TheUlyssesian

It is LITERALLY true. Literally. I mean JW writes on another planet. Which of these modern composers can write scores with the elaborate scale, scope, density, orchestration and complexity of even a mid tier Williams score? 
 
There it of course subjectivity involved but Williams writes music orders of magnitude more sophisticated than your regular 21st century film composer.

It is LITERALLY true. Literally. I mean JW writes on another planet. Which of these modern composers can write scores with the elaborate scale, scope, density, orchestration and complexity of even a mid tier Williams score? 
 
There it of course subjectivity involved but Williams writes music orders of magnitude more sophisticated than your regular 21st century film composer.

It is LITERALLY true. Literally. I mean JW writes on another planet. Which of these modern composers can write scores with the elaborate scale, scope, density, orchestration and complexity of even a mid tier Williams score? 
 
There it of course subjectivity involved but Williams writes music orders of magnitude more sophisticated than your regular 21st century film composer.

It is LITERALLY true. Literally. I mean JW writes on another planet. Which of these modern composers can write scores with the elaborate scale, scope, density, orchestration and complexity of even a mid tier Williams score? 
 
There it of course subjectivity involved but Williams writes music orders of magnitude more sophisticated than your regular 21st century film composer.

It is LITERALLY true. Literally. I mean JW writes on another planet. Which of these modern composers can write scores with the elaborate scale, scope, density, orchestration and complexity of even a mid tier Williams score? 
 
There it of course subjectivity involved but Williams writes music orders of magnitude more sophisticated than your regular 21st century film composer.

OK I've gone through the entire film and identified everything now, and even noted down timestamps that include miliseconds you can use to identify everything
 

