Darth_Vader05
"This is going to be an energetic start," says George Lucas, looking at the list of the cues assembled today.
"Good morning, ladies and gentlemen. 6M7 is the first of the day," says Composer John Williams, stepping up the podium with his baton. The orchestra members straighten in their chairs. The baton drops with the first downbeat, and a very familiar refrain plays -- not 6M7, but instead the last part of "Happy Birthday to You."
Williams smiles, as the orchestra offers their applause at a prank well executed. It is indeed a special day for John Williams. "I'm so happy to be sharing my 42 birthday with you," says Williams. "Thank you so much; that was very sweet."
That surprise aside, as Lucas predicted, it was an energetic start, with music from the heart of the duel. Anakin Skywalker and Obi-Wan Kenobi swipe at each other with single-minded determination in their heated struggle. So focused are they that they ignore the volatile landscape surrounding them. The Mustafar refinery that they clamber and leap through serves only as an obstacle to their combat. They seem oblivious to the setting, except when one can use a steam pipe or gantry as an escape route or an advantage.
Likewise, the music ignores the hellish geography, staying focused instead on the characters. That is, until it is too late. The energy shields that should be protecting the building have faltered. The fight stops for an instant as a swelling sheet of lava geysers up into the collection facility. The characters snap their heads back to look... and they are cued by a dramatic upswell of music signifying the danger.
Scoring Engineer Shawn Murphy listens to the playback, advising his assistants to reposition the microphones. "It sounds like the chimes are a mile away from the mic and the cymbal is right on top of it."
"I'd like to think of those bars as tragico," Williams tells the orchestra. "Something very operatic. That should be the spirit of those few bars of tune."
A very different flavor of combat is scored later in the day -- the knuckle-dusting brawl between General Grievous and Obi-Wan Kenobi. To keep the orchestra in tempo with the music, a click track of quavers -- eighth notes -- ticks away relentlessly in the musicians' headsets.
The first run-through is energetic, a rousing rehearsal that Williams is reluctant to finish -- the sheet music ends without him. "Shawn, I got lost," admits Williams with a chuckle. "Now that is active."
Imagine the plodding of the AT-ATs, heard with heavy piano in "Battle in the Snow" from Empire, but played much more up-tempo. Grievous has the mass and speed to be dangerous -- it's like brawling a dexterous freight train. Obi-Wan barely holds his own, but when he lands his best punch, he has the weight of the orchestra behind him.
"I wish those drums weren't so recognizable as concert snare drum," says Williams. He suggests that the drummers turn the snare off. "What does a timpani mallet sound on that? Maybe felt here and wood there," Williams suggests.
Aside from these standout combat pieces, there were other, more atmospheric cues heard as well. Including a quiet refrain that accompanies what is probably Darth Sidious' only moment of compassion ever recorded, played on chimes.
"Think of it as church bells gone wrong," describes Williams.
I didn't hear much of the afternoon scoring sessions, as preparations were underway for an online chat with Producer Rick McCallum. At his insistence, I brought the webcam up to the producer's lounge above the control room, so that fans could spy on his digs. As usual, his chat proved popular, with our shared screen of questions choked so much by the incoming messages that we only ever saw six or seven at a time, leaving hundreds un-read. But McCallum spotted a few he wanted to field, including spontaneously inviting one lucky Hyperspace member to tomorrow's sessions.
The chat also marked the closest we came to getting George Lucas on a chat -- that is, about five feet. Rick would occasionally lob Lucas a question or two, but he was preoccupied in discussion with his guest to the recording, Grand Prix racing legend, Jackie Stewart.
The scoring sessions -- and Abbey Road webcam -- continue on Wednesday (to be reported here on Thursday) and that wraps it for the week. While more is slated tomorrow, that's outside the window of our coverage, as "Hyperspace in London" returns to the Ranch, to catch up on the activities of ILM and Skywalker Sound.
"Good morning, ladies and gentlemen. 6M7 is the first of the day," says Composer John Williams, stepping up the podium with his baton. The orchestra members straighten in their chairs. The baton drops with the first downbeat, and a very familiar refrain plays -- not 6M7, but instead the last part of "Happy Birthday to You."
Williams smiles, as the orchestra offers their applause at a prank well executed. It is indeed a special day for John Williams. "I'm so happy to be sharing my 42 birthday with you," says Williams. "Thank you so much; that was very sweet."
That surprise aside, as Lucas predicted, it was an energetic start, with music from the heart of the duel. Anakin Skywalker and Obi-Wan Kenobi swipe at each other with single-minded determination in their heated struggle. So focused are they that they ignore the volatile landscape surrounding them. The Mustafar refinery that they clamber and leap through serves only as an obstacle to their combat. They seem oblivious to the setting, except when one can use a steam pipe or gantry as an escape route or an advantage.
Likewise, the music ignores the hellish geography, staying focused instead on the characters. That is, until it is too late. The energy shields that should be protecting the building have faltered. The fight stops for an instant as a swelling sheet of lava geysers up into the collection facility. The characters snap their heads back to look... and they are cued by a dramatic upswell of music signifying the danger.
Scoring Engineer Shawn Murphy listens to the playback, advising his assistants to reposition the microphones. "It sounds like the chimes are a mile away from the mic and the cymbal is right on top of it."
"I'd like to think of those bars as tragico," Williams tells the orchestra. "Something very operatic. That should be the spirit of those few bars of tune."
A very different flavor of combat is scored later in the day -- the knuckle-dusting brawl between General Grievous and Obi-Wan Kenobi. To keep the orchestra in tempo with the music, a click track of quavers -- eighth notes -- ticks away relentlessly in the musicians' headsets.
The first run-through is energetic, a rousing rehearsal that Williams is reluctant to finish -- the sheet music ends without him. "Shawn, I got lost," admits Williams with a chuckle. "Now that is active."
Imagine the plodding of the AT-ATs, heard with heavy piano in "Battle in the Snow" from Empire, but played much more up-tempo. Grievous has the mass and speed to be dangerous -- it's like brawling a dexterous freight train. Obi-Wan barely holds his own, but when he lands his best punch, he has the weight of the orchestra behind him.
"I wish those drums weren't so recognizable as concert snare drum," says Williams. He suggests that the drummers turn the snare off. "What does a timpani mallet sound on that? Maybe felt here and wood there," Williams suggests.
Aside from these standout combat pieces, there were other, more atmospheric cues heard as well. Including a quiet refrain that accompanies what is probably Darth Sidious' only moment of compassion ever recorded, played on chimes.
"Think of it as church bells gone wrong," describes Williams.
I didn't hear much of the afternoon scoring sessions, as preparations were underway for an online chat with Producer Rick McCallum. At his insistence, I brought the webcam up to the producer's lounge above the control room, so that fans could spy on his digs. As usual, his chat proved popular, with our shared screen of questions choked so much by the incoming messages that we only ever saw six or seven at a time, leaving hundreds un-read. But McCallum spotted a few he wanted to field, including spontaneously inviting one lucky Hyperspace member to tomorrow's sessions.
The chat also marked the closest we came to getting George Lucas on a chat -- that is, about five feet. Rick would occasionally lob Lucas a question or two, but he was preoccupied in discussion with his guest to the recording, Grand Prix racing legend, Jackie Stewart.
The scoring sessions -- and Abbey Road webcam -- continue on Wednesday (to be reported here on Thursday) and that wraps it for the week. While more is slated tomorrow, that's outside the window of our coverage, as "Hyperspace in London" returns to the Ranch, to catch up on the activities of ILM and Skywalker Sound.
