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Did MV from LLL just confirm their next three John Williams titles?


Jay

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MM sounds really defeated and dejected in that post. I reckon Williams has cracked the shits over Botanicus E.T. Adventure and informed his camp to sever all ties with LLL for perpetuity.

 

Without any doubt, these are the last two Williams releases for years. Enjoy it folks, we're fucked!

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I guess MM meant that it's not likely that we'll get any big profile JW release in a short space of time between them, like E.T. and CE3K, which is indeed very atypical.

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4 minutes ago, crumbs said:

MM sounds really defeated and dejected in that post. I reckon Williams has cracked the shits over Botanicus E.T. Adventure and informed his camp to sever all ties with LLL for perpetuity.

 

Without any doubt, these are the last two Williams releases for years. Enjoy it folks, we're fucked!

 

I can't enjoy ET and CE3K, now I know we're fucked!!! DAMMIT

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3 minutes ago, crumbs said:

We should boycott LLL. They deserve to be punished for ruining any chance of new Williams expansions.

 

I doubt if I'll have the heart to listen to one of their releases ever again. I just wish I hadn't already listened to so many.

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8 minutes ago, BloodBoal said:

 

It's all because of the Jurassic Park Teethgate Scandal!

 

Apparently Williams' personal copy was missing teeth and he misinterpreted it as a passive aggressive dig at his recent choice of film projects.

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The reason E.T. is only shipping on sept.26 is because JW vetoed the release at the last hour, ordered that the 20th anniversary release to be sent instead as CD1, with CD2 been the OST and highlights from various concerts, and Laurent Bouzereau will step in from now and handle every JW, also working with Disney to handle SW and Concord Records to handle Indy, which had a contract renew for another 15 years.

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28 minutes ago, phbart said:

I guess MM meant that it's not likely that we'll get any big profile JW release in a short space of time between them, like E.T. and CE3K, which is indeed very atypical.

But Far and Away isn't really high-profile, right?

 

Why don't people like Laurent Thingy her? I mostly don't like him because of the fact that the sound of hit Back to the Future DVDs really isn't good.

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He should stick to DVD releases and not soundtrack releases.

 

Though credit to him for getting us the Indy releases in the first place, so there's that. I'm happier to have a flawed expansion than no expansion at all!

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25 minutes ago, bollemanneke said:

But Far and Away isn't really high-profile, right?

 

Why don't people like Laurent Thingy her? I mostly don't like him because of the fact that the sound of hit Back to the Future DVDs really isn't good.

Far and Away is far and away from being high profile.

 

Bouzereau's releases were ok for its time, but are not suitable anymore. Unlike past MM and Nick Redman releases, which still has high regards even decades later. We only have The Lost World because MM wisely convinced the JW camp that we already have a recent JP expansion and we need a justifiable reason the dig into JP again. Do you think Bouzereau would be able to pull such a thing?

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2 hours ago, bollemanneke said:

Why don't people like Laurent Thingy her?

 

Um, I have nothing against the man personally.  It is simply that the Williams expansions he did in the 90s and 00s do not follow the same top quality standards that Mike Matessino does nowadays.  Bouzereau's versions of Jaws, CE3K, Raiders, ET, Temple of Doom, and Last Crusade are simply inferior to the definitive editions that Mike has now done for Jaws, CE3K, and ET and will hopefully someday do for the Indiana Jones scores as well.

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I've always been quite underwhelmed by his Spielberg DVD releases.  Now some of that is down to Spielberg I guess (like how he won't do commentary tracks ever) but the documentaries Bouzereau produces always feel quite surface-level and boring.

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2 minutes ago, Jay said:

Bouzereau's versions of Jaws, CE3K, Raiders, ET, Temple of Doom, and Last Crusade are simply inferior to the definitive editions that Mike has now done for Jaws, CE3K, and ET and will hopefully someday do for the Indiana Jones scores as well.

 

Oh boy, here we go again...