  Start End Length Cue 1 00:00:45.546 00:03:30.749 2:45 American Spy 2 00:03:36.297 00:03:55.440 0:19 American Spy {Continued} 3 00:03:58.209 00:04:25.446 0:27 Bombs Away! 4 00:04:25.446 00:05:20.312 0:55 Bombs Away! {Continued} 5 00:05:42.062 00:08:54.394 3:12 Indy Driver 6 00:09:38.019 00:09:49.147 0:11 Indy Driver {Continued} 7 00:09:49.147 00:13:58.975 4:10 It's A Fake 8 00:13:58.975 00:16:20.899 2:22 Indy Rescues Baz 9 00:16:48.100 00:19:35.706 2:48 Combat Train-ing 10 00:19:35.706 00:21:47.866 2:12 Jump 11 00:27:00.048 00:27:39.320 0:39 [TRACKED] Helena's Tutorial 12 00:28:15.133 00:30:07.211 1:52 [TRACKED] Voller's Interview 13 00:30:07.211 00:30:28.528 0:21 [WILD] Nazis 14 00:32:38.048 00:33:09.324 0:31 I'm Not Selling This, Am I? 15 00:33:09.324 00:37:55.386 4:46 The Archives 16 00:37:55.386 00:40:45.800 2:50 Helena Runs 17 00:43:02.027 00:45:31.271 2:29 Pulse Of The City 18 00:46:35.168 00:48:17.750 1:43 Voller's Interview 19 00:48:17.750 00:49:11.480 0:54 Sallah To The Rescue 20 00:50:36.642 00:52:03.599 1:27 Departures 21 00:52:40.641 00:53:44.616 1:04 It Must Be Destroyed 22 00:53:44.616 00:54:45.183 1:01 To Morocco Again 23 00:56:52.260 00:58:20.268 1:28 Indy Recognizes Professor Schmidt 24 00:58:20.268 00:58:44.861 0:25 Doing Helena's Bidding 25 00:58:44.861 01:00:09.494 1:25 Rossini's Menu 26 01:00:26.661 01:01:31.711 1:05 Rahim Arrives 27 01:01:31.711 01:02:04.321 0:33 You Don't Need Me? 28 01:02:04.321 01:03:49.838 1:46 Streets Of Morocco 29 01:03:54.519 01:08:16.575 4:22 Tuk Tuk Chase 30 01:09:37.906 01:10:59.945 1:22 Airplane Mutiny 31 01:13:12.050 01:14:39.576 1:28 To Athens 32 01:15:11.235 01:16:22.196 1:11 Sunken Ship 33 01:19:26.994 01:20:18.192 0:51 Indy's Regret 34 01:21:39.081 01:22:46.543 1:07 Eels 35 01:22:46.543 01:23:28.220 0:42 [TRACKED] Centipedes 36 01:23:39.751 01:28:37.461 4:58 Water Ballet 37 01:29:24.968 01:30:36.524 1:12 Polybius Cipher 38 01:30:36.524 01:33:25.295 2:49 Helena's Tutorial 39 01:33:25.295 01:34:07.331 0:42 Escaping the Boat 40 01:34:49.198 01:36:19.348 1:30 Melting Wax 41 01:36:19.348 01:36:35.260 0:16 [TRACKED] Archimedes' Tomb 42 01:36:35.260 01:37:18.562 0:43 Melting Wax {Continued} 43 01:39:03.444 01:39:40.383 0:37 Teddy Is Kidnapped 44 01:39:40.383 01:39:54.756 0:14 [TRACKED] To The Airport 45 01:39:54.756 01:40:19.523 0:25 Teddy Is Kidnapped {Continued} 46 01:40:19.523 01:40:53.349 0:34 [WILD] Helena In Action 47 01:40:53.349 01:41:55.358 1:02 Teddy Is Kidnapped {Continued} 48 01:42:17.904 01:43:07.480 0:50 The Crescent 49 01:43:18.681 01:44:27.352 1:09 The Crescent {Continued} 50 01:45:02.178 01:45:14.014 0:12 [TRACKED] Eels 51 01:45:14.014 01:48:18.369 3:04 Centipedes 52 01:48:18.369 01:49:44.231 1:26 Handcuffed 53 01:49:50.236 01:52:27.339 2:37 Archimedes' Tomb 54 01:52:27.339 01:55:07.686 2:40 Confrontation At The Tomb
55 01:55:07.686 01:56:37.322 1:30 To The Airport 56 01:56:37.322 01:58:19.925 1:43 To The Airport Part 2 57 01:58:19.925 02:02:23.931 4:04 Airport Nazis 58 02:02:23.931 02:02:59.486 0:36 [TRACKED] Water Ballet 59 02:03:08.144 02:04:38.263 1:30 [TRACKED] Melting Wax,Centipedes,Water Ballet,Helena's Tutorial 60 02:04:38.263 02:05:17.953 0:40 Through The Portal 61 02:05:32.378 02:06:11.570 0:39 [TRACKED] Ancient Syracuse,Water Ballet 62 02:06:11.570 02:06:42.033 0:30 Planes In Trouble 63 02:06:42.033 02:09:45.853 3:04 Ancient Syracuse 64 02:10:07.981 02:10:22.183 0:14 Ancient Syracuse {Continued} 65 02:10:22.183 02:10:57.526 0:35 [TRACKED] Through The Portal,Ancient Syracuse,Confrontation At The Tomb 66 02:10:57.526 02:11:55.492 0:58 Ancient Syracuse {Continued} 67 02:11:55.492 02:17:40.520 5:45 Centuries Join Hands 68 02:19:23.330 02:20:15.427 0:52 For Who... Whom? 69 02:21:57.172 02:23:23.181 1:26 Finale 70 02:23:23.181 02:25:19.382 1:56 Raiders March 71 02:25:19.382 02:28:44.005 3:25 Helena's Theme 72 02:28:44.005 02:29:18.309 0:34 [WILD] Nazis 73 02:29:18.309 02:30:06.144 0:48 End Credit Part 3 74 02:30:06.144 02:30:55.348 0:49 [TRACKED] To The Airport 75 02:30:55.348 02:34:19.563 3:24 End Credit Part 3 {Continued}  
Updated the Google Doc as well
 
https://docs.google.com/spreadsheets/d/1gLWlWGQDU2sjQtm83qAu9pgDTlEMSH7smeWw5zZwqHs/
 
And if anybody uses command line ffmpeg this will split the iso score into correctly named tracks for you
 
 

I think I've got a handle on all (?) the tracking in the final film - so going beyond the obvious "Helena's Tutorial" and "Voller's Interview" tracking in the early New York scenes that was mentioned forever ago.
 
First - has it been pointed out the end of Eels is replaced by Centipedes, and the opening of Centipedes is replaced by Eels?
 
1:21:39-1:23:30 (1:51) is supposed to be Eels, however:
1:22:47-1:23:30 (0:43) is tracked from Centipedes - compare to 1:46:31-1:47:18 Then 1:45:021:48:19 (3:16) is supposed to be Centipedes, however:
1:45:02-1:45:14 (0:12) is tracked from Eels - compare to 1:22:07-1:22:17  
 
Second - In Teddy Is Kidnapped, which runs from 1:39:04-1:41:56 (2:52), two portions are other things:
1:39:41-1:39:55 (0:14) is tracked from To The Airport - compare to 1:55:17-1:55:27 / 1:55:52-1:55:57 1:40:20-1:40:54 (0:34) is the wild recording Helena In Action, chopped up a bit (the complete cue is in OST track "Tuk Tuk In Tangiers" from 2:28-end)  
 
