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Love the cuddly things. Hope they dominate the film. Parade of the Porgs Karol

Here's the latest episode in my Hn / Tpt cover series ! 9M3A & 9M3B from King Kong (which is probably my favorite score by JNH) Those last cues are absolutely gorgeous As usual I re-recorded all of the parts exactly as they were written ( that is a 8-horn section & 3 trumpets ) plus a bunch of other cool parts

Tomorrowland. Actually this is one Giacchino score that I find to be genuinely underrated. It has an interesting main theme as well. Karol

I personally would prefer straight sessions style, leaving me to edit the tracks together as I please. What I actually expect to get is a version with certain cues combined and others not, which isn't the end of the world. The main thing for me is that all the music is present, chronological, and well-edited (or not at all). And I'm pretty sure that's what we'll get.

Match Point Oh my god, this was different! What opens as its premise as a quasi Age of Innocence type remake, slowly becomes darker and morphs into an opening Columbo gambit! Holy shit! I loved this movie!

The lack of such a quick'n'easy release thus far, or a basic reissue of the SEs, seems to indicate they have something specific planned. IMO it's no coincidence they've only released reissues of the incomplete, but aurally excellent, OSTs under their label.

How dare he say no to Cinematic Game Changer James Cameron.

Little late to the party but I put together a blog with photos vids and audio of my trip to see JW live last year. Going to see James Newton Howard conduct in November which should be decent too. https://delgibbons.blog/2017/04/13/john-williams-film-night-2016-live-in-boston-review-august-2016/

As a hobby I sometimes like to edit expanded scores from the recording sessions. 10 minutes is usually the maximum length I go for. Any longer than that and I'll split the track in half.

You wish. These masterpieces here are actual art:

Schumann, John Williams, and William Bolcom The New York Philharmonic is releasing (digitally) a live recording of Principal Tuba Alan Baer's performance of the Tuba Concerto. You can listen to preview clips already; sounds great IMO.

Those are great news. I had read about that performance with hopes that it was broadcast. This is even better.

All that matters is if Disney hires Mike Matessino to do them or not. It's a given they will come out on Disney's own music label and be mass-market releases. Same with Indiana Jones. I hope Intrada can do Willow though, cause Disney would never bother to do anything with it themselves.

Nobody I know. Nobody I know even re-watches the original ever.

Jerry Goldsmith - The Mummy (OST) OMG... where have you been all my life? I've had this OST since the 90s but I dunno, never really listened to it much - I have no idea why. I recently began a project of purposely listening to EVERY physical CD I own (as in, listening to the actual disc not a rip) and arrived at this one this week. I was blown away by how good it was! It doesn't just feature cool ethnic colors and good action music, but lots of classic Jerry-isms I love so much. I already want to listen to it again! Bring on the expanded release!

But it's not a finished product from the perspective of the album. Two different media.

This comparison of a complete score release being like releasing all of the film's dailies doesn't make sense. The complete score is a finished product from the perspective of the film. The bits they don't include on album are still as valid to be heard. To answer the original question, The Terminal has annoyed me the most over the years. Repeated music, bizarre sequencing that doesn't even take you properly through Viktor's story, and the omission of a dramatically crucial cue. RotS is also a worthy mention, if only due to the absolutely baffling omission of the funeral and transformation into Vader. What part of the listening experience and storytelling leaves that galaxy-changing part out?

It's on sale right now for $25. If you're still not able, I hope you find yourself in a position to buy it before it sells out! It would've been my favorite specialty label release of last year if not for a certain black Friday release

I feel that a commercial release of a complete score should not just be a dump of raw materials in one place from which everyone should/can cobble up their own preferred version but a finished and well thought out and rounded experience of its own be the tracks separated or combined. It can be comprehensive but not detrimental to the flow and intentions of the music and the composer. What I am getting at is that you shouldn't have to tinker with it. Like the JP Collection for example. Bless you Mike Matessino!

