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"Steven, you need a better composer than me for this picture" "I know, but he just died!"

Apparently according to Lucasfilm's Facebook Johnson team is working on burying the music under the sound FX.

You guys don't get it, if we line up the 3 threads and hold them towards the sun, they will spell out the IP address for the Azkaban sessions!

Thanks guys!! I bought tickets for Thursday and Friday concerts.

This is a seriously great album, though.

Putting them in his CD player! Duh...

So, so much has changed since those 90s expansions and even that 2008 Indy box set. Since then MM has crafted this relationship of trust between him, JW, SS, and KK. JW certainly trusts MM now that he will present his music in the best possible way,and MM has found a way to create album programs that both please the fans and JW's musical sensibilities, with JW giving him leniency when something may not be exactly what he wanted but he trusts that MM has the right idea in mind (for example, JW wanting him to keep The Falling Car connected to Incident at Isla Nublar, and MM finding a compromise of connecting it to The T-Rex Chase instead of putting it in its own track). I think we have nothing to worry about in regards to how future SW expansions will be presented, if Disney ever hires MM to do them.

Ha, ha...indeed. Due to popular demand, I should probably refrain from elaborating further. But for fun and giggles, here's one of the first BIG attacks I had on expanded releases, way back on August 11, 2000 (exactly 17 years ago today!): http://www.filmscoremonthly.com/board/posts.cfm?threadID=1121&forumID=1&archive=0 (don't hold the whimsical prose against me; I was in my early 20s at the time).

Well that is interesting. Was he actually going to suggest a project to him or just meet for some other reason. I remember Spielberg telling in an interview how he met Herrmann during the recording sessions of the Taxi Driver the day before he passed away. I thought it was very funny when Spielberg admitted to being a huge fan and Herrmann in his true cantakerous style quipped: "Then why do you always use John Williams for your films?"

So many CD releases of modern scores go out of print in a blink of an eye (read 3-5 years). Frustrating.

Wow thanks Will. If I hadn't seen your message I would have waited till morning. Two tickets for Saturday night! $300 to hear the Schindler's List anecdote in person 😎

Yes, I am of Turkish descent. Hence the name. I'm often mistaken to be Greek.

Well I did it. Tickets are already on sale, apparently (to my incredible shock, at first!) and they're going pretty fast, despite programs not being up. One concert (Friday) has barely any seats left. Saturday night, two tickets, main floor, right side (from conductor's view), row E, $151 each. I cringe when I see that number, but I decided that for this once-in-a-lifetime opportunity, it had to be worth it. I was planning to get seats in the middle, but a musician in my family suggested the right side because Williams would look over at the violins a lot and you could see his profile from there, rather than just his back. Tonight was a very stressful night, but I'm glad I don't have to worry now about getting a seat. I can just look forward to the experience of a lifetime.

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.

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!

Apparently, Herrmann was supposed to meet up with young Spielberg back in December 1975...but he died the night before. Karol

I always considered that a secondary Jedi theme.

I've never seen War Horse.

Apparently Josh500 has lost his mind.

War Horse is the better score. Tintin is the better movie. Easily.

Don't you have a Facebook Johnson team?

Apparently, according to Lucasfilm's Facebook; Johnson's team is working on "mixing all the elements together"

Not over here I don't think. im familiar with the jingle from a joke from when I used to listen to Rebel Force Radio. If Cameron goes with Gia then all truly is lost. Cameron, Lucas, and Spielberg. When one of them falls the battle has been lost .

No shit. Karol

Indeed his career in films was waning probably because he didn't conform to the changing Hollywood movie making climate and realities but he was sort of being rediscovered by the Hollywood Movie Brats like Spielberg, Scorsese and DePalma who adored his music and wanted to hire him. Who knows to what renaissance heights his career might have shot up to if he had lived say 10 years longer.

It makes perfect sense for very short cues, too. For scores with lots of very short unreleased cues (I believe Munich and Azkaban may be offenders here), combined tracks make perfect sense if they are musically compatible.

Oh god no, definitely don't change them back! The edits within those two tracks on the 1997 OST are very clunky! The new versions sound significantly better; The listening experience has been improved! Also, these aren't cues that were ever meant to be connected! The two cues inside The Stegosauraus track are actually separated by a bunch of scenes that aren't scored at all. If MM was starting from scratch, they certainly would have each been in their own track! He only had to keep them in the same track here, because the 1997 OST put them in the same track.

