BRIAN TYLER - TERRA NOVA (2011)

[Adam]

taaa o ile się nie myle to tudorów już są 4 płyty, a gry dwie i będa kolejne za to z terry już nie.

[Templar]

OK, ale wiele seriali mimo wszystko ma wydawane pojedyncze soundtracki, patrz "Game of Thrones", pierwszy sezon "Tudorów" i co tam jeszcze? Mystery jest bieglejszy w te klocki.

Do GoT to powinien być jeden na wszystkie sezony...

[Mystery]

taaa o ile się nie myle to tudorów już są 4 płyty, a gry dwie i będa kolejne za to z terry już nie.

4 płyty, ale każda wydana z innego sezonu, podobnie jak Gra i inne seriale. Terra Nova miała jeden sezon, ale trzeba spojrzeć kto to wydaje, La La, a jej polityka jest taka, że jak już zabiera się za wydawanie muzyki z seriali to robi to obficie, bo mając wiele godzin dobrego materiału za przyzwoleniem samych kompozytorów, chce podzielić się z fanami, bo to głównie dla nich adresowane są te scory, jak najbogatszą zawartością. Wystarczy spojrzeć na wydania od Beara, BG4 2CD, The Cape 2CD, Human Target 3CD!, także 2CD Terra Nova jest tu całkowicie normalne i zrozumiałe.

[Adam]

Amen ale jak widać nie dla wszystkich i tak dziwne że Brajan nie pojechał na płytach 2 x 79 min skoro 3 pierwsze odcinki miały skomponowane 90 min muzy

[Ghostek]

Dwie płyty, czy dziesięć... Recenzja będzie

[Wawrzyniec]

Amen ale jak widać nie dla wszystkich

Co Amen? Toż przecież Mystery napisał

4 płyty, ale każda wydana z innego sezonu, podobnie jak Gra i inne seriale.

Czyli zgodził się z tym co napisałem. Więc teraz nie odwracaj kota ogona, ani się nie zasłaniaj Mysterym.

[Adam]

Dwie płyty, czy dziesięć... Recenzja będzie

nie ma lipy

[Adam]

MV odpisał mi, że pierwsze 100 sztuk dla najszybszych będzie z autografem



Yes there will be signed copies. The cd will go on sale Oct 9 at 1 pm pst.

[Wawrzyniec]

OK, to który to już autograf Briana będzie?

[Adam]

nie wiem czy będzie bo nigdy nie zamawiam takich typu płyt w ciemno.. ale może ktoś będzie miał więcej szt. i mi odłoży do czasu aż przesłucham?

[Adam]

I'm a BIG Brian Tyler fan, więc przedstawiam jutrzejsze wiadomości dziś - jak w Bondzie ... cały linear notes z książeczki zbliżającego się wydania Terry :

Cycles of Time: The Music of TERRA NOVA
by Brian Satterwhite

In 1842 British biologist and taxonomist Richard Owen coined a word that would forever alter our perception of the future by redefining our understanding of the past. As prosector for the London Zoo, Owen meticulously examined a mixed-bag of bizarre bones unearthed from various locations stippled throughout southern England. He concluded these bones did not originate from modern lizards as previously surmised, but rather a “distinct tribe or sub-order of saurian reptiles.” The distinguished professor organized these Mesozoic Era fossils into three phylogenetic sub-structures labeled Megalosaurus (carnivorous), Iguanodon (herbivorous), and Hylaeosaurus (armored). He named this new taxon Dinosauria meaning “terrible lizard.”

Since its inception the word “dinosaur” has ignited imaginations and percolated passions indiscriminately for nearly two hundred years. Visions of these mind-boggling beasts permeated the arts inspiring painters, illustrators, sculptors, and eventually filmmakers to dare depictions of their physical forms. When Winsor McCay’s animated short film, “Gertie the Dinosaur,” premiered at the Palace Theater in Chicago in 1912, the audience roared. Sixty-five million years after their disappearance, dinosaurs once again ruled the earth!

