TromboneChat

I recently rented the movie "NOPE" dir. Jordan Peele and saw something I've never seen before in the credits - every individual studio musician was listed in the credits (a full orchestra!)

I can only remember seeing this one other time recently, Martin Scorcese's "The Irishman" lists the individual musicians, but it's a much smaller ensemble, basically just harmonica, cello and auxiliaries

I think it's interesting to see every musician on the score, like reading the liner notes in a CD. Are there any other notable examples of this?

This is becoming somewhat commonplace in the last couple of years. Noted this on the last couple of movies I watched on planes. First one I remember noticing was in the first Paul Rudd Ghostbusters movie.

Cheers,
Andy

In terms of examples on film I think this is becoming more and more the standard practice. I'm seeing it in most films released in the last five to ten years, it's an awesome change! I'm not sure if this was a part of a union negotiation term or not but imagine my surprise seeing the members from the MET listed at the end of a recent film! I was kind of jumping out of my seat with how excited I was to see musicians getting credit!!

This is in the latest CBA with the local 47 musicians. For all of history up until then, it was a concession they had made to leave the musicians out of the credits.

I'm pretty sure that it was Tar where I noticed that TC's ngrinder was included in the musician credits.

Burgerbob wrote: ↑Fri Apr 12, 2024 9:05 am This is in the latest CBA with the local 47 musicians. For all of history up until then, it was a concession they had made to leave the musicians out of the credits.

Yup, this. Always bugged me that the caterer and the drivers were in the credits, but not the musicians whose actual performances are on the film. Bugged me that the AFM simply tossed credit out as an easy concession, when it really got them nothing in exchange. I'm very glad to see credit in the new CBA. Still, it doesn't always get done as it should even though it's in the CBA. But now I watch the credits and wait to see who played on each picture.

Burgerbob wrote: ↑Fri Apr 12, 2024 9:05 am This is in the latest CBA with the local 47 musicians. For all of history up until then, it was a concession they had made to leave the musicians out of the credits.

Interesting. Do they still get residuals? (I would certainly hope so!) As I recall, on one of Sarah Willis' Horn Hangouts, Brian O'Connor said they were given a choice between credits and residuals.

sungfw wrote: ↑Fri Apr 12, 2024 9:26 am

Burgerbob wrote: ↑Fri Apr 12, 2024 9:05 am This is in the latest CBA with the local 47 musicians. For all of history up until then, it was a concession they had made to leave the musicians out of the credits.

Do they still get residuals? (I would certainly hope so!) As I recall, on one of Sarah Willis' Horn Hangouts, Brian O'Connor said they were given a choice between credits and residuals.

Being in the credits does not mean that they get residuals. As I understand it, the union actually made financial concessions in exchange for musicians appearing in the credits.

But it scrolls by so fast you can't read it.
I did notice Nick's name in Tar and mentioned it to him.

I just saw a really good British movie that listed the musicians but I think there was no brass - Wicked Little Letters - I highly recommend it. True story, absolutely hilarious.

Page 60 of the current agreement:

https://www.afm.org/wp-content/uploads/ ... eement.pdf

It's been in place since 2020. There's no tradeoff for royalties or anything, that's always included on a union recording gig.

After seeing credits on NSO Symphony programs for Bass Clarinet, Alto Clarinet, Contrabassoon and even Tympani [instead of being listed as a percussionist] I decided to make it a personal project to have credit granted to the bass trombone, as it is a specialty instrument much like the aforementioned examples. At first, I was told that you are just a trombonist ---- don't rock the boat ---- but I persisted and eventually was credited as being the BASS trombonist. I thought it was for those that would follow to receive recognition for the specialization required to limit your opportunities as a trombonist. Today, it seems that everyone plays trombones of all varieties with no borders or limits, but I suppose that it was just a different time with different attitudes. I was displeased to see that my bass trombone idol in the Chicago Symphony Orchestra, Edward Kleinhammer, received no such public recognition for his formidable role in in bringing prominence to the bass trombone in the orchestral world. I have no idea if my idea survived my tenure in the NSO, but if it hasn't, the idea should be revisited !
Whenever pieces like the Chopin Piano Concertos were scheduled, the single trombone part was assigned to the bass trombone [because the part was written in bass clef], but when the concertos were scheduled to be recorded, the bass trombonist was informed that the part would be played by the principal trombonist. I strongly disagreed and not only wound up performing the part but insisted that I receive the considerable pay bonus that all principal players received for recording sessions. Other repertoire, like the Strauss "La Bourgeois Gentilhomme", that required only one trombone, were obviously written for the bass trombone, evidenced by the descent to the infamous "Bartok" low B Natural. Take credit for all of your hard work, bass trombonists ! You deserve it !

Burgerbob wrote: ↑Fri Apr 12, 2024 12:46 pm Page 60 of the current agreement:

https://www.afm.org/wp-content/uploads/ ... eement.pdf

It's been in place since 2020. There's no tradeoff for royalties or anything, that's always included on a union recording gig.

That's a positive change.

Here's the clip from Horn Hangouts clip: