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Not many actors get as many memorable death scenes. RIP Bernard Hill, Captain and King. 
 

 

I'm quietly hopeful once we pass the 20 year threshold from the stupid cutoff date, the AFM will be more open to granting waivers to scores older than 20 years.
 
If that came to pass, we could theoretically get Munich and Memoirs next year.

I'm quietly hopeful once we pass the 20 year threshold from the stupid cutoff date, the AFM will be more open to granting waivers to scores older than 20 years.
 
If that came to pass, we could theoretically get Munich and Memoirs next year.

I'm quietly hopeful once we pass the 20 year threshold from the stupid cutoff date, the AFM will be more open to granting waivers to scores older than 20 years.
 
If that came to pass, we could theoretically get Munich and Memoirs next year.

I'm quietly hopeful once we pass the 20 year threshold from the stupid cutoff date, the AFM will be more open to granting waivers to scores older than 20 years.
 
If that came to pass, we could theoretically get Munich and Memoirs next year.

It's a bit of a shame they got Holkenborg to score these.

I hope so. This is an important score in Williams career as it marks the beginning of his relationship with Spielberg. 

2024 marks the 50th anniversary of The Sugarland Express, the very first Spielberg/Williams collaboration. Both Intrada and LLL have tried to release this score over the years (LLL as the opening title of their Universal heritage collection in 2018), even presenting an assembly of the score to Williams before he nixed the release.
 
Years later, Mike Matessino mentioned he had "an idea" to change JW's mind about releasing the score, but we've heard nothing since.
 
There's only 3 non-Disney/pre-2005 Spielberg/Williams scores remaining for Mike to expand (Sugarland, CMIYC and Terminal). Could the 50th anniversary be the trigger that finally convinces Williams to change his mind on Sugarland, and bring Mike's restoration of the Spielberg/Williams collaboration full circle? (at least for the scores the labels can currently access).
 
Spielberg is attending a June screening of the film at the Tribeca Film Festival, complete with a post-screening conversation with the director. Any JWFanners planning to attend? Not sure if they're doing an audience Q&A but it might be a great opportunity to ask him about a soundtrack release.

John Williams really turned 90 and decided he wasn't fucking around anymore. 

That's stupid. We live in a digital/streaming era. Why is Powell being constrained by arbitrary maximum runtimes that are relics of physical formats?!

https://www.instagram.com/p/C6eYsUUx0oR/
 

 
A bit disappointing, only 20 minutes of score being released (out of 50).
 
 

That's stupid. We live in a digital/streaming era. Why is Powell being constrained by arbitrary maximum runtimes that are relics of physical formats?!

What bugs me more is the fact the new re-releases from Intrada use an almost identical art and design as their previous releases (Inchon, Species, Honey... etc..). Which makes it very hard to differenciate one version from the other. I'm sure a lot of people will end up buying the previous version of Honey or Inchon, thinking they're getting the remastered or expanded one.
 
here is my "remastered" cover
 
I shrunk the kids even more on this one to get closer to their actual scale in the movie. and I made Rick look down compared to the original poster.
You can see my alternate cover on the Custom Covers Thread

That's stupid. We live in a digital/streaming era. Why is Powell being constrained by arbitrary maximum runtimes that are relics of physical formats?!

https://www.instagram.com/p/C6eYsUUx0oR/
 

 
A bit disappointing, only 20 minutes of score being released (out of 50).
 
 

That's stupid. We live in a digital/streaming era. Why is Powell being constrained by arbitrary maximum runtimes that are relics of physical formats?!

That's stupid. We live in a digital/streaming era. Why is Powell being constrained by arbitrary maximum runtimes that are relics of physical formats?!

https://www.instagram.com/p/C6eYsUUx0oR/
 

 
A bit disappointing, only 20 minutes of score being released (out of 50).
 
 

https://www.instagram.com/p/C6eYsUUx0oR/
 

 
A bit disappointing, only 20 minutes of score being released (out of 50).
 
 

I'm not sure why Intrada's artwork is so low effort but it's certainly another missed opportunity.
 