Over the next century, filmmakers flocked to ferry the most realistic dinosaur depictions money could buy. It’s doubtful that Sir Richard Owen could have envisaged the cultural maelstrom his word unleashed upon future generations. Scholars and scientists alike have acquired a cornucopia of paleontological data from this dedicated individual; however, it was Owen’s conscientious pursuit of the truth that inadvertently exposed his most invaluable lesson…that sometimes you have to go back in order to move forward.

A Stitch in Time Saves Nine-Thousand

TERRA NOVA (2011) begins in the not-too-distant future where the calamities of a dystopian world converge forcing humankind to secure its future by harnessing the past as a lifeboat. The discovery of a naturally occurring “time-space fracture” forces the directorate to send selected sets of skilled citizens back in time eighty-five million years in order to establish a new civilization and resurrect humanity from the brink of its own demise. These strategically spaced-out pilgrimages traverse the time portal delivering new colonists, supplies, and equipment to a fledgling outpost christened Terra Nova. For those hand-picked few participating in the journey, there was no possibility of ever returning to the familiar time they left behind.

The brambly-bearded Commander Nathaniel Taylor (Stephen Lang) is the militaristic administrator ensured with the unenviable task of governing Terra Nova and protecting its settlers from the thick swarms of prehistoric beasts lurking in the surrounding environment. As leader of the First Pilgrimage, Taylor became the first human to pass through the time portal. An unexpected malfunction forced Taylor to survive deep within the dense dinosaur-plagued jungles of the Mesozoic Era until his compatriots finally arrived 118 days later.

For one particular family, Terra Nova was the only option in preserving the inviolable bonds of their kindred core. James “Jim” Shannon (Jason O’Mara) is a former police detective imprisoned for brawling with other officers after they discovered that Jim and his wife Dr. Elisabeth Shannon (Shelley Conn) bore an illegal third child (the law mandates family limits to four). Two years later, Elisabeth and her three children (the youngest secretly stowed away in a backpack) are selected to join the Tenth Pilgrimage and permanently relocate to Terra Nova. Jim escapes incarceration and muscles his way through the time portal where he rejoins his wife and three kids in their new prehistoric home.

Time Flies When You’re Having Fun

TERRA NOVA originated from the mind of British writer and actress Kelly Marcel who penned a fifteen page treatment to shop around various television networks. She was paired with Craig Silverstein to pencil a pilot which was subsequently purchased by Fox Broadcasting Company with Steven Spielberg and Peter Chernin assigned as executive producers and Brannon Braga and René Echevarria as showrunners.

Steven Spielberg has directed and/or produced nearly two hundred films and television series grossing an estimated total of more than $4 billion. Peter Chernin is a well-respected producer who was instrumental in making RISE OF THE PLANET OF THE APES (2011) as well as the hit television series BREAKOUT KINGS (2011) and NEW GIRL (2011). Brannon Braga is a seasoned veteran recognized for his prolific work on one of Hollywood’s most valuable and storied franchises. Braga’s writing and producing credits include STAR TREK: THE NEXT GENERATION (1993-1994), STAR TREK: VOYAGER (1995-2001), 24 (2009-2010), STAR TREK: GENERATIONS (1994) and STAR TREK: FIRST CONTACT (1996). René Echevarria is an experienced screenwriter and producer spearheading dozens of episodes of STAR TREK: THE NEXT GENERATION (1987), STAR TREK: DEEP SPACE NINE (1993), DARK ANGEL (2000) and MEDIUM (2005).

“It took an exceptionally long time to develop TERRA NOVA,” reveals Braga. “It was a giant concept. It took place in the future as well as in the past but never in the present. We were creating two completely different worlds from scratch!” From the very beginning of development, the producers of TERRA NOVA knew they wanted a lush orchestral score. “The first name that popped into my head was Brian Tyler,” Braga admits. “He and I worked on a couple episodes of STAR TREK: ENTERPRISE (2003) and I remember thinking how much I really enjoyed his work. I kept an eye on Brian’s career over the years and was really impressed by the scores he was creating. Brian was really the only composer I ever considered for TERRA NOVA.”

