TheUlyssesian

WHO'S READY FOR JOHNNY TO TAKE HOME NUMBER 6 TONIGHT!?!?!??!?!?!?
 
@TheUlyssesian  why we crying, bud?
 
THERE IS HOPE!

Thanks. Honestly, it is sufficient for me to conclude that it is a love theme for Paul and Chani. And has nothing to do with the House Atridies. I understand the reference but it is oblique at best. 
 
I think we can use this as an explanation. 
 
Stephane Humez of RCP said - "
He's not necessarily lying. Keep in mind Dune 1 was finished late 2020. The film came out late 2021. Hans continued writing after Dune 1 was locked. The Sketchbook released in 2021 had ideas for both movies, with some segments probably written after Dune 1 was already finished."
Source: https://hans-zimmer.com/discography/1/project/3591
 
What he is saying is indeed true. If you remember Dune was in fact completed and ready to go in 2020 but was pushed by a year. So Zimmer has finished the score for part 1 a year before the album came out. So it is possible he kept writing and included some of his new material in the Sketchbook. 
 
--
We have to go by eventually what we see in the movies. In the movies, the love theme represents the love theme only. The director who cut the movie and stuck the score in there says it is a love theme - 
 
Denis Villeneuve said: "I wanted Hans to write something unforgettable for Chani. A love theme, the love of Paul for Chani. I wanted something heartbreaking, and the most beautiful love theme ever written, and honestly I think he did it with the track A Time of Quiet Between the Storms."
 
Literally neither the director or the guy who wrote the score are not calling it a Atredies theme. Jon Burlingame asks him to explain the theme and Zimmer doesn't say it is an Atredies theme.
---
The other reason is - there is already a kind of Atredies theme! It is the Caladan theme. Again going by the movie - it plays at prominent points where there is a strong sense of the Atredies as a unit. It plays at the climax of the movie to represent that and when Paul meets another family member (vague due to spoilers).
 
So I think that the Caladan theme represents the Atredies and the love theme represents Paul and Chani's relationship. 

Straight from the horse's mouth. When asked what does that theme represent, he says it's the love theme for Chani and Paul. He said nothing about House Atriedies.

This is one of the most clueless things you can say - unless you wrote the score. You KNOW you are correct??? 
 
Everybody here is participating in a discussion - offering examples and explanations for their interpretations. Nobody is making proclamations that they their view is the only valid view. That would be a conceited and ridiculous way to go about things.

Zimmer has said he wrote it after the score was done or something like that. He specifically said he wrote the theme for the second film at the end of completing the score for part 1 and included it on the album.
 
Consequently, the love theme does not appear in Part 1, was not meant to appear in Part 1 and is NOT a house atridies theme.  The theme has no connection to house atridies.
 
 

Straight from the horse's mouth. When asked what does that theme represent, he says it's the love theme for Chani and Paul. He said nothing about House Atriedies.

What a smart erudite man - even at this age. 

I'm aware of that but that doesn't count. It is just him doodling for 15 mins and slapping it on a "concept" album.
 
I think of a concert suite as an orchestrated special presentation of thematic material - designed to showcase a theme in an overt expansive fashion - in a way it might not have the opportunity to do in the actual film. It is also something that can be played in concerts etc. 
 
Ain't nobody playing a trash Zimmer 15 min "sketch" or whatever he calls that crap in a classical concert hall.
 
 
This is exactly me point. We are counting a handful going back 20 years.
 
Concert suites isn't a standard practice for several reasons
 
- it is beyond the skill of most composers to write concert suites
- it is beyond the skill of most composers to writes themes worthy of concert suites

What a smart erudite man - even at this age. 

This is one of the most clueless things you can say - unless you wrote the score. You KNOW you are correct??? 
 
Everybody here is participating in a discussion - offering examples and explanations for their interpretations. Nobody is making proclamations that they their view is the only valid view. That would be a conceited and ridiculous way to go about things.

https://variety.com/2024/film/news/john-williams-oscars-star-wars-steven-spielberg-collaborations-1235929403/

I'm aware of that but that doesn't count. It is just him doodling for 15 mins and slapping it on a "concept" album.
 
I think of a concert suite as an orchestrated special presentation of thematic material - designed to showcase a theme in an overt expansive fashion - in a way it might not have the opportunity to do in the actual film. It is also something that can be played in concerts etc. 
 
Ain't nobody playing a trash Zimmer 15 min "sketch" or whatever he calls that crap in a classical concert hall.
 
 
This is exactly me point. We are counting a handful going back 20 years.
 