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The only thing I can deduce from MM's post is that there will hardly ever be a chance to celebrate those two specific score's birthdays like that. There's no better way to celebrate a score's anniversary with an expansions! That's all MM said.

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Can You please consider releasing...

 

Done and done

 

They have considered them, and now they're done. They might have simply decided not to do them. We should ask them to reconsider.

1 hour ago, Jay said:

Bouzereau's versions of Jaws, CE3K, Raiders, ET, Temple of Doom, and Last Crusade are simply inferior to the definitive editions that Mike has now done

 

 

CE3K was a top notch release for the time it was released though, and it's still very good even by today's standards.

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14 minutes ago, Jay said:

Marian, I did not say Bouzereau's versions were bad! Just inferior to Mike's.  It's an important distinction!

 

I didn't say you did. But at least some of his releases are generally considered to be half-arsed, and to an extent at least that seems right, regardless of whether it's Bozereau's fault or not. I just find it important to point out that CE3K definitely does not belong in that category.

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2 hours ago, Marian Schedenig said:

 

I didn't say you did. But at least some of his releases are generally considered to be half-arsed, and to an extent at least that seems right, regardless of whether it's Bozereau's fault or not. I just find it important to point out that CE3K definitely does not belong in that category.

 

It's probably the least problematic of his Williams expansions yea

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MM had said that CE3K was less of a mess in the E.T. write up post I mentioned in the other thread.   In another pvt facebook page discussion MM has said about his focus on the new CE3K while discussing E.T. : 

 

MM: Strictly in terms of content, most of the music has been released  in forms fine for casual purposes. In the case of E.T. the material was spread over multiple releases in varying quality and I'd go so far as to say most of the presentation on previous releases was inaccurate, which was something I didn't expect to find. So it's about the presentation and quality, with all of the music captured in super hi-resolution (not the case with releases from 15-20 years ago) and meticulously worked with & comprehensively presented. Close Encounters, being so important to the entire concept of film scoring, certainly deserves to be preserved in this way and explored further, and the new release will have that focus. 

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Oh, got it. :)

 

I believe this subject has caused a lot of arguments (heated ones, sometimes), but if applied carefully, it can be benefitial.

 

I, for one, when I'm at the gym or running outside, or in the bus, in the plane and so on, I really prefer to listen to the music instead of the environmental noise.

 

Take for instance Jaws... the 2000 release is practically impossible to listen with the kind of outside noises I mentioned. Now, with the Intrada release, it's a whole different thing.

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I don't listen to music at all when outside or commuting. It's all done in my entertainment room with a hi-fi set-up, so natually I demand music to be mastered with wide dynamic range so I can replicate how it might have sounded live or at least as closely as it might have sounded in the mixing booth as possible.

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At the gym not THAT much, but I love to listen to music while running outside. You should try listen to Jaws 2 OST while running. Not even the fastest kenyan runner will beat you. :)

 

Jokes apart, can a music that has wide dinamyc range be loud as well?

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Just now, phbart said:

But aren't the MM releases this way? They do sound like that to me, at least.

 

For the most part, yes. But I've found ID4 an example where the OST was more dynamic than the expanded, and Home Alone 2 had more punch than the later versions (did MM work on those?), and the Jaws 2 OST from Varese sounds better than the Intrada.

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Ultimately I prefer the sound that Horner achieved with his CDs from the 90s. The dynamic range is the greatest I've ever experienced. The softer parts have a tendency to be a bit overly soft and you really want to crank it up. But then it suddenly gets loud and you're flying across the room like Martin McFly. While this is obviously problematic, I've found it produces some of the most impressive dynamics in any of these score recordings. I like to reference the brass in Hard to Starboard, or "blasts of things" as Horner might describe it. You can can distinctly hear the differences in the playing as they get louder. I feel like when this sort of thing happens in scores by other composers, it tends to have a flatter, less interesting sound, especially when the mixers fuck with it. Horner's music, like his interviews, has an ASMR quality.

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