CineMontage

Fall 2015

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54 CINEMONTAGE / FALL 2015 between light and dark, good vs. evil. "I was involved with the temp last December," Belgardt says. "That was amazing because you had all six Star Wars films and you could put them in where you think themes might go, which filled in gaps nicely, harkening back to the old times. John has embraced some of those old themes in the right spots, and then all this new music is happening over that, so you're constantly going back and forth between the old and the new. "The new material is so special," the music editor continues. "The main characters have brand new thematic material, but it all still feels like Star Wars. You could take any new cue from this movie and play it without picture, and you'd say, 'Hey, that sounds like Star Wars!'" According to Belgardt, that has to do with the writing, Williams' orchestration and how it is all recorded by scoring mixer Shawn Murphy. "The performance we hear in the movie is the performance that was recorded on the Sony Scoring stage," he explains. "Everyone was in the same room, making music — the way it always used to be. John's preference is to not use a click track, if possible; the musicians need to hear and feed off of one another to create a performance with personality. Sadly, this is not the way the majority of scores are produced these days. That's part of what makes music from Star Wars so singular." It's been a stark contrast from the music editor's experience on Sith a decade ago, which was a wrap-up rather than a new beginning. "There I was — Star Wars, the last one, the turning of Anakin into Vader. I got in there right before it ended. Also, going to London and being at Abbey Road with the London Symphony Orchestra for the first time was something special. John did an amazing thing; it was the beginning of all the things you were going to hear in Episodes IV, V and VI, and he was able to weave in the music so we experience it in its infancy — such as when you see the twins, Luke and Leia, born or witness the genesis of Vader and get to hear the march." Sith had the element of foreshadowing the musical shape of things to come. But it also had very original music, involving, for instance, General Grievous. "It was one of the easiest, most loving sessions you could ever have," Belgardt recalls. "I remember watching George Lucas, looking at the screen and listening to the music. He knew what John would provide, and he was thankful for it. Eventually, we took what we edited at Abbey Road to Skywalker Sound and there were minor picture changes. Then George would have a few music cue changes here and there." By contrast, the workflow has been different on The Force Awakens, which has been more in a state of flux. Abrams does a lot more experimenting with the picture editing, by Maryann Brandon, ACE, and Mary Jo Markey, ACE. Scenes have been shifted around to determine what works better structurally and emotionally. Not surprisingly, the opening has changed considerably. "J.J.'s process is to try everything; his brain seems to work at a million miles a minute," Belgardt says of his director. "It is amazing to behold. He has so much enthusiasm and inspires real commitment from his team. He surrounds himself with the best people and it makes the process — which can sometimes

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