Third, I don't think anybody has pointed out that after Helena gets on board the plane and her theme plays as the landing gear door closes behind her, almost all of the music in the next almost 4 minutes (2:02:24-2:06:12) of screen time is tracked music?
2:02:24-2:02:59 (0:35) this is tracked in from Water Ballet - compare to 1:24:38-1:25:03 2:02:59-2:03:08 (0:09) brief section of no music 2:03:08-2:03:36 (0:28) this is tracked in from Melting Wax - compare to 1:34:49-1:35:03 2:03:36 -2:03:47 (0:11) this is tracked in from Centipedes, I believe 2:03:47-2:04:09 (0:22) this is tracked in from Water Ballet, I believe 2:04:09-2:04:38 (0:29) this is tracked in from Helena’s Tutorial - compare to 1:32:52-1:33:18 2:04:38-2:05:18 (0:40) this is Through The Portal, the only music in this entire section that was meant to be here! 2:05:18-2:05:32 (0:14) brief section of no music 2:05:32-2:05:44 (0:12) this is tracked in from Ancient Syracuse - compare to 2:09:23-2:09:29 2:05:44-2:06:12 (0:28) this is tracked in from  Water Ballet - compare to 1:25:48-1:26:12  
Finally, Ancient Syracuse should run from 2:06:43-2:11:56 (4:53), but two sections are replaced by tracked music:
2:10:22-2:10:39 (0:17) is tracked from Through The Portal - compare to 2:04:38-2:05:18 2:10:51-2:10:58 (0:07) is tracked in from Confrontation At The Tomb - compare to 1:54:30-1:54:38  
Phew!  If anybody has any better timestamps or any other commentary, please let me know!
 
(I think some of this tracked music actually contains music that was cut from the scene it was intended for!)

The wider Academy voters when they listen to JW's scores that were nominated by the music branch...
 

Amazing how every Lucasfilm movie JW has scored since the Disney acquisition has received an Oscar nomination. They're getting a solid return on investment.
 
Would be nice if someone at Disney Records had the bright idea of monetizing all that free publicity with score expansions...

BEST SCORES OF 2023
Indiana Jones and the Dial of Destiny by John Williams Spider-Man: Across the Spider-Verse by Daniel Pemberton Migration by John Powell Oppenheimer by Ludwig Göransson The Creator by Hans Zimmer The Super Mario Bros. Movie by Brian Tyler Loki: Season 2 by Nathalie Holt The Mandalorian: Season 3 by Joseph Shirley Only Murders in the Building by Siddhartha Khosla Still: A Michael J. Fox Story by John Powell  
TOP 10 BEST TRACKS OF 2023 (with Williams)
Helena's Theme by John Williams The Airport by John Williams To Athens by John Williams Auction at Hotel L'Atlantique by John Williams Prologue to Indiana Jones and the Dial of Destiny by John Williams Battle of Syracuse by John Williams Tuk Tuk in Tangiers by John Williams Across the Spider-Verse (Intro) by Daniel Pemberton Spider-Woman (Gwen Stacy) by Daniel Pemberton To Morocco by John Williams  
TOP 10 BEST TRACKS OF 2023 (without Williams)
Across the Spider-Verse (Intro) by Daniel Pemberton Spider-Woman (Gwen Stacy) by Daniel Pemberton Migration End Titles by John Powell Duck Heaven by John Powell Nueva York Train Chase by Daniel Pemberton Across the Spider-Verse (Start A Band) by Daniel Pemberton Trinity by Ludwig Göransson Super Mario Bros. Opus by Brian Tyler Run it Suite (Vocal Version) by Joseph Shirley Standby by Hans Zimmer  
 
BEST CATALOG TITLES OF 2023
 
Hook (The Ultimate Edition) by LLL The Lost World: Jurassic Park by LLL Solo a Star Wars Story by Intrada The Orville: New Horizons by Hollywood Records Sabrina by LLL Heidi / Jane Eyre by Quartet The Rock by Intrada The Mask of Zorro by LLL Sneakers by LLL Windtalkers by Intrada  
FILM SCORE LABEL OF THE YEAR
 
LLL
 
 
BEST FILMS OF 2023
Indiana Jones and the Dial of Destiny Spider-Man: Across the Spider-Verse Oppenheimer The Creator Guardians of the Galaxy, vol. III Elemental The Super Mario Bros. Movie Asteroid City Barbie Creed III Honourable mention to The Boy and the Heron. I didn't really like the story but it was so beautiful.
 
