on the STAR WARS score, Alan Snelling). This is as unabridged and intentional an examination of the score as we could fathom. Full disclosure: we were left somehow even more riveted by this landmark 1977 work and can only hope you'll feel the same. Please enjoy this voyage inside this John Williams musical masterpiece. #maytheforcebewithyouListen to episode 7m3A Spotting Session for STAR WARS (Part I)STAR WARS - John Williams - 1977 - Lucasfilm Ltd./20th Century Fox (George Lucas, dir,)Star Wars: Suite for Orchestra - John Williams Signature Edition - Hal Leonard (conductor score)https://www.halleonard.com/product/viewproduct.action?itemid=4490057&lid=150&keywords=john%20williams%20signature&subsiteid=1&IMDBhttps://www.imdb.com/title/tt0076759/?ref_=nv_sr_5■ ■ ■For score reductions, additional links and more,the discussion continues at: www.underscorepodcast.com---------------------------------------------------------------------to support the show, please visit www.patreon.com/underscorepodcast

En 1975, a pesar de los tremendos problemas de producción y rodaje, "Tiburón" ganadora de 3 Oscars (Sonido, Montaje y Música) fue todo un taquillazo, el primer blockbuster de la historia. La primera película en superar la barrera de los 100 millones de dólares y se convirtió en un fenómeno de la cultura popular en todo el mundo. "Tiburón" cambió el cine para siempre, por la genialidad de un joven director de 26 años y por la sorprendente banda sonora de uno de los más grandes compositores de la historia de la música de cine. Ambos consiguieron que a la generación de los 70 y 80 les diera pánico entrar en el agua. Dos icónicas notas que todo el mundo recuerda, fáciles de tararear y asociar a Tiburón. En su sencillez reside su grandeza. Y en su maravillosa creatividad en la composición y orquestación. La primera vez que Spielberg escuchó en el piano de Williams esas dos notas, que ya forman parte de la historia del cine y su música, pensó que se trataba de una broma. Cuando lo repitió una y otra vez, dándose cuenta de la intención que tenían y que podían incrementar el tempo a su antojo, Spielberg supo que Williams había dado con la idea de toda la película y del tema de Tiburón. Posteriormente llegó a afirmar que "la mitad del éxito de esta película se debía a la música". Este tema principal, conductor de la partitura, es recibido al instante por el público y podemos escuchar nuestros corazones martilleando en nuestro pecho. Junto a las dos notas bajas que componen el tema principal, también se escuchan un trío de trompas -tres notas ascendentes- anunciando la majestuosa presencia y la fuerza predominante del Tiburón, utilizándose en la película casi tanto como el motivo de dos-nota Dum-Dum... De alguna forma John Williams juega con el subconsciente del espectador nos adelanta con su música la presencia o no del Tiburón, incluso juega con la aparición sorpresa en algún momento del filme. Musicalmente hace una especie de tocata y fuga contrapuntisticamente de la aventura y misterio mezclada con el espíritu marinero de Quint (un "hornpipe" marinero de Nueva Inglaterra que acompaña a la salida del Orca), seguido de la fanfarria "Korngold-esca" y de los sucesivos ataques del tiburón que se van acelerando en tempo y ritmo, dramatismo y frenesí en un obstinato del motivo del Tiburón. De la esperanza y el optimismo de los cazadores se pasa al drama y la impotencia de la muerte simbolizada por la fuerza sinfónica del gran blanco. Desgarradora, desoladora y frenética en sus últimos acordes. Ya no es un juego de caza. Ya es la muerte sin remisión. Y a la muerte del Tiburón, Spielberg sugiere al técnico de sonido que introduzca al final del corte "Blown To Bits" del score de Williams la muerte de todos sus demonios fílmicos hasta la fecha, el camión despeñándose de "El Diablo sobre ruedas" ("The Duel") y ese premonitorio rugido de dinosaurio de serie B que sin saberlo simboliza lo que está por llegar en el futuro ("Jurassic Park"). Una obsesión de Spielberg de su infancia convertida en realidad. Aunque había ordenado quitar del guión de Carl Gothieb toda conexión de la novela de Peter Benchley con Moby Dick, Spielberg no consiguió los derechos y la autorización de Gregory Peck para rodar una secuencia del caza tiburones Quint (Robert Shaw) viendo en un cine Moby Dick y partiéndose de risa cuando muere el capitán Ahab ahogado, enredado en las cuerdas de los