Display Name

I'm really confused. Why did they put the film cues in the bonus section, but the film take with the volume dips couldn't be swapped out with the take that is fine? There are some other tracks in the bonus section that have weird sonic artifacts, maybe that is why they went there, but that still doesn't answer my question from above.

Very nice! Apart from the awful photoshop job, the tracklist does not seem very elaborated. There's not one single cue combo. More than 30 tracks for a 60 minute score normally makes for a bad listening flow.

I'm especially happy to see these titles off the list. I voted Air Force One, Medicine Man and Hollow Man. Hopefully, the triple 80s L (Legend, Lionheart, Leviathan) will get a proper treatment soon.

I assume, we can still expect it as one of Varese's highest priorities. That sounds like Love Field should be expanded by Varese right after Air Force One and U.S. Marshals. I mean a "10 minute long action cue" left off the album?! Nice to know. Again, nice to know. Does it mean that he will probably sell the rights to Intrada or La-La Land and let them do the job? I would be very excited for definitive editions of The Final Conflict and especially Lionheart! That should be done by Tadlow along with a re-recording of Planet of the Apes!

It's still a weird decision. 30 minutes on the first and 70 minutes on the second disc - I have never seen that before.

I really wonder whether there is anything worse than my number one pick: "La Califfa" I don't know whether it's healthy to listen to it too often. It takes desperate longing to the extreme and is kind of better suited for Romy Schneider's life than for the movie itself. "Once Upon a Time in America" and "Il Grande Silencio" also come to mind with the first one's broad wistfulness and with the second's ones deep sadness. Any thing more there, that I should know?

I agree with you that these are all fantastic scores, but the lists are boring! You can't disagree on that!

It's quite easy: The Philosopher's Stoen is a 4 star score, The Chamber of Secrets is a 3 star score, and The Prisoner of Azkaban is a rare 5 star score!

You have no idea!

I always have to think of him starting a collaboration with Nolan instead of Zimmer.

This is an interesting kind of thread. Publicist's response is very reasonable and realistic. Personally, I think Goldsmith would have a higher status now in Hollywood, because he would be on eof the surviving masters who played a leading role in the "good old times". People would want him to write the new Star Trek scores and everything else that trammels him in the nostalgia corner rather than giving him the chance to explore new areas (which he himself didn't seem to be particularly interested in in his later years).

Fierce Creatures is okay, a nice sometimes vulgar comedy, I haven't seen the rest. By the way, are you gradually diminishing the number of scores you asked for, which means you bought them?

I want Hook! It's not my cup of tea, but I don't own the DD! Give me the MM instead, quality-wise it's much ahead! I want Hook! Wow, what a bad poem, but you get the idea...

Do I get this right: Varese has no longer Encore releases in their CD Club batches, but instead they just casually release reissues now?! Since when did they open the throttle?!

I take it as an offense that you included Rosewood and Seven Years in Tibet in this ironic JW list! The Non-JW list, however, is spot on!

I like that tender string chords in "The Book Shop" from 0:15 to 0:22.

Okay, maybe I AM a bit too harsh. I also know where most of the cues start and end, but this information should be included in a comprehensive spreasheet (as it is the usual case in your spreadsheets, @Jay). The information about the session leaks is interesting, but generally, now that we have the LLL set, of less interest. These 5 or 6 tables can be consolidated to 2 or 3 tables.

John Williams: Rosewood Presumed Innocent The Lost World Munich The Prisoner of Azkaban Others: Alien Damnation Alley The Boys from Brazil The Matrix Rambo III

@Jay, I have to admit, I don't find your Harry Potter spreadsheets particularly good. There are so many different and pointless tables and in the end they don't even include the information, where one cue ends and where another starts on the LLL set (if it's a track that combines several cues). The excellent spreadsheet that was made for the third Harry Potter film is much more complex and better structured. Moreover you marked some OST versions as "incomplete" although they just overlapped with another cue (Moaning Myrte, The Spiders).

So, is the 500th release supposed to be Hook?!

Transit, Phoenix and Barbara are the only Petzold films I've seen. And I wasn't disappointed by Transit at all. It was so suggestive! I can hardly imagine that there is a movie in his filmography that will exceed Phoenix.

I agree. On the surface it is a well executed film - which is the reason why nobody dares to give it the 1/5 stars it deserves for its exaggeratedly bloated, clichéd and one-dimensional content. It is simply vicarious embarrassment that I feel, when I see that this was THE German film that got the Oscar nomination for best foreign language film last year. After Toni Erdmann a major step backwards.

So, have you also seen Werk ohne Autor, that bombastic, pretentious piece of shit? I wanted to make the point that the European cinema is in serious trouble, whereas the Americans nail it, even in the mainstream cinema, but Toni Erdmann just queered my pitch.

This was brought up at the FSM forum already, when the set came out. Lucas Kendall replied that the synths were not included in the sources they had to create the complete presentation. If you listen to it carefully enough in the film, you may hear that the part was posthumously edited into the track. There are two bad cutoffs in the music. I love that synth effect so much, that I have recreated a lossless version WITH the synth, however, WITHOUT the cutoffs: 12 Study in Anatomy (with aditional synth).WAV You're welcome.

Has anyone seen Toni Erdmann? Quality-wise it's the complete opposite of Werk ohne Autor!