I think every plot line had its merits, there was just too much for one movie. I think New Goblin deserved his own movie and so did the Black Suit/Venom thing, though you could just as easily have the black suit in one film and Venom in the next. Sandman would be nice to have, but at that point, we still hadn't seen Lizard, Electro or the Vulture yet. And what about the Sinister Six?? Too much for one movie? Probably. But set it up like the Avengers and make the whole movie about them. I would have loved to see the Green Goblin and Doc Ock join the others for some really crazy action sequences. Yes it would be ridiculous, but Homecoming did alright with 4 comic book villains (Tinker, Vulture, Shocker, Scorpion). Edit to add: That last parenthetical would make a decent alternate title to Homecoming.

I agree, though I wouldn't expect isolated scores. Ever. No one cares about them except us.

LOL

How likely is it that Disney would release iso scores for Star Wars? They'd just take off from where Sony left it and slap new Disney labels on a box set and call it a day.

I can't wait to hear whatever mythic, religioso-Force stuff Williams writes for all these bizarre creatures on Acht-To. Sounds like fertile musical territory!

No lengthy suites please. Cues should should be sequence based and in chronological order. I'm sure the right man who would eventually assemble this will do the right thing (when the right time comes)

Snoke IS a Porg

Lucas is probably seething that he didn't create the Porgs and is wondering why Jar Jar failed. "...Jar Jar is the key to it all." Oh George, Shrek 2 had the answer:

Some pedantic people even consider the mere premise of a film a spoiler. I remember back in the early 2000s there were discussions about whether to even see a movie because even that would constitute a spoiler!

Are you talking about MINORITY REPORT? It must be me, but I think that Lois Smith is seriously sexy, in the greenhouse scene. If you watch it again, you might appreciate it. All you have to do, is download it, darling (kisses computer screen).

Since I'm a highly sensitive person and I don't ever use such language, I would ask you to please don't use it for me.

Whether it's been said in this thread yet or not, I don't care. I'm saying it now. Take note. Williams, Horner, even Goldsmith in his few years in the 21st Century were all better than this list of unknowns.

Yes, I am also little bit worried about the tickets of this event, which concert should we attend and are they all available for the common people. I'm travelling from Finland so I'm hoping I can choose the good concerts.

If they do it per trilogy, or as one huge box, there might be more alternates because they can just throw together an additional disc with alternates from multiple scores (ala the Indy set).

Entertainment Weekly rolling out exclusives: New images "Can Rey save Luke Skywalker from his own darkness?" "With Finn and Rose, a 'big deal' is redeemed by a 'nobody'" "Meet the porgs and 'The Caretakers' from Luke Skywalker's island" "Supreme Leader Snoke emerges with elite Praetorian Guard"

Complete chronological score presentation, with original/alternate versions as bonus tracks plus the original classic albums on a separate disc. Chronological cues combined where clearly intended with no overly long tracks like Battle of Hoth. Ewok Celebration AND Victory Celebration AND Lapti Nek. No Jedi Rocks.

I have to say i was surprised by this outcome. I didn't expect it.