Concert suites isn't a standard practice for several reasons
 
- it is beyond the skill of most composers to write concert suites
- it is beyond the skill of most composers to writes themes worthy of concert suites

The A theme plays in Dune Part 2 when Paul destroys the Harvester. The scene has nothing to with Sand Worms.
 
The B theme plays when he has a vision about the ocean and his sister and then in the end when he wins over Feyd.
 
If the House Atridies theme does not appear in the movie Part 1 then it doesn't count. It only appears in Part 2 and it only represents Chani/Paul. It does not represent House Atridies regardless of its name.

Zimmer has said he wrote it after the score was done or something like that. He specifically said he wrote the theme for the second film at the end of completing the score for part 1 and included it on the album.
 
Consequently, the love theme does not appear in Part 1, was not meant to appear in Part 1 and is NOT a house atridies theme.  The theme has no connection to house atridies.
 
 

Hi all.
Presenting the complete score cue list breakdown of Disney's Beauty and the Beast.
Again, done from my usual research on various sources.
Using accurate durations, the excluded tracks with custom titles, etc.
As always, corrections are welcome.
Enjoy!
 
* not actual cue title
 
SONGS AND SCORE
1) Prologue (2:33)
2) Belle (5:07)
3) Gaston Accosts Belle (:58)
4) Intro Maurice (1:55)
5) To the Faire (2:01)
6) Wolf Chase (:47)
7) Intro Objects (2:16)
8) Intro Beast (:47)
9) Belle’s Cottage (:12)
10) Band Tuning (:07)
11) Bridal Chorus 1 (:06)
12) Gaston Proposes to Belle* (1:16)
13) Bridal Chorus 2 (:14)
14) Gaston Rejected (:20)
15) Belle (Reprise) (1:04)
16) Where’s Papa?* (:43)
17) Belle Arrives at the Castle (:53)
18) Belle Finds Maurice (2:34)
19) Belle's New Home* (1:23)
20) Dinner Invitation* (:36)
21) Gaston (3:37)
22) Gaston (Reprise) (2:01)
23) Belle and the Wardrobe (1:28)
24) Beast Waits (1:13)
25) Clock Explains (:20)
26) At Belle’s Door (1:07)
27) Magic Mirror* (:58)
28) Sneak to Kitchen (1:56)
29) Be Our Guest (3:42)
30) Be Our Guest (Playoff) (:56)
31) Tour of the Castle* (1:23)
32) West Wing (2:19)
33) Wolf Attack (2:06)
34) Belle Rescues Beast (:25)
35) Belle Bandages Beast (:26)
36) Gaston and Monsieur D'Arque* (:57)
37) Maurice Goes For Belle* (:46)
38) Belle’s Gift* (2:06)
39) Breakfast* (:43)
40) Something There (2:16)
41) Tonight’s the Night (1:04)
42) Beauty and the Beast (2:44)
4£) Beast Lets Belle Go (2:19)
44) Belle Leaves* (:35)
45) Belle Returns Home* (1:12)
46) Gaston’s Plan* (1:52)
47) The Mob Song (3:28)
48) Battle in the Castle (2:27)
49) Battle on the Tower (3:03)
50) Death of the Beast (1:38)
51) Transformation (3:13)
52) Beauty and the Beast (Reprise) (1:01)
53) Beauty and the Beast (Duet) (4:03)
 
BONUS TRACKS
1) Be Our Guest (Alternate Version) (3:42)
2) Human Again (Outtake) (4:53)
3) Prologue (Without Narration) (2:33)
4) The Rose 1* (:16)
5) Intro Maurice (Alternate) (1:55)
6) To the Faire (Alternate) (1:56)
7) Bridal Chorus 2 (Alternate) (:14)
8) Clock Explains (Film Version) (:20)
9) At Belle’s Door (Film Version) (1:07)
10) Magic Mirror (Film Version)* (:58)
11) Tour of the Castle (Film Version)* (1:23)
13) West Wing (Alternate) (2:19)
14) Insert* (:04)
15) The Rose 2* (:26)
16) Wolf Attack (Alternate) (2:06)
17) Council Meeting (Unused)* (:40)
18) Beast Lets Belle Go (Alternate) (2:19)
19) The Rose 3* (:29)
20) Battle in the Castle (Alternate) (2:27)
21) Battle on the Tower (Alternate 1) (3:04)
22) Battle on the Tower (Alternate 2) (3:03)
23) Death of the Beast (Alternate) (1:37)
24) The Rose 4* (:07)
25) Lumière (Sting)* (:03)
26) Cogsworth (Sting)* (:03)
27) Mrs. Potts (Sting)* (:03)
28) Belle – For Linda Worthington (Demo) (4:45)
29) Belle (Demo) (4:50)
30) Belle Reprise (Demo) (:58)
31) Gaston (Demo) (3:39)
32) Gaston Reprise (Demo) (2:28)
33) Be Our Guest (Demo) (3:27)
34) Human Again (Demo) (9:10)
35) Beauty and the Beast (Work Tape/Demo) (3:56)
36) Death of the Beast (Early Version 1) (1:35)
37) Death of the Beast (Early Version 2) (1:29)
 
