artguy360

I just watched the movie subbed in earlier today. When I first listened to the soundtrack weeks ago, I didn't quite know what to make of it. The sparseness of the sound, the very piano-centric nature of the music (even for a Joe Hisaishi score), and some of the repeated motifs that seemed designed to startle, it was all a little odd to me.
 
Now, having seen the movie, the score is perfect. I wouldn't want it to be any different from what it is. Everything about it, the sparseness, the piano, the startling moments, all work to accompany the main character's journey perfectly.

Absolutely. I can hear the Home Alone and Hook in HP1 all throughout the score. It's a specific JW mode.

Absolutely. I can hear the Home Alone and Hook in HP1 all throughout the score. It's a specific JW mode.

Absolutely. I can hear the Home Alone and Hook in HP1 all throughout the score. It's a specific JW mode.

Does anyone else notice the proto-HP1 sound to much of that Hook score?
 
Unrelated thought, listening to this release a 3rd time through, the music I enjoy most is all the Face of Pan & You are the Pan stuff. Such beautiful melodies.

"Generic for John Williams" and "generic for Lorne Balfe" are two entirely separate planes of existence 

My favorite thing about this score is the brief, original appearance of the melody that would later be expanded into Elegy. I love that piece so much and finding out that it started as a one-off melody in this score was a real treat.

At 2:50 of The Motorcade when the evocative rendition of the main theme enters amongst a cacophony of snares and other intense orchestral sounds.
 
 

Way to breeze right past the point of the thread to tell us how you feel about diversity in Hollywood. 
 
It’s such a shame white people can’t win awards anymore.

Easy, there wasn't any rules in place to prevent members of confusing "songs" and "score". Plus ,even back in the day they always go for the most "trendy" choice no matter how much it sucks.
 
In the 70's and 80's Blockbusters were automatically excluded from winning best picture in favor of serious dramas (like Kramer vs Kramer ) or "witty" Woody Allen romantic comedy.
The Exorcist, Jaws, Star Wars and E.T should all have won Best Picture by a mile.
 
Around the year 2000 the Academy was briefly cool and LotR won
 
In the  mid 2000's political correctness came into play and since about 2016  only woke movies win anything.

I hope you enjoy.
 
 
likes and subscribes are welcomed
 

Shin Godzilla's OST was a real banger. My favorite Godzilla score in years. This sounds interesting so far but not sure it can match Sagisu's level of operatic epicness.

I began working on this album in May of 2016.
 
The whole story of the album will be shared on various podcasts coming soon.

I made this last year and now I can finally use it!!!!

And finally...last but not least...
BANGARANG!!!

HOOK – THE ULTIMATE EDITION: EXPANDED & REMASTERED
LIMITED EDITION (3-CD SET)      
LLLCD 1632
Music by John Williams
Limited Edition of 5000 Units
RETAIL PRICE: $39.98
STARTS SHIPPING DEC 1

Available to order now at www.lalalandrecords.com

La-La Land Records, Sony Pictures, Amblin Entertainment and Sony Music present HOOK – THE ULTIMATE EDITION, a remastered and expanded 3-CD soundtrack presentation of legendary composer John Williams’ (STAR WARS, E.T., HARRY POTTER) original motion picture score to the 1991 adventure-fantasy HOOK, directed by Steven Spielberg.

An undisputed masterwork within the treasured John Williams and Steven Spielberg collaboration that has spanned five glorious decades, HOOK is an astounding orchestral odyssey that exemplifies the Maestro’s musical genius—a sonic epic that soars with imaginative joy, wonder and adventure!

This remastered ultimate presentation unleashes Williams’ iconic score as never before, expanded beyond any previous soundtrack release, with never-before-released score, alternate tracks, songs and source music.

Produced, edited and mastered by Mike Matessino, in consultation with the composer, Disc One of this deluxe reissue contains the score presentation, which continues through Disc Two with additional music tracks. Disc 3 offers a sumptuous bounty of songs (highlighting the wonderful songwriting talents of Leslie Bricusse), alternate cues and source music! With stellar art direction by Jim Titus, this limited-edition release of 5000 units features a 48-Page booklet that includes exclusive in-depth liner notes by Matessino and associate producers John Takis and Jason LeBlanc. The track listing is featured on a 12-page second booklet within the package.

TRACK LISTING:

 DISC 1
 SCORE PRESENTATION
 1. Hook Prologue (Extended Version) 1:33
 2. We Don’t Wanna Grow Up (Extended Version) * 2:57
 3. Banning Back Home (Film Version) 3:21
 4. Wendy’s Entrance 2:12
 5. The Bedroom 1:08
 6. The Nursery Scene 1:40
 7. Saying Goodnight :57
 8. Hook Returns To Kensington 2:00
 9. Hook Is Back 2:09
 10. Forgotten How To Fly :56
 11. The Stories Are True 2:24
 12. The Arrival Of Tink 3:33
 13. The Flight To Neverland 2:40
 14. Pirate Town And Presenting The Hook 5:09
 15. Hook’s Entrance 2:42
 16. Draw Your Sword! 2:14
 17. Peter’s Challenge 5:42
 18. From Mermaids To Lost Boys (Film Version) 4:26
 19. Enter Rufio 1:19
 20. The Lost Boy Chase 3:35
 21. The Face Of Pan 2:42
 22. Hook’s Epiphany 2:16
 23. Smee’s Plan 1:46
 24. Pick ’Em Up * 2:56
 25. Hook’s Lesson 3:08
 26. The Banquet 3:14
 27. The Never-Feast (Film Version) 4:41
 28. When You’re Alone * 3:17
 29. Goodnight Neverland 1:45
 Total Time Disc One: 78:54

