Jim Ware

The mix is mostly fine, but the phasing (in Night Boarders and Flies) is egregious. Editorially, drop in film takes, drop the editorially assembled/tracked cues and you're done.

Disappointing that Intrada didn’t fix the other incorrect takes on the new master (Just an Oasis, My First Bus Ride). The ‘good’ bootleg is still the best presentation of the score, with some caveats. I’m still hopeful that they will fix the multiple issues with Goldsmith’s Mummy (mix and assembly) but I’m not holding my breath.

Looking for Richard Silence of the Lambs The Yards Closely followed by Hugo, The Game and Seven. Honourable mention to The Last Mimsy, which is probably what you’d get if Shore scored E.T.

Absolutely Narsil - it's too long for Weathertop. The short prayer vs. long prayer at the end is the rewrite (presumably when they extended the goofy floating heads montage). The horsey confrontation bit isn't really an alternate - the film and the rarities use exactly the same material. The album and CR present an alternate unused horny option and delete a chunk of material that appears in the film (the CR even uses the album edit here, complete with a bit of tracked Nazgûl material).

Does anyone have the 2003 issue of Music from the Movies magazine that focused on The Return of the King? It has a wealth of session reports (and I can't find my copy).

First thing recorded, but not the first thing written. Remember, these are writing dates and not recording dates. I've had a beard for six years! You've seen it in person!

You’ve heard one of them.

In terms of things that were actually recorded: Earliest - April 9th. Latest - November 5th.

I'm assuming that the 506 on this sketch is the *picture version*. The sketch was written on June 23rd (623).

m88 includes Gandalf and Frodo's discussion. This is just one page of the recording log. Everything in Moria was recorded with the NZSO, including the EE material, ending with Mabel Faletolu's solo (the orchestral piece that follow was recorded later in London).

This was simplified considerably for The Hobbit!

rotk 602d 811h cf813 602 = date of composition (June 2nd) d = version (in this case 'd') 811 = date of orchestration (August 11th) h = version on the date above (so this is the eighth version on August 11th) cf = conform 813 = conform date (August 13th) The 'D' and bar numbers are to assist the librarians and musicians in identifying the right paperwork at the sessions to keep things moving. Some pieces will have two dates of composition (615 907) - this is where the logic gets a little hazy, but generally speaking these are instances where a composition has been substantially revised to fit a new cut or is a patch/insert to accommodate recutting. The composition may typically incorporate other material, overlap with other compositions or completely replace other material. Some pieces will have no 'conform' date - this is rare, but these are typically 'one and done', in that the film didn't change between writing and recording.

A little of both in this case, although the composition numbers are dates and (generally) have no bearing on sequencing. This is another case of scenes being re-ordered during scoring, and there is material that was recorded for 511 that also appears in later versions of 519. In the event of a revised Complete Recordings and Rarities, would you want every recorded sequencing permutation? This would necessitate some duplication, but might include some unique bridging material.

Yes!

There are more Two Towers cue numbers in the documentary on the EE DVD guys! Yes - 615 907 is both of those (but not the *actual* siege of Gondor, which is a separate composition with the same title).