Disney COULD choose to license out the Star Wars scores to Intrada, but why would they? They'd rather keep all the profits to themselves. Not to mention, they want mass market CDs to sell at Disney World and in Target stores, not a niche specialty label product. What matters is the producer hired to oversee the project, not the label it happens to come out on.

CD Discs 1+2 The compete scores, including all extensions, source, and unreleased music. CD Discs 3+4 The 1997 presentations, remastered. CD Discs 5+6 The complete scores, as heard in the film. CD Discs 7+8 The OSTs. CD Discs 9-19 The complete sessions, presented in chronological order, cross-referenced in the accompanying 250-page "coffee table"- style book, to allow your CD player to be programmed to play them in recording order. Disc 20 Bonus Blu Ray disc, of CD discs 1+2, remixed in DTS Master Audio 5.1, by Steven Wilson.

Well those were his only two major films up to that point so he always had used Johnny. Which is twice more than he had used Herrmann. But I love how wonderfully Herrmann that quip is. Always the cantankerous old individualist artiste coot we all know and love. And I almost thought Hlao-roo had come back because of your use of that avatar Jilal.

Still waiting to hear A Toast!.

This is as cheap as I could find it. Bet my signed copy is worth millions now! Karol

Don't go there Richard! Just don't!

Yeah, Tomorrowland disappeared completely. It's not on Intrada's page and it's not to be found elsewhere either. Karol

I'm agree, ok it's clear that the Star Wars Main Theme was meant to fit with the 20th Century Fox Fanfare... but It's for the movie experience, we don't need it on the CDs.

I would not wait for a program--those seem to be gameday decisions by Williams nowadays.

Extremists! This product is going to have please both the mass market of Star Wars fans and you guys! But more the former.

If it was only a weekend show, I would say 24 hours at the most. With two extra nights, some nosebleeds might be available for a couple days. I would be as aggressive as possible.

Absolutely. The best part of the score, and one of my favourite rhythmic Goldsmith bits of all time! Also, The Caravan has an understated elegance I only noticed after years of listening to the score:

The Mummy, lile Stu said, is one hell of an entertaining score. This one of my favorite Goldsmith tracks (specially after the 2:52)

This is blatantly obvious information.

Not sure, never bought tickets this far in advance. I was just gonna wait for the programs to be published since that's what I've usually done (last time Williams was here I bought gallery seats only a month before the performance) but he's usually come in the fall not spring so it was closer to when tickets were first available, anyway. My guess is most people are just gonna wait for the programs before buying a seat so unless you're really particular about where you sit or you need to plan way in advance, then you're probably fine. Subscribers will fill up a good chunk, though, for sure.

You wish. These masterpieces here are actual art:

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!

Every cue is written with the film's dialogue in mind. Shouldn't they always include any dialogue and sound effects?

I disagree with almost everyone about almost everything in this thread, but we DO agree on one thing -- I, too, severely dislike dialogue on soundtrack albums.

I want to listen to the music. When I want to hear the narration I watch the movie. I don't want the music to be forcedly connected to the text even on album. Luckily many of those decisions are no problem any more, because of expansions.

The jump from Children in Chains to Short Round Escapes is very jarring, not least because it skips ahead about fifteen minutes of the film in one track. The score really needs to catch its breath here before it heads back into all the action cues, which are non-stop until the finale! Even one of Moloram's Speech, The Evil Potion or Willy in the Fryer would've helped a lot here. The Rope Bridge is important for the same reason; its build up is essential for Broken Bridge to be as effective as it is. Sadly they omitted that too.

Thanks for the criticism and encouragement, man I'm with you that it ended up bigger and busier than I really wanted. I guess ultimately my goal was to try and get over being so intimidated by the orchestra and viewing it as this big, unwieldy thing, never feeling like I was ready to try. I wanted to give myself permission to dive in even if it meant throwing a little too much crap in there. Might do another revision, particularly of that 0:22-0:48 section that you mentioned could be simpler, but then again I'm also trying to work on my ability to finish things lol. Agree with karelm on your action piece, especially the sense of momentum. Love the rhythmic energy, variety, and pacing. Don't stop scratching that action music itch too soon, I would be interested to hear you do another with a more deliberately cohesive structure (possibly you did something like that on your friend's animated Star Wars project?) Anyway I too always enjoy the stuff you put up, whether it's one of your excellent JW transcriptions/arrangements or doing your own thing.