 
BEST TV SHOW OF 2023
Ted Lasso: Season 3 Only Murders in the Building: Season 3   SPECIFIC HIGHLIGHTS OF 2023
 
HOOK! HOOK! HOOK! HOOK! HOOK! HOOK! HOOK! HOOK! HOOK! HOOK! HOOK! HOOK!
All the Horner's releases
The release of The Orville: New Horizons
The animated films of 2023 were lots of fun
 
 
SPECIFIC DISAPPOINTMENTS OF 2023
 
Mission: Impossible: Dead Reckoning, part. One (a couple of great stunt but too much poor writing and character developement)
Napoleon (everything was just meh or awful)
Too many interesting movies that didn't get a proper theatrical release or too few screenings (I'm still pissed I missed Killers of the Flower Moon and Dumb Money)
The quality of CGI, I think except The Creator, Oppenheimer which were perfect all the way through the others had decent to awful CGI.
Super-heroes movies: We had the best one this year (Across the Spider-Verse), a good one (GotG, vol.3) and a lot of shitty projects

It is a decent score. Main title shines in the film. But after that it is kinda familiar sounding though decently done. Not a stand out. Feels like even B tier composer could have delivered this score. The film is dull. The score is fine enough I guess.

This could be Gia's ticket to the Oscars for the first time in 14 years. Kinda stunning to me he hasn't even been nominated since he won for Up.

This could be Gia's ticket to the Oscars for the first time in 14 years. Kinda stunning to me he hasn't even been nominated since he won for Up.

Fixed.

Sounds like gutter trash garbage. Here's the reason -
 
Besides the main theme on the piano, the rest is literally template library 'epic' major key nonsense.
 
You could literally replace the star wars theme on piano with almost any other theme on piano.
 
What's carrying the track is your power anthem backing. It is so reductive to melody because it denigrates it to just a 'front vocal' or something.
 
As if this is some kind of bullshit pop track produced in a the garage in 10 mins.
 
What Williams did was creating something beautiful and artful and complex with all the different parts working in harmony to elevate the melody to the status that we all love. 
 
This kind of reductive shit is insulting to Williams' art.

Hugo is fairly memorable - if only because of the elaborate opening which is wordless and synced to shore's great cue.

i can't see why anyone would want to see a dubbed version over a subtitled version.

i can't see why anyone would want to see a dubbed version over a subtitled version.

The Wind Rises is unlike any other animated movie ever made i would posit. It is basically a sweeping biographical historical period piece drama. You could make the same movie word for word, moment for moment in live action and it would be one of those classic epic Hollywood oscar best picture winners.

it's very fantasy - kinda like Spirited Away and Howl's Moving Castle - not in quality but perhaps content. Phantasmagoric, creatures, quests - that kinda thing. 
 
The Wind Rises is a staggering masterpiece. This feels like a step down. 
 
Though of course it is still good. It's Miyazaki afterall.

it's very fantasy - kinda like Spirited Away and Howl's Moving Castle - not in quality but perhaps content. Phantasmagoric, creatures, quests - that kinda thing. 
 
The Wind Rises is a staggering masterpiece. This feels like a step down. 
 
Though of course it is still good. It's Miyazaki afterall.

1. E.T. the Extraterrestrial 
2. The Reivers
3. Harry Potter and the Sorcerer's Stone
4. Hook
5. Jaws
6. Star Wars
7. Superman
8. Raiders of the Lost Ark.
9. The Empire Strikes Back
10. Jurassic Park
 

I'm really interested in this one rather famous instance of a temp score track being used over the original music written for the scene. 
Michel Hazanavicius's The Artist came out in 2011. It's a black and white silent film and the film itself is an homage to so many things Hollywood. For the climax of the film the scene was temped with Bernard Herrmann's cue Scene D'Amour:
 
Working off of this temp score, the composer for the artist, Ludovic Bource wrote this music:
 
The music is good. I imagine it would have worked well with the film. It is also nearly a 1:1 replica of Herrmann's music, obviously not on accident. But the most interesting thing about this is that in the end the director opted to stick with the temp score! Can you imagine if George Lucas turned to John Williams during the scoring of the first Star Wars film and said "Johnny, I think we're gonna stick with Holst in this scene." I find this particular moment in film score history fascinating, particularly because the composer so clearly hewed close to the temp track. I imagine he was really trying to get the director to say yes and approve the cue, but it never happened. You can see the final seen here with the Vertigo music:
 
 
And to be honest, I don't think the Vertigo music even works that well with the scene. The sync points aren't very strong and the music resolves before the drama in the scene does. What do y'all think? Which cue works better for the scene?

Her score for Elle 2016 is very good.
 
The main theme is very attractive.