arpones clavados en el lomo de la ballena blanca. Esta y muchas otras anécdotas las contamos en este completo y exhaustivo análisis de la película y de su música, gracias a nuestro equipo de colaboradores en sus diferentes secciones: "El Acomodador" con Alí Trujillo, "Conexión Berlín" con Celia Martínez, "Cuaderno de cine" con Fernando Alonso Barahona, "Dirigido por" con César Bardes, "Al límite" con Fran Beltrán, "Grandes esperanzas" con Alma López, "Repartiendo Zapatilla" con los Hermanos Jimenez, "El Rincón del Coleccionista" y "Bonus Track" con el gran Miguel Casares (autor de las cabeceras y del montaje de este mega Tiburón, se merece un Oscar como la gran Verna Fields), y quien les habla, suscribe estas líneas y orquesta toda esta locura, vuestro servidor Juan Ramón López. Además en este Programa número 4 de Cinemasmusic hemos ido más allá haciendo un 2x1. Es decir, dos podcast en uno, con la inclusión al final del mismo de un especial titulado "Carnada de Tiburón" con nuestros amigos de Carne de Videoclub, los hermanos David e Isaac Gómez. Dos de las personas que mejor conocen, viven y sienten el universo de JAWS. Esas "mandíbulas" que aquí titularon "Tiburón" y marcó a toda una generación formando parte de nuestras vidas como una película mítica, una obra maestra del cine. Esperamos que os guste este sentido homenaje y completa masterclass de más de 6 horas a dos maestros Spielberg-Williams y a una gran película. Como decía Brody "vamos a necesitar un barco más grande" y por si acaso "salgan todos del agua". Tracklist Música de John Williams (Duración corte) - Localización minutaje 1. Main Title and First Victim (3:30) - 7:05 -. Trailer español - 10:30 -. "El Acomodador" con Alí Trujillo - 32:38 2. The Empty Raft (1:23) - 42:24 -. "Conexión Berlín" con Celia Martínez - 43:40 3. The Pier Incident (2:22) - 53:28 -. "Cuaderno de cine" por Fernando Alonso Barahona - 55:45 -. Moby Dick - Philip Sainton - 1:04:54 4. The Shark Cage Fuge (2:00) - 1:15:32 -. "Dirigido por" con César Bardes - 1:17:29 5. Shark Attack (1:18) - 1:29:36 -. "Al límite" con Fran Beltrán - 1:30:50 6. Ben Gardner's Boat (3:31) - 1:34:40 -. "El Rincón del Coleccionista" con Miguel Casares - 1:38:05 -. Main title (Alternate) de Jaws ed. Intrada - 1:43:38 -. "Bonus Track" con Miguel Casares - 1:44:29 -. John Williams conducts Medley (Oscars 2002) - 1:46:30 Casablanca, Citizen Kane, 20th Century Fox Fanfare, Star Wars, The Sea Hawk, Spellbound, Titanic, Psycho, Jaws, The Pink Panther, Exodus, Out of Africa, Doctor Zhivago, Bridge on the River Kwai, Patton, Rocky, The Magnificent Seven, The Natural, Cinema Paradiso, The Godfather, ET, Gone With the Wind. 7. Montage (1:31) - 1:55:17 8. Father and Son (3:43) - 2:08:50 -. "Grandes Esperanzas" con Alma López - 2:12:30 -. Eiffel 65 - Blue (Da Ba Dee) - 2:20:44 -. Happy Birthday, Maggie (Point Of No Return) - Hans Zimmer - 2:27:18 9. Into The Stuary (2:51) - 2:38:21 10. Out To Sea (2:58) - 2:50:17 -. Steven Spielberg and John Williams talks about Jaws - 2:53:17 11. Man Against Beast (5:34) - 2:56:00 12. Quint's Tale (2:41) - 3:07:14 -. Quint y su discurso sobre el U.S.S. Indianápolis 3:09:54 13. Brody Panics (1:10) - 3:13:40 14. Barrel Off Starboard (1:31) - 3:19:10 15. The Great Shark Chase (3:28) - 3:25:41 -. John Williams winning Oscar Best Original Score from Jaws (1975) 3:29:04 16. Three Barrells Under (2:05) - 3:30:49 17. Between Attacks (2:06) - 3:29:57 -. "Repartiendo Zapatilla" con los Hermanos Jiménez - 3:42:04 18. The Shark Approaches (2:41) - 3:52:59 19. Blown To Bits (3:03) - 4:05:37 20. End Titles (1:52) - 4:12:26 -. "Carnada de Tiburón" con David e Isaac Gómez de Carne de Videoclub - 4:15:04 -. John Williams conducts Theme From Jaws (Boston Pops) - (3:05) - 5:59:54 -. De Guella and The Green Leaves of Summer - Dimitri Tiomkin (2:06) - 4:09:13

Here's a mix of some little known tunes by well known artists   1 20th Century Fox Fanfare 2 Shangri La by The Kinks 3 Nineteen Hundred Eighty Five by Paul McCartney & Wings 4 New Morning by The Grease Band 5 Wonderin' by Neil Young 6 Ballad of a Well Known Gun by Elton John 7 Thundercrack by Bruce Springsteen & the E Street Band 8 Wigwam by Bob Dylan 9 Fountain of Sorrow by Jackson Browne 10 Bottle of Red Wine by Eric Clapton 11 Memo from Turner by The Rolling Stones w Ry Cooder 12 Space Song from The Reluctant Astronaut 13 Childhood's End by Pink Floyd 14 End Titles