Ok, I have followed the whole discussion and it's interesting that such an initial topic has generated a hot debate about the major problem with art, which is its evaluation. And it IS a problem: the way people react to the art which is produced in their lifetime has a huge impact on how art will evolve. At some point during the 18th century, people got tired of fugues (I'm oversimplifying, of course) and wanted to hear something "easier" with which they could relate better, and classical music appeared (Haydn, Mozart, Beethoven and their contemporaries). In the 19th century the sensibility of society in Europe drifted towards Romanticism: each work of art must express something in an original way, each composer must have a distinctive voice, etcetera. Starting with Beethoven, composers would not write 40+ or 100+ symphonies anymore, but just a few and (almost) all remarkable (some almost-romantic traits of originality were already present in several works by Mozart). Then instruments improved technically, and in parallel the push for originality led composers to explore new harmonic languages and instrumental textures, the job of composer itself changed significantly, and we could reconstruct step-by-step the whole history of music up to avant-guarde. The point is: no matter whether one subjectively likes a certain composer or not, the process that has led us, today, to have a huge pool of music from which we can take what we want to listen to for our pleasure, has been a process of evolution, which has progressively enlarged the possibilities of expression by incorporating new sounds, new combinations of sounds, and new forms (yes, even in the transition from Baroque to Classical: if it's not evident, we can discuss it). It's a "research" process, it required "brain" and effort from many brilliant people. It is quite objective to label who these people were. These people, I think, are those that filmmusic considers great, and I am completely with him on this: there is some objectivity in the evaluation of art. The fact that I personally don't like several aspects of Brahms' music is irrelevant to the fact that he is a great composer. Concerning the Bieber vs. Ferneyhough experiment, well, I have done something similar with a few friends, with whom I was having a discussion similar to the one in this thread. It turned out, they had never listened with care to classical music and its derivatives, but only to pop (of what I would consider a "low level" - there is of course some great pop as well). They were willing to take a challenge, however, and I proposed them to listen to a certain list of works from Bach to Stravinsky which I compiled for them. At the end they all agreed that what I had proposed them was a much deeper and more satisfactory experience than what they had known before, and they all started to listen to classical music, some even subscribed to concert halls. As far as I'm concerned, I take this as an evidence that there is some objective greatness in music. On the same line, I don't know anyone above 18 who likes Bieber, maybe there is something objective to be drawn from that as well!

I think his best criticism of TFA in his Plinkett review was how it lacked any sexuality, as in none of the characters seem attracted to one another, which would otherwise create drama. Maybe it didn't need it because it was an introductory film, but Rogue One lacked any romance either! Which suggests a pattern in these movies that the studio wants them to be as sterile and sexless and possible to reach as many demographics as desired.

Some kind of hybrid of the Anthology and SE formatting. The longgggg tracks on the SE in ROTJ are a drag. Would much prefer The Emperor's Death was its own track, as presented on the Anthology, rather than 2 minutes hidden somewhere within 3x 12 minute tracks. I think even MM regrets the way he sequenced that.

I'm not trying to convince anyone that he is wrongly moved by something. I'm trying to say that it's totally irrelevant if you're moved by a piece of art or not, when we have a discussion on what is great by that art's innate criteria. Whether you like the Parthenon or not doesn't matter at all, since it is a FACT that it is one of the greatest architectural monuments mankind has ever produced. (for the record, I don't like the Parthenon. My personal tastes lie in renaissance and baroque). This discussion has been misunderstood. We're not talking about personal tastes, nor we're trying to diminish anyone's personal tastes. The title of that article was about the greatest film composers, and that they are cream of the crop. By who's standards? If they said by their opinion or the article had a different title, I wouldn't have any objection to its contect. In the end, I think it was a totally unfortunate choice of a title.

I don't consider this drone music needs much high ,musical skills to be composed. Give an expensive computer with many sample libraries to a 10 year old kid, and he probably will come across with something like this. Schoenberg speaks about repeated sequences in music but this applies here too: "Why there is a lesser merit in such procedure than in variation is obvious, because variation requires a new and special effort". So, i don't know exactly how to explain it in non-musical terms in a way that everyone understands, but I think that a 30 second theme of Williams (i take him as an example, i don't mean he's the start and end of all things), eg. the love theme from The Terminal has much more merit than a 10 minute drone music passage; and the funny thing is that I also thought this would be obvious to everyone.

Something new I am working on. Full of brassy fanfares. http://picosong.com/vTB6

They mean the 20 second opening title he composed, his only contribution to the series? All music in the series proper was composed by Jacob Shea, Jasha Klebe and a team of ghost-composers at Bleeding Fingers Music. It's like saying Rogue One is a 'recent work' by John Williams! .........WHAAAAAAT!?! This sentence is so stupid I'm actually dumber for having read it!

The term "composer" is very presumptuous for some of the candidates.

The show doesn't hit its stride until the Dominion debuts and the Defiant arrives. Season 3 is when it starts to get good.

By the way I hate Michael Giacchino. Also, does anyone know of any recording session leaks?