SONG INSTRUMENTALS
1) Belle (Instrumental) (5:07)
2) Belle (Reprise) (Instrumental) (1:04)
3) Gaston (Instrumental) (3:37)
4) Gaston (Reprise) (Instrumental) (2:01)
5) Be Our Guest (Instrumental/Vocal Accomp't) (3:42)
6) Be Our Guest (Instrumental) (3:42)
7) Be Our Guest (Alternate Instrumental Mix) (3:42)
8) Something There (Instrumental) (2:16)
9) Beauty and the Beast (Instrumental) (2:44)
10) The Mob Song (Instrumental) (3:28)
11) Human Again (Instrumental) (4:40)
12) Beauty and the Beast (Reprise) (Instrumental/Vocal Accomp't) (1:01)
13) Beauty and the Beast (Reprise) (Instrumental) (1:01)
14) Beauty and the Beast (Duet) (Instrumental) (4:03)

I noticed that and wondered if we have those 3 suits as he first wrote and recorded them.
 
EDIT: He mentions the famous Laura theme from David Raksin as a reference for Helena's Theme.

I noticed that and wondered if we have those 3 suits as he first wrote and recorded them.
 
EDIT: He mentions the famous Laura theme from David Raksin as a reference for Helena's Theme.

One interesting tidbit is that JW initially wrote three concert arrangements, before he decided to take on the entire score: one for Helena, one for the Nazis, and one for Archimedes and the dial. This seems to confirm @Jay's speculation that "Nazis" on the GEMA cue list is a concert arrangement.

Just view the page source for the direct mp3 link:
 
https://downloads.ctfassets.net/8usdt07j8s00/6mvtUt2ampOr8CcTfdojoW/7fc1446e3663c98f0801848fd503bdb7/AT-THE-MOVIES-MONDAY.mp3
 
Don't think that violates the rules, otherwise mods can edit my post 

The original OST album wasn't a masterpiece of album programming though.  It's a mostly chronological, mostly unedited assembly of cues that happened to have been recorded already when they had to lock a program in order for the album to be in stores the same week as the film, with no concert arrangements or anything specially recorded just for it, and one entire track playing at the wrong speed. 
 
It's very clear to me that if schedules had been different, some of the arrangements we eventually got on the Williams/Spielberg CD probably would have been recorded at the film's scoring sessions, and the OST album would have come out different than it is, certainly including some of the music that hadn't been recorded yet like the climax of the score.
 
The new LLL main program and Disc 3 program are assembled with love and care and are approved by John Williams.

People called it various different names in the past, but we came up with our own name for it in the liner notes.
 
That theme appears in "Hook Returns To Kensington", "Hook Is Back", "Peter's Challenge", and "The Sword Fight"!
 
 
 
It also appears in "Forgotten How To Fly"

There needs to be two categories
 
Instead of:
 
