The Thin Red Line Music Score

[Carmel Useted]

Zimmerwrote several hours of music, with several different themes, even before Malick started to shoot the film. The director then played the music on the set, while filming, to get himself, and the rest of the crew and actors in the right frame of mind. Zimmer and collaborator John Powell composed over four hours of music on this film, presumably for the director's original cut of the film. However, when director Terrence Malick re-cut the film down to its current running time of 170 minutes, he chose only a few select pieces of music from Zimmer's and Powell's musical contributions, along with original source music, and much of Zimmer's compositions were cut.[4][5] The film also features several Melanesian choral songs and chants, performed by the Choir of All Saints from Honiara, only one of which ("God Yu Tekem Laef Blong Mi") is featured on the soundtrack. In addition to the choral music, Zimmer added to his tracks the use of Asian instruments, like the Shakuhachi and the Koto.

In February 2019, an expanded edition of the soundtrack was released by La La Land Records, Fox Music and Sony Music. It consisted of two discs of the music as heard in the film, plus remastered editions of the original score album and the Melanesian choral album. This new edition was limited to 3500 copies.

One such show, held in the Aqua Theatre was "The Fine Line." When I go to see a show in the Aqua Theatre, I expect to see springboard diving, high diving and synchronized swimming. What a disappointment! There was no springboard diving, and the limited high diving and synchronized swimming was replaced by a third rate stage performance featuring a scary character, yelling, a circus act, much splashing of water, and more splashing of water.

Seriously, was does a freaky guy twirling a cape over his head for ten minutes have to do with swimming and water? Answer - Nothing. This was a start to a show that ended with more splashing of water. What a disappointment! I will say, the performers had a second show later in the week that was what I expected and brought out their real talents, but this was hardly promoted compared to "The Not-So-Fine Line"

Was there a name for the second show you thought was better? Want to make sure I recognize it in the Cruise Compass and go see it. :) I saw the online video of twirling guy followed by all the costumed splashing and was becoming really disappointed after all the hype I've heard about the Aqua Theater.

I believe the name of the show was "Hideaway Heist," but they may give it a different name in the Cruise Compass. It showed off the diving skills of the performers as well as those of the synchronized swimmers.

As always, everyone has an opinion.. but lets think about this twirling guy and ask if YOU could spin like that for more than 10 minutes and not throw up your dinner on yourself - NO... So I will say the guy is talented whether you like him or not!!

I *loved* the entire experience of Oasis of Dreams and Ocean Aria, enjoying the feeling of sitting outside during twilight with a drink in hand, watching divers and acrobats effortlessly and beautifully performing on the largest ships in the world.

Fast forward 6 years to the Harmony. For The Fine Line, we had chosen a late show, and it was already dark when it started. The only seats we could find together were in the last row, and it was considerably noisier. A couple of older gentleman chatted loudly a few seats down from us during the entire show despite being shushed by nearby audience members (why go to a show to talk?) and an entire family camped out right behind us also yelling. I couldn't wait for the show to be over.

B+ - Hideaway Heist... the second aqua show which actually features springboard diving and synchronized swimming. Heads and shoulders above The Fine Line. Once again, keep an eye out for it in the Cruise Compass.

C- - The Comedy Club... Two comedians each doing a 30 minute performance. The first was dull, boring and not funny. The second had some good jokes. I have high expectations for comedians and just wish they would offer an option for a family show. They only had an "adult" show and I have problems with comedians who think they can be funny by being obscene. The real test is to make people laugh without descending to gutter language and themes.

D+ - Grease... I give them an A+ for an amazing dance performance. The music will appeal to a broad base of those of us over 50. So why the low rating? - The theme of the show which is clearly offensive to women. We raised two daughters to be independent and self reliant. The theme of Grease is that women exist to please men. Sandy surrenders her values for the simple reason of pleasing Danny, a self absorbed idiot who attacks Sandy at a drive in movie. Sorry, but smoking and wearing sexy clothes to please a male are not what young women should be seeking.

I know where you're coming from with that. It's disturbing to watch something like "Mad Men" or the old "UFO" TV series and see just how crazily the depiction of women's roles is that was normal in our recent past.

But then I also remember listening for years to several songs I liked from artists I really enjoy overall and then suddenly paying attention to the words and being shocked a bit. :) There's things on many levels, good or bad, even classic Bugs Bunny cartoons...

We absolutely loved the fine line, but when we got to see it on the Harmony TA the twirly man section did not feature. He was in the hideaway heist later in the cruise though and I can see how that would be a bit weird in the fine line. Maybe his absence was the reason we enjoyed it!

Scores should look good and be easy to read. I cannot tell you the number of times I have been sent scores by students or hopeful orchestrators using terrible layouts. Perhaps they saw some online (never trust anything you see online, unless it is on this site of course!) or got advice from a friend who had a friend that went to Berkusc or UCLNYU!

The following list is my standard practice for score layout. It includes some updates to old conventions for use in modern scoring, as well as a few new ideas from my own experience. I think a lot of these things make perfect sense for the concert world as well.

Measures per Page

When scores were done by hand in Hollywood, they were always four measures per page. With the advent of computers it is possible to put more measures on the page and still keep it readable. I like between six and eight per page. Unless it is a big band chart or something that has strict eight-bar phrasing, I do not mind if new sections do not always start on new pages. In fact, it is easier to see a new section BEFORE the page turn if I am sight-reading. The main rule is to never put so many bars on a page that I cannot find my place again after looking up from the score.

Time Signatures

These should be big, but not too big. Too big and they take up too much space and kill toner trees to print. Always use the Finale Engraver Time font (it also works in the other program). Sometimes I feel that people are so proud of their large time signatures that they make them even bigger just for the flex, but it looks terrible and is a clear indicator that you really have no idea why we use them or what you are doing!

Concert Pitch

All film scores are printed at concert pitch. This has been the case for thirty years or more. Some people label this at the top of the score, but I do not. In my time in the studios I have never seen a transposed score for a movie, so the default assumption is that it is a concert score. The one caveat to this is that we do transpose instruments that shift an octave to avoid a lot of ledger lines. Piccolo, contrabassoon, glockenspiel, xylophone, celeste, guitar, and contrabass are all printed at written pitch. Octave displacing clefs are not needed, with the one exception to this being the tenor voice if using SATB staves.

Again some people feel the need to mention all this, but it is redundant. No one ever writes these instruments at sounding pitch. If you ever do wish to clarify something to the copyists, use hidden text that shows on the screen but does not print. This is one thing I feel should remain just a studio practice; concert scores should always be transposed.

Tempo and Score Indications

These go in large print above the top staff and first violin line. Use fixed size fonts in your notation program to accomplish this; I use Times New Roman Bold 14 Fixed. Avoid the default tempo indications. The quarter note always seems too large to me; it should balance with the text.

DO NOT include fractions in the score. it is pointless, confusing to players and looks daft. Just as with time code, the score is not the most official holder of that information. It is just a guide, so rounding it off is best practice.

I will admit that this system of just printing the bpm adjustment is not standard, but it is my preferred way of working. It is very specific and does not waste space with redundant text. Of course this only applies to film scores, where we have tempo maps and click tracks.

Guide Staves

I think it is important to know not just what the orchestra is playing, but also what they are not playing! While the example page I use above is from a session that was completely live, that is actually quite rare these days. There are nearly always some elements staying in the box or pre-recorded.

3a8082e126