 DISC 2
 SCORE PRESENTATION (Continued)
 1. Stop That Clock! 4:05
 2. Home Run And Follow That Shadow 5:24
 3. Peter Remembers (The Flying Sequence) 8:23
 4. You Are The Pan (Film Version) 1:26
 5. Tink Grows Up 2:21
 6. The Ultimate War (Film Version) 8:02
 7. Death Of Rufio 4:23
 8. The Sword Fight And The End Of Hook 7:07
 9. Farewell Neverland 10:18
 10. Hook End Credits And Exit Music 5:52
 Total Score Time: 2:16:23

 ADDITIONAL MUSIC
 11. Hook Prologue 1:25
 12. Banning Back Home (Extended Version) 4:24
 13. From Mermaids To Lost Boys 4:26
 14. The Face Of Pan (Choral Version) 2:43
 15. The Ultimate War 7:54
 Total Additional Music: 21:00
 Total Time Disc Two: 78:32

 DISC 3
 SONGS, ALTERNATES AND SOURCE MUSIC
 1. We Don’t Wanna Grow Up * 1:52
 2. God Rest Ye Merry, Gentlemen 1:10
 3. Childhood * 3:54
 4. When You’re Alone – Moira’s Lullaby * :46
 5. The Stories Are True (Alternate) 2:24
 6. The Arrival Of Tink (Alternate) 3:35
 7. The Flight To Neverland (Alternate) 2:33
 8. Low Below – Pirate Sequence * 4:58
 9. Hook’s Entrance (Alternate) 2:42
 10. The Lost Boy Chase (Alternate) 3:34
 11. The Never Song * 2:04
 12. The Never-Band 1:20
 13. The Never-Feast 4:42
 14. When You’re Alone (Instrumental) 3:19
 15. Mothers * 2:26
 16. Stick With Me * 2:00
 17. Take Me Out To The Ball Game 2:18
 18. Remembering Childhood 11:06
 19. Believe * 3:01
 20. Farewell Neverland (Short Version / Alternate) 6:54
 21. Hook Exit Music (Alternate) 1:48

 BONUS TRACKS
 22. Pirate Sequence (Instrumental) 3:59
 23. Smee’s Concertina Medley 4:50
 24. Presenting The Hook (Vocal Version Segment) * 1:38
 Total Time Disc Three: 79:17
 Three-Disc Total Time: 3:56:43

 * Lyrics by Leslie Bricusse

This is a CD format release
 
https://www.facebook.com/lalalandrecords/posts/pfbid0v345Qm15U7zFVDxCpCQ1Xv3cJRByUzeWBTASjKsLmzW59uKwsNhhYCCuoN8ujV53l
 
 
 
https://lalalandrecords.com/hook-the-ultimate-edition-expanded-remastered-limited-edition-3-cd-set/

The way I see it is that we know Ross wrote Pulse of the City because he is credited as its writer in the end credits. From that article we know that he also wrote The Airport cue that was replaced by JW's version because the protracted production afforded JW a generous time frame. For some reason, Pulse of the City wasn't replaced by a JW cue. Perhaps JW didn't have the time to write a new cue or maybe everyone involved was perfectly happy with Ross's music.
 
Based on the Pulse of the City credit for Ross in the end credits, I think it is reasonable to assume that had any more Ross composed cues remained in the final cut, they would also have been credited to Ross. I think it is also reasonable to assume that the OST was produced to only include cues composed by JW because Pulse of the City was excluded.
 
I am open to the idea that Ross arranged the material from the other movies but they are still JW compositions.

how many of us, simply go about our day, forgetting that JW slipped in one of his best action pieces in his famed career half way through a cue.
 
 

Its fun, until you realize how much of it an imaginary Ross wrote.  

Speaking of the tenth decade... Williams namedropping Lauren Bacall of the 1940s fame is as if someone of my gen were to mention Emma Watson in 2089. We will all be soylent green by that point 

I don't mind it. In fact, I'm curious how JW could have integrated electric guitar more throughout the track.

I recall reading somewhere that it was to give it something of an "urban," or modern touch. It's a neat bit of color I don't mind. Some people get real worked up over it, but some people got real worked up about cowbells in Mahler 6, so whatcha gonna do?

hands down, JW's best use of percussion ever in a cue imo

Unsurprisingly, I prefer all of JW's prequel scores to Shore's Hobbit scores. Shore's LOTR scores are a unique achievement in film scoring and are pound for pound better than the OG SW trilogy scores, imo.
 
But the Hobbit scores are kind of bland while the prequel scores are all kinds of exciting.

Unsurprisingly, I prefer all of JW's prequel scores to Shore's Hobbit scores. Shore's LOTR scores are a unique achievement in film scoring and are pound for pound better than the OG SW trilogy scores, imo.
 
But the Hobbit scores are kind of bland while the prequel scores are all kinds of exciting.

I could see JW winning best instrumental composition for Helena's Theme, but not for original score.