For anyone who can't see how the official artwork is flawed, this GIF might help. I did basic colour correction, digital dirt removal and fixed the white levels (they're actually a dull greenish grey on the official art). The key art is riddled with dirt from the raw scan of the poster artwork, and the photographic elements have an ugly blue tint... frankly it's baffling even the most basic cleanup wasn't attempted. Even the background is riddled with dirt!
 
This cleanup took barely 30 minutes.
 

 
Roger is missing the forest for the trees when people take issue with Intrada's artwork.
 
It's not that reusing existing artwork is flawed. It's that it's presented so poorly when it is used.

Good feedback @Richard Penna, some valid points. Looking at the cover a few days later, I don't love my fonts anymore so I might revisit with a second pass. Every designer looks at their work a few days later and sees things they want to change.
 
On the colour aspect, sadly a google search revealed no colour accurate examples of the original poster, probably due to the film's age. Every instance looks wrong - poorly lit, too magenta, too brown, too washed out, etc.
 
However, there's little doubt Intrada's cover uses a raw scan with no colour correction or digital cleanup whatsoever, which isn't accurate either. It's riddled with dirt, scratches and the white levels are incorrect (it's a dull gray). This means their source was an analogue scan which always requires colour correction (to offset decades of faded ink, for example).
 
But without a time machine to look at the original printed artwork 3 decades ago, all we can do is approximate the "feel" of the poster and replicate the tone we think they were going for. That's always going to be subjective

Good feedback @Richard Penna, some valid points. Looking at the cover a few days later, I don't love my fonts anymore so I might revisit with a second pass. Every designer looks at their work a few days later and sees things they want to change.
 
On the colour aspect, sadly a google search revealed no colour accurate examples of the original poster, probably due to the film's age. Every instance looks wrong - poorly lit, too magenta, too brown, too washed out, etc.
 
However, there's little doubt Intrada's cover uses a raw scan with no colour correction or digital cleanup whatsoever, which isn't accurate either. It's riddled with dirt, scratches and the white levels are incorrect (it's a dull gray). This means their source was an analogue scan which always requires colour correction (to offset decades of faded ink, for example).
 
But without a time machine to look at the original printed artwork 3 decades ago, all we can do is approximate the "feel" of the poster and replicate the tone we think they were going for. That's always going to be subjective

Good feedback @Richard Penna, some valid points. Looking at the cover a few days later, I don't love my fonts anymore so I might revisit with a second pass. Every designer looks at their work a few days later and sees things they want to change.
 
On the colour aspect, sadly a google search revealed no colour accurate examples of the original poster, probably due to the film's age. Every instance looks wrong - poorly lit, too magenta, too brown, too washed out, etc.
 
However, there's little doubt Intrada's cover uses a raw scan with no colour correction or digital cleanup whatsoever, which isn't accurate either. It's riddled with dirt, scratches and the white levels are incorrect (it's a dull gray). This means their source was an analogue scan which always requires colour correction (to offset decades of faded ink, for example).
 
But without a time machine to look at the original printed artwork 3 decades ago, all we can do is approximate the "feel" of the poster and replicate the tone we think they were going for. That's always going to be subjective

Good feedback @Richard Penna, some valid points. Looking at the cover a few days later, I don't love my fonts anymore so I might revisit with a second pass. Every designer looks at their work a few days later and sees things they want to change.
 
On the colour aspect, sadly a google search revealed no colour accurate examples of the original poster, probably due to the film's age. Every instance looks wrong - poorly lit, too magenta, too brown, too washed out, etc.
 
However, there's little doubt Intrada's cover uses a raw scan with no colour correction or digital cleanup whatsoever, which isn't accurate either. It's riddled with dirt, scratches and the white levels are incorrect (it's a dull gray). This means their source was an analogue scan which always requires colour correction (to offset decades of faded ink, for example).
 
But without a time machine to look at the original printed artwork 3 decades ago, all we can do is approximate the "feel" of the poster and replicate the tone we think they were going for. That's always going to be subjective