Do you like happenings that FREAK YOU OUT? Do you like breasts of various shapes and sizes (mostly large ones)? Do you enjoy that groovy rock and roll? Or soap operas? What about the 20th Century Fox Fanfare used in such a creative way that it may make you think differently every time you watch Star Wars? Join us for a look at the Russ Meyer/Roger Ebert (yes, that Ebert) collaboration of the in-name-only follow up to the Jacqueline Susan 1967 film, as Andrew watches it 5 times in 5 days and gives us this report. email us at wagesofcinema@gmail.com https://facebook.com/wagesofcinema https://twitter.com/wagesofcinema

Star Wars Oxygen is back to dig deep into the soundtrack music of Star Wars...The oxygen of the film as brilliantly composed by John Williams. This month,  David Collins and Jimmy Mac continue to provide opinions, analysis, and appreciation for the music of Episode IV: A New Hope.  In this episode, we visit the Mos Eisley Cantina to listen to Figrin D'an & The Modal Nodes perform a couple of memorable tracks, we visit "The Land of the Jawas", and consider the 20th Century Fox Fanfare in a different light. Plus, unused music from the trash compactor, and the drama of a TIE Fighter attack will have you shouting "Here they come!" along with the music. All this and more great music this month on Star Wars Oxygen: The Music of John Williams Vol. 4

Minute 1 of Star Wars: The 20th Century Fox Fanfare through the first paragraph of the opening crawl.

http://www.andystreasuretrove.com/andystreasuretrove.com/Media/ATTSF%20Episode%20%2311%20Levelated.mp3.mp3 ()Episode 11 starts with two potential theme songs for Andy’s Treasure Trove submitted by listener and friend David Lisle, followed by Andy’s interview with British actor, writer and director Terence Davies. Born in 1945 in Liverpool, England, Terence Davies was the youngest of 10 children in a Catholic working-class family who suffered with an abusive father, bullies at school, the abuses of the Catholic Church and his own legendary self-loathing for being gay. After a shut-down adolescence he spent years as an accountant. He got into acting and then writing and filmmaking. His first 3 short films made in the 1980's entitled Children, Madonna and Child, and Death and Transfiguration later became known as The Terence Davies Trilogy. They were semi-autobiographical glimpses into the harrowing life of torment experienced by Davies in post-WWII Liverpool. In his first feature film, 1988's Distant Voices, Still Lives, the family again lives in the shadow of a monstrously abusive father, this time played by the great British character actor Pete Postlethwaite, whom Davies says is the only actor to play a member of his family who actually looked like the person they were portraying. Andy talks to Terence Davies about the 1992 film The Long Day Closes, a beautiful film centering on the favorite time of Davies’ childhood between the time his abusive father died and the family could relax a little, and the onset of his own highly fraught adolescence. They talk about several of his favorite cinematic techniques including his re-contextualizing of fragments of soundtracks from other movies, about the lost tradition of public singing in Britain, and of the chronic low self-esteem that haunts this great artist. Also about his new documentary/essay film about Liverpool entitled Of Time and the City, opening on Jan. 21 at Film Forum in NYC following a buzz-generating special screening at the Cannes film festival last year. Terence Davies is also being honored at New York's Museum of Modern Art this week. In an article in the New York Times yesterday (Jan. 11th), Dennis Lim compared Terence Davies with the English singer Morrissey in that they have both made a beautiful body of work based on misery. Andy spoke to Terence Davies following a chance meeting at the Pacific Film Archive in Berkeley California. See keywords, links and a photo below: Keywords and Links: Andy’s Treasure Trove online store, http://www.andystreasuretrove.com/ (www.andystreasuretrove.com), Terence Davies, theme music, theme songs, David Lisle, The Great Hall of 100 Treasure Boxes, Liverpool, England, abusive father, Children, Madonna and Child, Death and Transfiguration, The Terence Davies Trilogy, Distant Voices, Still Lives, Pete Postlethwaite, Postlewaite, The Long Day Closes, The Neon Bible, The House of Mirth, Film Forum, Cannes Film Festival, New York Times, Dennis Lim, Morrissey, Pacific Film Archive, Berkeley, California, Leigh McCormack, autobiographical films and plays, T.S. Eliott’s Four Quartets, Brueckner, depression, The Ladykillers, Kind Hearts and Coronets, Meet Me In St. Louis, 20th Century Fox Fanfare, Randy Newman’s Uncle Alfred Newman, Nat King Cole, Stardust, cinematic look, technique, testing, light, texture, Anaglypta textured wallpaper, Christopher Hobbs, film editing, timing, A Shropshire Lad, George Butterworth, British Film Institute Fellow, public and private singing in Great Britain, popular music, lyrics, Cole Porter, vulgarization and decline of most artforms in the last 40 years, Rogers and Hart, Hammerstein, Hoagy Carmichael, Great Period of American Songwriting, Lorenz Hart, Of Time And The City, BBC, Listen With Mother, Williamson Square, Berceuse (lullaby) from The Dolly Suite by Gabriel Faure, Alchemy, Magic, Andy’s Treasure Trove Listener Call-in Line: 415-508-4084. A personal...