Q: I remember a Youtube video (now unfindable, apparently) showing all the music edits made to the final reel of The Phantom Menace. It was quite the patchwork. It may be anecdotal or speculative, but the general vibe seemed to be that Williams was unhappy with how the score was edited, as Lucas continued picture edits well past the main and pickup session dates. Conrad, do you remember anything like this?
Conrad Pope (kterej tu podle účasti na jeho místních akcích nikoho nezajímá): Yes, I do remember that there were a number of edits after the music had been “finalize”.
What I was told by “secondary sources” was a tale that went something like this:
Without naming names, during scoring, a friend of Lucas’s who was attending the recording session, suggested that he re-cut the film so that the cuts between the various arenas of conflict would become faster and drive toward the “ simultaneous climax “ of all the story lines (at least, in a cinematic sense- a la Griffith’s “Intolerance “.)
From what I was told, as JW was obligated to another project
, he was unavailable to do a “re-write” — and, I’m certain, he knew this was more an “editorial” fix rather than a “ completely new blank page solution”. So, the “conforming “ of the score to the new, inspired cut fell to John’s long time, dear friend and treasured colleague : Kenny Wannberg.
Whether or not John Williams was happy or not, I have no idea. All I know is that everything seems to have worked out to the satisfaction of the filmmakers and the audience- in this business, that’s a success.
Make no mistake: that success was and is grounded in the strength of the music, however sliced and diced it was; ALL the ideas are strong and they managed to remain effective after all the re-editing- guided and informed by Wannberg’s comprehensive and intimate knowledge of BOTH the score and the film.
John and Kenny’s professional “marriages” was one of the best in the business of big talents and bigger egos. To resonate and vibe musically, dramatically, artistically, professionally AND personally with a fellow composer/filmmaker—- that’s a great bond.
Composers today should find their “ music editor “ - a colleague with whom they would trust revealing themselves to.
Over the course of a project, they will be your advocate to the director, the producers and- most importantly- the film’s sound mixer ( a mix can be a negotiation- and the composer can’t always be in attendance to champion the score).
Every Don needs a Sancho.
So, Brian: That’s what I know from my “second hand” hearsay.
In any case, the further we get into Star Wars with all these sequels and “inspired by” spin offs, the less insipid Mr Binks appears in the overall trajectory of the SW universe and the more inspired the Prequels seem contextually.
In any case, without John Williams there isn’t a “Star Wars”- only space. |
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