Brian Tyler has been composing music for visual media as early as 1997. His first major film score to garner national attention was SIX-STRING SAMURAI (1998). Since then, he’s become one of Hollywood’s most sought-after and prolific composers scribing scores for a litany of films including FRAILTY (2001), BUBBA HO-TEP (2002), THE FAST AND THE FURIOUS: TOKYO DRIFT (2006), ALIENS VS. PREDATOR: REQUIEM (2007), RAMBO (2008) and THE EXPENDABLES (2010), along with television projects including CHILDREN OF DUNE (2003) and TRANSFORMERS PRIME (2010-2011), and even video games including LEGO UNIVERSE (2010). “I was first approached by Brannon very early when they were still storyboarding,” Tyler recounts. “He came to me with an opportunity to work on a new weekly television series executive produced by Steven Spielberg whom I had worked with before on EAGLE EYE (2008).”

One of the glaring challenges the producers of TERRA NOVA faced was simply securing the slots in Tyler’s absurdly crowded schedule. When they first approached Brian, he was putting the finishing touches on FAST FIVE (2011) and was subsequently committed to scoring GOAT ISLAND (2012) for DJ Caruso, JOHN DIES AT THE END (2012) for Don Coscarelli, FINAL DESTINATION 5 (2011) for Steven Quale, and the video games NEED FOR SPEED: THE RUN (2011) and CALL OF DUTY: MODERN WARFARE 3 (2011). Fitting twelve hour-long episodes of full orchestral television music into Brian’s impenetrable schedule was not going to be a walk-in-the-park; however, the industrious composer was enthusiastic about the challenge.

“What was particularly interesting to me,” Tyler explains, “was the combination of two different styles of storytelling: science-fiction past and science-fiction future. The initial idea was to approach the show more like a film. This had been done on television in the past. The proposal was to score each episode utilizing a live orchestra similar to the science-fiction traditions of movies I grew up loving.” Tyler harbored concerns that a high-caliber orchestra could be assembled each week on such short notice. With Spielberg’s assistance, Tyler’s anxiety was quickly assuaged. “Steven is really the one who pushed the idea through and made it happen,” proclaims Tyler. “Once it was approved, I definitely wanted to be on board.”

Braga sent Tyler the scripts and sat down with the newly-appointed composer late in 2010 to chew over the various narrative and technical aspects of the show. One of the preliminary tasks appointed to Tyler was composing an infectious main theme to embody the overall character and tone of the show. “I started sketching themes right away,” proclaims Tyler. The eager composer quickly roughed-out a multitude of aspiring melodies for the producers to evaluate.

The core of Tyler’s confidence stemmed from initial bursts of raw inspiration that flowed through him when he started to compose. With each varying thematic statement he drafted, Tyler became increasingly aware that he would have to go back in order to move forward. “It was one of the very first pieces of music I wrote in early April of 2011,” Tyler recalls. “I wrote it on the piano. The phrase came out so effortlessly. I kept thinking to myself, ‘Could this be it?’ I went on to write a bunch of other themes and sent those on to the producers to gauge their thoughts, but we kept coming back to that initial theme. It turned out the first theme I wrote was the theme we went with.”

The primary melody for TERRA NOVA is composed in the mode of E aeolian. One of the most distinguishable aural elements of the theme actually derives from Tyler’s interesting use of harmony. The antecedent phrase of both sentences concludes on a minor v chord (B minor) which is characteristic of the mode; however, the consequent phrase of the first sentence cadences on a minor v chord before the third scale degree rises a half-step transforming it into a traditional dominant chord (B major) in the key of E minor. The later sentence cadence is similar; however, it uses the relative major to cycle through to the dominant of VI (G major) in E aeolian before moving to the traditional dominant chord (B major) of E minor.

It is this particular cadential choice that gives the main theme of TERRA NOVA its unique aural characteristic. It envelopes the mysterious atmosphere of the narrative and the passion behind the various relationships all within a single musical idea. It is simultaneously dark and uplifting which bulls-eyes the overall tone of the show.

