�is a challenge indeed. Many of them already know everything there is to know about producing them. Everything. Many others know nothing but feel they�re entitled to know everything. Everything. For the few remainders, here�re a few Intrada guidelines:
1) Licensors are the law. They own the music. They can choose to make it available� or choose not to. We can ask but it�s their ballgame.
2) We are artist friendly. We have been since day one, we still are. If a composer (or estate) says not to include 6M2A on our album, we don�t include 6M2A on our album. Unless a licensor overrides them. That is rare. In any case, I can argue but 1) and 2) will always prevail. I did win once� on Night Crossing. That is even rarer, though. I think it only happened that once.
3) After 1) and 2) are satisfied, creative decisions typically go to me. I usually like to include everything that survives on tape, in the order it appears in the movie. But not always. Sometimes I might want to hear things in a different order. I have a lot of skin in the fight so my opinion carries a lot of weight. Sometimes I will ask Roger what he would like. He has a lot of skin in this fight, too. Not as much, though.
4) Albums are getting really long now. 70 minutes. 90 minutes. 145 minutes. Even more minutes. Jerry Goldsmith once told me �Doug, they want every bloody note. They even want the orchestra tuning up. It�s ridiculous.� I am not making this up. It was at our Rio Conchos session. He didn�t like those collectors. He wouldn’t obey their wishes. Ever.
5) I�ve learned no two collectors agree on the best way to produce an album – even when they try to agree. Each feels their version should prevail. When I�m done listening to them, I proceed with my version. It always prevails.
6) I love this music. The old music, the new music. Sometimes I really like a cue, a whole lot. If I really really really like a cue a whole lot, I might include it two times. I guess the opposite is true, too. If I really really really don�t like a cue, I may not include it at all. Yes, the former happens sometimes. The latter rarely does.
7) Every licensor has similarities. Every artist has similarities. The former collectively own the scores. The latter collectively write them. But after that, the differences show up. One licensor may require source cues be included in the program, another licensor may request they be removed. Sometimes the licensors and the artists do not agree on where or when or even if the source cues will appear. The former usually prevail. But not always. Sometimes the latter prevail. On rare occasions, a coin is tossed and Intrada gets to decide. But that does not happen often.
A few �inside baseball� points to ponder.
a) Crossfades are my friend, except when they aren�t. Musical architecture matters to me a whole lot. If marrying two cues makes me happy, I will probably do it. If marrying two cues does not make me happy, I probably won�t. Sometimes I have married two cues on a project and years later divorced them on a reissue because they just couldn�t work out their differences.
b) I hate compressing audio and normalizing audio and doing things to audio that results in compressed audio or normalized audio. I hate it. Did I say I hate it? I hate it. Many a terrific score ihmo has become a dreadful listening experience because the quiet cue with a gentle oboe and solitary harp sounds just as loud as the following cue with 89 players blowing away. Many a terrific score imho has also become a dreadful listening experience because the audio level is cranked up as loud as possible just so it can be louder than� well, louder than what? Louder just to be louder I guess. Maybe it’s just for the earbud folks. Maybe it’s just for the people who like distortion. Whatever. To me that kind of mastering is cretinous. Think of This Is Spinal Tap. These go to eleven.
Bottom line, again imho. We all love to listen to this music. It�s why Intrada (mostly) produces these albums, it�s why you (mostly) purchase them. When the albums we and other labels produce and the albums you love are one and the same – well, it feels like nirvana. That doesn�t always happen. But sometimes it does.
–Doug
They have that? I want it!
:laugh:
Now that multi-disc releases have been proven to make money, there’s much higher demand for "every note" simply because it’s possible. You’d be crazy to be asking for that kind of stuff in the days of vinyl. I understand why some composers are irked by the obsession of completionists, and their rejection of the carefully-planned OSTs, but as one of those ruddy completionists myself it’s hard for me to fully agree with Goldsmith here.