BEST ARCHIVAL RELEASE
CHAPLIN, music by John Barry; album produced by Neil S. Bulk, liner notes by Jon Burlingame, album art direction by Scott Saslow (La-La Land) HEIDI/JANE EYRE, music by John Williams; album produced by Mike Matessino, liner notes by John Takis and Mike Matessino, album art direction by Jim Titus (Quartet) HOOK, music by John Williams; album produced by Mike Matessino, liner notes by Mike Matessino, John Takis, and Jason LeBlanc, album art direction by Jim Titus (La-La Land) LAURENCE ROSENTHAL: MUSIC FOR FILM AND TELEVISION, music by Laurence Rosenthal; the Brussels Philharmonic conducted by Dirk Brossé, album produced by Thomas Van Parys/Film Fest Gent, liner notes by Laurence Rosenthal, Robert Townson, and Thomas Van Parys, album art direction by Stuart Ford (Silva Screen/Film Fest Gent) MACARTHUR, music by Jerry Goldsmith; album produced by Douglass Fake, liner notes by Jeff Bond and Douglass Fake, album art direction by Kay Marshall (Intrada) THE MAN WHO KNEW TOO MUCH/ON DANGEROUS GROUND, music by Bernard Herrmann; the Royal Scottish National Orchestra conducted by William Stromberg, album produced by Douglass Fake, liner notes by Steven Smith, album art direction by Stephane Coedel and Kay Marshall (Intrada) NIGHT AFTER NIGHT, music by James Newton Howard; orchestra conducted by Gavin Greenaway, featured performers Jean-Yves Thibaudet, Hilary Hahn, and Maya Beiser, album produced by Michael Dean Parsons, liner notes by James Newton Howard and M. Night Shyamalan, album art direction nominee to be confirmed (Sony Classical) THE ROCK, music by Nick Glennie-Smith, Hans Zimmer, and Harry Gregson-Williams; album produced by Stéphane Humez, liner notes by Kaya Savas, album art direction by Kay Marshall (Intrada) SÉANCE ON A WET AFTERNOON/KATHERINE HEPBURN, music by John Barry; Orquesta de Córdoba conducted by Fernando Velázquez, album produced by Jose M. Benitez and Leigh Phillips, liner notes by Jon Burlingame, album art direction by Nacho B. Govantes and Jim Titus (Quartet) A SYMPHONIC CELEBRATION: MUSIC FROM THE STUDIO GHIBLI FILMS OF HAYAO MIYAZAKI, music by Joe Hisaishi; the Royal Philharmonic Orchestra conducted by Joe Hisaishi, album produced by Joe Hisaishi and Anna Barry, liner notes by Michael Beek, album art direction by Yuka Araki (Deutsche Grammophon)  
It should be:
 
BEST ARCHIVAL RELEASE
CHAPLIN, music by John Barry; album produced by Neil S. Bulk, liner notes by Jon Burlingame, album art direction by Scott Saslow (La-La Land) HEIDI/JANE EYRE, music by John Williams; album produced by Mike Matessino, liner notes by John Takis and Mike Matessino, album art direction by Jim Titus (Quartet) HOOK, music by John Williams; album produced by Mike Matessino, liner notes by Mike Matessino, John Takis, and Jason LeBlanc, album art direction by Jim Titus (La-La Land) MACARTHUR, music by Jerry Goldsmith; album produced by Douglass Fake, liner notes by Jeff Bond and Douglass Fake, album art direction by Kay Marshall (Intrada) THE ROCK, music by Nick Glennie-Smith, Hans Zimmer, and Harry Gregson-Williams; album produced by Stéphane Humez, liner notes by Kaya Savas, album art direction by Kay Marshall (Intrada) BEST RE-RECORDING
LAURENCE ROSENTHAL: MUSIC FOR FILM AND TELEVISION, music by Laurence Rosenthal; the Brussels Philharmonic conducted by Dirk Brossé, album produced by Thomas Van Parys/Film Fest Gent, liner notes by Laurence Rosenthal, Robert Townson, and Thomas Van Parys, album art direction by Stuart Ford (Silva Screen/Film Fest Gent) THE MAN WHO KNEW TOO MUCH/ON DANGEROUS GROUND, music by Bernard Herrmann; the Royal Scottish National Orchestra conducted by William Stromberg, album produced by Douglass Fake, liner notes by Steven Smith, album art direction by Stephane Coedel and Kay Marshall (Intrada) NIGHT AFTER NIGHT, music by James Newton Howard; orchestra conducted by Gavin Greenaway, featured performers Jean-Yves Thibaudet, Hilary Hahn, and Maya Beiser, album produced by Michael Dean Parsons, liner notes by James Newton Howard and M. Night Shyamalan, album art direction nominee to be confirmed (Sony Classical) SÉANCE ON A WET AFTERNOON/KATHERINE HEPBURN, music by John Barry; Orquesta de Córdoba conducted by Fernando Velázquez, album produced by Jose M. Benitez and Leigh Phillips, liner notes by Jon Burlingame, album art direction by Nacho B. Govantes and Jim Titus (Quartet) A SYMPHONIC CELEBRATION: MUSIC FROM THE STUDIO GHIBLI FILMS OF HAYAO MIYAZAKI, music by Joe Hisaishi; the Royal Philharmonic Orchestra conducted by Joe Hisaishi, album produced by Joe Hisaishi and Anna Barry, liner notes by Michael Beek, album art direction by Yuka Araki (Deutsche Grammophon)  
These two types of releases have nothing to do with one another at all.

Basically the same for "Quidditch, Third Year", I  think. 

Super Bowl tickets this year, at the low end, are $6500.  $509 is a bargain.  You get to see John Williams, and, just as importantly, you don't have to pretend that watching grown men tackle each other for 3 hours makes any rational sense.   

I got one!!! It's high up in the balcony and has a somewhat obstructed view, but just grateful to be going.