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Big News At D23

Joseph scores a new video released of the transformation of EPCOT

Following in the footsteps of 29 years musical director at Disney, Buddy Baker, one of Joe's mentors into the world of film scoring, the call came to score the biggest news of the year at one of Disney's most classic, iconic parks: EPCOT! This was premiered at this year's D23 and recorded by Walt Disney World Info (www.wdwinfo.com) for the DIS YouTube channel.

Announcing A New Musical

Joseph teams up with Mimi Collins to tackle a brave new show for the stage

"Oh, by the way..." is a phrase that can bring about great changes of direction. After a 2-hour meeting discussing a feature film with producer/director, David Carson at Universal, Joseph was shaking hands in the parking lot and walking away when he heard David say, "Oh, by the way... I don't suppose you'd be interested in writing a musical?"

It was from that moment Joseph was introduced to the talented scriptwriter, Mimi Collins, who was penning the script for "Consent" - a hard-hitting show that addresses the fine lines of abuse that is all too often ill-addressed in Universities and College Campuses across America.

Aiming to raise the curtains (and awareness) with a 2020 premiere, come back to this page for previews and more announcements as they unfold.

Bree Heughan from SWB Entertainment Interviews Joseph Metcalfe about scoring The King's Daughter

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How long did it take you to score?

When I got brought onto the project the film was going through a radical re-edit which had a very limited time frame before its intended release date. This meant that the film needed new CGI which wasn't going to be delivered until the dub stage (when all the components of sound fx, music and visuals are mixed together). A lot goes in to producing a score beyond just the composing. The score first gets produced on a MIDI mock-up so the director can approve it or request changes. Once any revisions are all signed off the score needs orchestrating (arranging for orchestra), the music parts are then printed out and organized (I think this score had over 8,000 pages of music printed), the music then gets recorded (which took just under 4 days to record the orchestra and choir parts) and then the music recordings get edited and mixed before being delivered to the dub stage. For the King's Daughter I'd say it was about 6 weeks between receiving the final edit and the delivery of the score.

Why did you record the orchestra in Prague?

As the budgets were confined that meant we couldn't hire an orchestra in LA or London but the delicacy of the music still demanded live players. Prague was a great alternative that had the balance of good musicians within cost. It didn't take long to establish a rapport with the musicians and I'm really happy with the results. After recording in Prague I took the score to the UK where my long-time friend, Casey Stone (Frozen, Trolls, X-Men), did a great job mixing the score.

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Joseph conducting the Prague Philharmonic

What was the most challenging part of scoring the film?

The film contains music that is played on camera where the instruments dictate the timing of the notes. There's a scene where King Louis XIV (Pierce Brosnan) and the Priest (William Hurt) are judging the music that's being played and if they said it was horrible music I'd have to try to write horrible music. But when they loved the music I had to try to fit the 'nice music' to the way the Marie-Joseph (Kaya Scodelario) was playing on-screen. It was a challenge timing the notes that sounded melodically pleasing in time with the actor's movements of the cello. Fortunately, the cello is a gorgeous instrument, which helped immensely.

Joseph on the dub stage for The King's Daughter

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