The Clock Is Ticking

Brian Tyler started composing music for the thirteen episodes episodes of TERRA NOVA in April, 2011. He abandoned the universal practice of recording layers of digital tracks using newfangled computer software and reverted to an “old-school” approach of scribing notes with pencil on manuscript paper. During the scoring process for the earlier episodes, Tyler was required to mock-up each cue (creating a digital representation of what the music was going to sound like) for the producers to hear prior to recording it in the studio with live musicians. As the show progressed and the producers’ confidence in the music increased, Tyler relied less on these synthetic demos.

“I didn’t give Brian a lot of direction,” admits Braga. “I would sit down and listen to every cue of Brian’s score and I would call him up afterward and give him notes. I hired him because I knew he would come up with something great. My process working with any creative person, be it a production designer, costume designer, make-up artist, editor, or composer, is to just let people be inspired.” The editorial team utilized Tyler’s music from other films to create a temporary score for each episode; however, none of it factored in to the composer’s creative process. “I was never very familiar with the temp music,” explains Tyler. “By the time we spotted the episode with Brannon and René, the edit was completely temp free.”

“It was almost like scoring a twelve-hour movie,” Tyler asserts, “except it was spread out over a longer period of time. Of course, I composed a lot more music than I typically would for a single film; however, at the same time, I was dealing with recurring themes and opportunities to expand upon my ideas which I couldn’t possibly do in a single film. As new characters were introduced and regular characters evolved, so would the development of these themes. It was a new experience for me.”

One aspect behind scoring TERRA NOVA that was not new for the fleet-footed composer was absorbing the seemingly-endless hours required to complete the work. “The first step of the scoring process,” Tyler spells-out, “was to spot the show with the producers and my music editor Micha Liberman. We’d go through each scene and kick around ideas about where music should go. That same day, I would be approving music mixes from the previous episode I had just recorded a day or two prior. Then I would head back to my studio where I would start composing for the next episode and spend the next several days sending in musical ideas to the producers. I would be given anywhere between a week, maybe two, to compose all the required music. Later in that process, I would start recording tracks in my own studio: percussion, piano, guitars, or exotic instruments from Thailand or Africa. I would also be composing the orchestral overlays which would eventually be recorded on top of these tracks. After five or six days, approximately forty minutes of music would be sent off to get orchestrated and copied just in the nick of time for me to conduct the recording session. The following day we’d start mixing and spot the next episode and the whole process would start all over again.”

Since the show required such extensive special effects work during post-production, Tyler was given a little more time to score each episode than one would normally expect. “By the time the edit was finished,” explains Tyler, “it was fairly early in the process. They had to have an edit completed well in advance so the effects could be finished on time. Post-production was more than twice as long as most shows. It’s one of the reasons why the show was so expensive to produce and technically difficult to pull off on network television.”

“There were definitely moments when I would second-guess myself,” Tyler confesses. “Sometimes it felt like I was heading downstream without a paddle. There was so much material I would actually forget to use a theme. I’d compose through the scene and realize later I should’ve incorporated a specific theme for that specific moment. That’s an example of when a ‘first-impression’ approach tends to run right into your self-doubt. If I found myself going down a certain path and then realized it wasn’t right, I’d put it aside and start over. More often than not, the music I set aside would eventually find its way into other portions of the score. Even though I had a slightly longer schedule than most television shows, there still wasn’t enough time. I would be writing cues at 6:00AM and have to drive over to the Fox scoring stage an hour before I was set to conduct. It was all part of the fun.”

So Many Musicians, So Little Time

All of the music Brian Tyler composed would have been for naught had it not been for the exceptionally skilled band of musicians hired to perform and record it. Early in the scoring process, Tyler gave his music contractor, Murray Adler, an extraordinarily ambitious wish list of high-caliber instrumentalists he hoped would form his orchestral “dream-team.” Adler stepped-up and delivered every musician on Tyler’s list.