Terrible! Often cues are mangled up in the editing room. Sometimes this leads to very interesting edits like "No Time For Caution", but often times it ends of being a series of microedits and loops that are unnecessary to carry over for official release.
I believe his wife is Mary Ann.
There’s several "MAF" "Fake" albums posted on Shrine.
Intrada MAF/INT (Mary Ann Fake)
https://en.wikipedia.org/wiki/Intrada_Records
Good insight.
I imagine tune ups add adrenaline to live performances.
So I want them.
Don’t really know what to say about Jerry Goldsmith. He sounded miserable. Like he regreted his career.
I’m finding that it’s best to not know anything about anyone you like. Most of them are major disappointments. Pathetic, really.
Oh… ‘tuning up’ as in, tuning the instruments before performance. I didn’t realize that. :p
And no, I’ve never been to a live orchestral performance. I would very much like to.
I’m finding that it’s best to not know anything about anyone you like. Most of them are major disappointments. Pathetic, really.
Goldsmith was famous for being cranky when it came to his fans. He once said that some of them (he meant Ford A. Thaxton, short: FAT) have no life. I have always liked his sometimes direct humour. And he was indeed humorous 🙂
Yup.
Because they are constantly searching wide-eyed for news of any note of his that might be unreleased, despite the fact that so much of Goldsmith’s canon has already been released that one can be a devoted "Gold-digger" and still never run out of stuff of his to listen to.
*claps*
I used to think like that, too. But in recent years I’ve come to realize that both fan groups are essentially the same. I would count myself a big Goldsmith-fan. But I still don’t buy or listen to everything he did. Nor do I mystify the scores receiving expanded treatment. Example: last year I bought ‘River Wild’. From watching the movie, I was excited but without the movie the music suffers, some parts are pretty boring actually.
So the key to being a fan is that one stays realistic. Not declare everything a composer wrote as the ultimate score in history. With Zimmer-fans, that is in so far a bit problematic as they tend to be very young and have not yet learned how to distance themselves from their… erm, urges. Goldsmith-fans are older, so they are more seasoned. So it is also a generational problem. But that’s how it is. And once one keeps that in mind, the whole discussion becomes less important, I think 🙂
See, I do that with the artists I really love, where I just get everything about them. With the ones I just like, I tend to only pick out specific stuff.
So the key to being a fan is that one stays realistic. Not declare everything a composer wrote as the ultimate score in history. With Zimmer-fans, that is in so far a bit problematic as they tend to be very young and have not yet learned how to distance themselves from their… erm, urges. Goldsmith-fans are older, so they are more seasoned. So it is also a generational problem. But that’s how it is. And once one keeps that in mind, the whole discussion becomes less important, I think 🙂
I think he meant to say that in the world of "real" music composition, Hans is regarded by those people with a true understanding of what music is (not "fans" with none or basic music knowledge) as the king of the posers… a phony. That doesn’t mean that Hans’ music isn’t pleasant (Last of the samurai, gladiator, etc) and in fact his fans testify that, but that’s another story.
Jerry was a different beast. A real composer, not an amateur with over production skills, business skills and talent agent skills. It is to be said however that despite Hans lack of music composition knowledge (hence skills), he still has a real knack for dramaturgy and that is awesome and would have made perfect sense if he had chosen a music supervisor career instead. During his stay in Rome in 1989, Jerry was ditched by his orchestrator. After first reacting with rage and panic, he snapped back to work, sent everybody to hell, locked himself in the hotel room and wrote the entire soundtrack in a week, orchestrated the work completely on his own for another 3 days, sent the music to the copyist and two days later he was on the podium to conduct the score himself.
That was the soundtrack for Leviathan if I recall his story correctly. I think that fans need to realize that people that can actually do THAT are a very different bread of composers in comparison to "modern" orchestral djs. Both are fine just depends on your music knowledge and taste but still… its like water and fire. A comparison between the two of them on a musical level is nonsense.
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