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28th March 25, 03:41 PM
#21
 Originally Posted by OC Richard
That's beautiful Peter. I'm glad you were able to get that included in the film.
I've been around Hollywood enough to have seen that process several times with my own eyes:
1) hire an expert to be an "advisor" on the film.
2) ignore most or all of what they advise you to do.
The most puzzling thing to me about the Rob Roy costumes is that they created a completely ahistorical mashup of the breacan-an-feileadh and the long plaid.
Didn't they notice that all the old portraits of men in kilts don't have a length of tartan wrapped diagonally across the torso?
I'm assuming the costumer got that idea from old portraits of men in trews.
Or, Victorian (and later) images of men wearing modern (detached) kilts with the long plaid.
About Hollywood people not noticing what might be thought obvious, after Braveheart came out every composer in Hollywood wanted the sound of the uilleann pipes on their projects, and for the duration of that fad I was very busy.
Whenever they called me I gave my little speech about exactly what the uilleann pipes could, and couldn't, do. Rarely did any of my information sink in.
One of those times happened when, despite my clear instructions, I arrived to find that the composer had written my part in the wrong key.
I spied the Braveheart soundtrack CD on his desk.
"I see you have Braveheart. Did you listen to it?"
"Yes I listened to it over and over to get a feel about what the uilleann bagpipes do."
"Did you notice that every single thing that the pipes play is in one or two sharps?"
No, he hadn't. One would think a professional composer would have an awareness of keys, no?
One thing about Rob Roy that makes me a little bit in disagreement with your comments is the way that Neeson's plaid was during the film.
For example in the Fight Scene he removed the plaid and kept a phillabeg on.
The film is set within the period accepted for the evolution of the Phillabeg in some Quarters.
Rob Roy is depicted as being a man with some means slightly elevated amongst his community. He also wears a jacket in some scenes (albeit slashed leather style).
Therefore my interpretation was that what Neeson was wearing represented a man with a Phillabeg and separate plaid which to me isn't actually a massive leap of fantasy regarding the time period. As I recollect the slightly less elevated members of the cast seemed to be depicted in plaids
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28th March 25, 06:33 PM
#22
 Originally Posted by EagleJCS
This reminds me of other issues pipers face, like volume.
Potential client (PC): "Can't you just blow softer?"
Bagpiper (BP):"No, this is a reed instrument and the reeds require a certain amount of air pressure to make sound..."
PC:"But <insert instance of recorded pipes played over a movie scene or on television> was quiet!"
BP:"Yes, and that was a recording, not live. If you want a similar effect, use a recording or have me play at a distance."
PC:"But I want a live piper right there!"
Oi oi. Been there!
Some sidelights:
1) I also play Scottish Smallpipes and Uilleann pipes so I'll mention these as alternatives.
I recently did a gig that was Smallpipes only, a whisky tasting in an intimate small-pub setting. There have been quite a few gigs over the years which ended up being Smallpipes only.
2) I have two sets of Highland pipes, one at 480-484 for the Pipe Band, the other at 466 for playing with pipe organ etc. I've sound that the 466 set is easier on people's ears, and I'll usually play those for indoor things that don't require smallpipes.
3) From at least c1780 to c1930 all the leading pipe makers offered pipes in three volume levels. They wouldn't have considered playing the big pipes indoors! It wasn't until the 1930s that all the leading makers dropped the smaller sizes/softer-sounding pipes from their price lists.

 Originally Posted by EagleJCS
"Let me direct you to <the next piper that does gigs in the area>. Maybe they can help you."
That sounds like my strategy!
I have the number of a very good piper who charges twice what all the other pipers charge. I give his number to clients who say I'm charging too much.
I have the number of a very good piper who is a short-tempered and has no patience for high-maintenance people. I give his number to clients who are high-maintenance people.
Last edited by OC Richard; 28th March 25 at 06:35 PM.
Proud Mountaineer from the Highlands of West Virginia; son of the Revolution and Civil War; first Europeans on the Guyandotte
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28th March 25, 07:00 PM
#23
 Originally Posted by Allan Thomson
One thing about Rob Roy that makes me a little bit in disagreement with your comments is the way that Neeson's plaid was during the film.
For example in the Fight Scene he removed the plaid and kept a phillabeg on.
Interesting, I hadn't recalled that.
In Old Irish and Highland Dress the author mentions a number of vague and inconclusive 17th century accounts which may or may not refer to the little kilt. The consensus seems to be around the second quarter of the 18th century, but this is plausibly close to Rob Roy's time.
AFAIK having a kilt with plaid going across the body didn't appear until the early 19th century.
What strikes me is the general look of the kilt/plaid, which doesn't resemble any of the extant 17th and 18th century images in the slightest. The costumer is trying to eat their cake and have it too.
The sporran is good. But there's a Victorian plaid brooch! And the enormous buckle looks preposterous to me.
(This is said to be Liam Neeson's actual costume from the film.)
Last edited by OC Richard; 28th March 25 at 07:04 PM.
Proud Mountaineer from the Highlands of West Virginia; son of the Revolution and Civil War; first Europeans on the Guyandotte
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30th March 25, 04:01 PM
#24
 Originally Posted by OC Richard
Interesting, I hadn't recalled that.
(This is said to be Liam Neeson's actual costume from the film.)

He seems to have cloven hooves.
Anne the Pleater
I presume to dictate to no man what he shall eat or drink or wherewithal he shall be clothed."
-- The Hon. Stuart Ruaidri Erskine, The Kilt & How to Wear It, 1901.
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31st March 25, 04:43 AM
#25
 Originally Posted by Troglodyte
...the paler fawns and 'stone' shades of tweed with conventional clan tartans...
I thought of your comments just now watching this video from 1983, both men are wearing fawn/stone/beige tweed jackets, Seumas with matching fawn/stone hose (well shown at 4:05) showing that the Semple approach was still in effect at least with older gents at that time.
At 4:50 we can see that Iain is wearing hand-knit Arran hose, at the pinnacle of fashion at that time. Also note Iain's lovely brass-cantled brown Hunting Sporran (11:58) this being prior to the black & chrome Hunting Sporran becoming the standard piper's sporran the world over.
https://www.youtube.com/watch?v=lvMP66X1dZs
Last edited by OC Richard; 31st March 25 at 05:08 AM.
Proud Mountaineer from the Highlands of West Virginia; son of the Revolution and Civil War; first Europeans on the Guyandotte
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