The cream-of-the-crop was Hungarian-born Endre Granat, principal violin and loyal concertmaster of Tyler’s studio orchestra. A former assistant concertmaster for the Cleveland Orchestra under the direction of George Szell, Granat has performed on more than 2800 film scores including ANGELA’S ASHES (1999), MUNICH (2005) and THE ADVENTURES OF TINTIN (2011) for John Williams, HARRY AND THE HENDERSONS (1987) for Bruce Broughton, RANGO (2011) and PIRATES OF THE CARIBBEAN: ON STRANGER TIDES (2011) for Hans Zimmer, THE BOURNE IDENTITY (2002) for John Powell, KING KONG (2005) for James Newton Howard, and WANTED (2008) for Danny Elfman.

“I started working with Brian Tyler at the very beginning of his career,” chimes Granat. “You’d think after fifteen or sixteen years I would know what to expect from him. Wrong! Every score he composes is a surprise. I don’t think he is one of the best…he is the best!”

It was particularly thrilling for Tyler to conduct these fine musicians at the Fox Scoring Stage every week. “It was like a family,” admits Tyler. “I got to know them all very well and work with them creatively on a weekly basis. It made for a great composing environment.”

“When I show up to a recording session,” explains Granat, “whether it’s for a film or a television show, I’m rarely ever aware of what it is I’m going to play. I don’t even know the title. Therefore every session is a learning experience. That’s my challenge…but it’s a beautiful challenge. Most of the cues we recorded for TERRA NOVA were completed in only one or two takes.”

Even for a battle-scarred studio violinist of Granat’s pedigree, performing on TERRA NOVA was a constant dare. “Brian wrote this immensely difficult violin part for one of the cues,” Granat recalls. “It was truly amazing! All the violinists sat down and practiced it individually and then we played it together very slowly a few times. When you listen to the recording you can’t believe that passage could have been played by so many people. I am very proud of that particular performance. It was one of the single most difficult things I have ever played.”

The recording sessions for TERRA NOVA lasted from June 2011 until December 2011. Tyler and his orchestra tracked music for all the episodes at Fox, except for the final episode which was recorded at Warner Bros.

Keeping Time With The Music

The music for TERRA NOVA uses a myriad of themes and leitmotifs to integrate the environmental characteristics of the narrative into an amalgam of extreme primitivism and advanced futurism. Tyler’s main theme is utilized throughout the series as an aural symbol for both Terra Nova and the Shannon family. It forms the glue binding the Shannon family nucleus, which is ultimately reflected in the ideals governing Terra Nova. The main theme first appears in an augmented variation during the pilot episode entitled “Genesis, Part 1.” The undulating phrase underscores Elisabeth as she coaxes her two eldest children through the time portal. The theme is subsequently heard more prominently as the reunited Shannon family, along with the other members of the Tenth Pilgrimage, first arrive at Terra Nova.

There were other miscellaneous motifs composed for the Shannon family which splintered and developed independently to contour the subtle nuances of Jim and Elisabeth’s relationship, Josh Shannon’s (Landon Liboiron) blossoming relationship with Skye (Allison Miller), and also Maddy Shannon’s (Naomi Scott) crush on Mark (Dean Geyer). Most of these musical ideas were defined by their instrumental and harmonic choices rather than their melodic uniqueness. Lilting chords on the piano supported by a tender bed of warm strings were often used to underscore these recurring moments of affection.

Nathaniel Taylor’s leitmotif is an uncomplicated melodic fragment typically lingering around A minor. It often consists of three notes and was frequently curtailed to just two. It wasn’t necessarily the melodic choices that were idiosyncratic to his character but rather the instrument chosen to play them. Taylor is routinely highlighted by the exotic sound of a GuitarViol which is a guitar-formatted bowed string instrument loosely inspired by the arpeggione. Its unique aural qualities are markedly primitive which separates it from the fabric of the surrounding music while evoking Taylor’s unparalleled expertise of Terra Nova’s violent environment.

The quasi-villainous portrayal of the Sixers were often underscored utilizing a barrage of hulking percussion. These primitive adversaries, lead by Mira (Christine Adams), are represented in the music using smallish motifs to heighten elements of mystery and tension rather than full-force villainy. These strains are remarkably bone-chilling and more savage than the lushness of the other themes.

“The two things that fascinated me when I was a kid,” admits Tyler, “were dinosaurs and spaceships! Working on TERRA NOVA, I was able to compose science-fiction fantasy music along with primal elements and merge them all together.”

Say Hello, It’s Time to Go

Although the show was originally scheduled to debut in May, 2011, the two-hour pilot, budgeted at $14 million, had to be pushed back in order to allow ample time to complete the dinosaur effect shots. The series premiered on September 26, 2011, earning a respectable 7.2 million viewers which was evenly maintained throughout the duration of the season. When the series finale aired on December 19, 2011, TERRA NOVA had earned respectable enough ratings to assume it would not be automatically cancelled. Fans of the show waited with baited breath for the announcement that TERRA NOVA would be picked up for a second season. On March 5, 2012, the Fox Broadcasting Company announced they would not be renewing the series. It was the second-highest rated show of 2011 to be cancelled. Plans were immediately set into motion to shop TERRA NOVA to the highest bidder. At one point, online media-streaming giant Netflix even expressed interest in acquiring the expensive series. When the dust settled, no serious suitors were found.

“The show ends with a question mark,” laments Tyler. “I would love for it to continue. We were hopeful because when the ratings came down they were quite good. There were several television shows renewed that year that had lower ratings than TERRA NOVA; however, they didn’t require the herculean effort and cost to produce each week. There were a lot of people pouring their blood, sweat and tears for twice the amount of time required on regular television shows. It’s artistically very frustrating.”

Producer Brannon Braga reflects upon the casualties of big-budget television. “We spent an incredibly long time writing the scripts, casting and filming the series. It took us a year and a half to make thirteen episodes of the show which is much longer than normal. There was a lot of discussion about what we can afford, but we always kept an orchestra in the budget. Most people want to hear live musicians, but it’s expensive. It just depends on how important music is and in TERRA NOVA it was very important.”

“It’s the nature of the beast,” explains Granat. “The show wasn’t canceled because of the score. The score is a victim of the cancellation. The loss of any television show is a blow to our industry.”

“The cost of producing the music,” Tyler explains, “wasn’t something that contributed at all to the high costs of the show. Many shows have licensing budgets which can equal or exceed that of an originally scored program, even if you utilize a live orchestra. We just allocated all the money normally reserved for licensing and gave it to the musicians.”

Braga reflects on the show’s success and unprecedented achievement concerning the music, “Brian really delivered. It was a grand adventurous score and he continued to do it week after week. Working with Brian was one of the more fun and easy aspects of the show for me. Thank god for Brian Tyler! Thank god there was at least one creative aspect of this show that wasn’t a herculean challenge.” Tyler echoes Braga’s sentiments, “I felt lucky to have been a part of something that doesn’t happen very often in modern television. I really miss working on the show. It was one of the coolest experiences I have ever had.”

Brian Satterwhite is a film composer based in Austin, Texas. A member of the International Film Music Critics Association (http://filmmusiccritics.org/), Brian writes extensively for various web sites including his own professional blog, lectures on film music at the University of Texas at Austin and produces and hosts Film Score Focus, a weekly film music radio program on 89.5 KMFA (http://www.kmfa.org/).

http://www.briansatterwhite.com/

http://www.filmscorefocus.org/

© Brian Satterwhite/La La Land Records 2012

[Templar]

Tak swoją drogą La-La to mogłaby wydać Hawaii Five-0, tam już 2 pełne sezony są (24 i 23 odcinki), teraz trzeci się zaczął i sporo fajnego pumpinu Tylera Wczoraj akurat oglądałem 1. odcinek 3. serii i sporo fajnych kawałków było

[Kaonashi]

Ktoś to czytał?

[Adam]

a jak kupujesz płyty, to nie czytasz ich książeczek?

[Koper]

Dobrej muzy z dobrych filmów tak, ale Tylera do Terra Nova? Pfff...