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James Horner's TITANIC (2017 4CD expanded edition from La-La Land Records)

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On 6/30/2019 at 6:22 PM, NL197 said:

It's just a badly edited film score and no one's memories of it - hey I "grew up" with the same shit y'all did - won't change that fact. 

 

The sinking sequence is the only part which I remember being a creative and editorial mess. Most of the bits I liked were simply tracked (such as Rose looking for Jack).

 

The interesting bit for me was the dive sequence which I think creatively works quite well (with a bit tracked in several times from a cue much later in the score) but just suffers from bad editing because Horner's original cue didn't allow for it.

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The whole Southampton sequence is also a mess, sometimes changing between the earlier 4-note and final 5 note phrases, along with he obligatory complete tempo and orchestration change, midway through the 4 phrase theme statement!

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Southampton and all that main theme stuff in the score and film are my favorite. 

The film completely butchers it, yes. 

For me the revelation of the LLL album was that all of the shorter 4-note statements of the choral theme which was always my favorite version of it, compared to the longer versions on the OST. The trailer had it, but I'd never known the complete 'Leaving Port' since so little of it is used in the film. 

 

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I still think the film version is getting too much negative criticism. It's obviously a mess from start to finish, but when I watched the movie for the very first time, I hardly noticed any of it because I was too wrapped up in the story and because the sound effects hide everything pretty well.

 

I do have to admit that the live experience sounded chopped up at times. But was there ever any alternative? I mean, would it even be possible to match Horner's original cues to the picture in most cases? I can see things like Relics and Treasures working pretty well, but as I can't find any videos with restored score excerpts that preserve the movie's dialogue and sfx, I can't be sure.

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Jim Henrikson said there was never any plan to because the film was cut so much that Horner's intended score doesn't fit the final version anymore, with few exceptions. 
So they were literally stuck with having to recreate the butchered edits. 

As for restored score excerpts, I'm working on that and have been for a while. I'm also busy. I did "Leaving Port" and the Trailer already. 

 

Also (slightly related) take a wild guess as to who was uninvited from the memorial service....here's a hint: 

no one wanted him there. At all. And none of James' team wants to deal with this person again for not only his treatment of James, but also of his music. 

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Cameron?

 

Edit - or Malick? I'd imagine the New World experience didn't make any new friends.

 

1 hour ago, bollemanneke said:

I still think the film version is getting too much negative criticism. It's obviously a mess from start to finish, but when I watched the movie for the very first time, I hardly noticed any of it because I was too wrapped up in the story and because the sound effects hide everything pretty well.

 

I don't think you'd notice any of the editing in the film on first viewing, at least. And only we'd notice it subsequently.

 

For the purposes of the general moviegoing public the score does what it needs do. All Cameron did was irritate his editors and some film score fans.

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So much drama. I'll just enjoy both men's work and that includes the hilarious Aliens interview where JH pointed out that JC spent two days working on the sounds of the guns and makes an annoyed face. That is gold!

 

Titanic score works just great in the movie. The film was extensively edited down and JC obviously just didn't want what JH came up with fir various scenes. Regardless, JH was able to present what he intended on the OST and even a second album.

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James Cameron cut scenes and alternate endings are fine DVD novelties. It's fun to compare and realize how perfectly edited the theatrical versions are. The alternate end of T2 was quite bad as well. It's amazing those shit scenes were at one point going to conclude these great films.

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6 hours ago, The Original said:

That alternate ending was fucking awful

 

Oh yeah. The film constantly walks a fine line right besides the point of crossing into melodrama. But that alternate ending bursts right through that line. Cheesy, talky and all-in-all not good.

 

But the test of a good filmmaker isn't in not having bad scenes or takes - its in knowing to lose those. You always try things, and naturally some of it's going to come out pretty awful.

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On 7/3/2019 at 1:34 PM, NL197 said:

Jim Henrikson said there was never any plan to because the film was cut so much that Horner's intended score doesn't fit the final version anymore, with few exceptions. 
So they were literally stuck with having to recreate the butchered edits. 

 

Regarding Horner's intended cues, I would say they would've worked only a few spots in the film:

 

- "Relics & Treasures", in where Brock Lovett says "claim was for a diamond necklace whose son Caledon bought his fiancée, you", continues as old Rose is presented artifacts recovered from her stateroom, out where Lovett asks Rose "Are you ready to go back to Titanic?"

 

- The entire "Southampton" film version cue without any micro-edits, the beginning of "The Promenade" not being added in, no slower strings and chimes from "Trailer".  I started the cue when old Rose says "Titanic was called the ship of dreams" and the camera pans from her to the bow section of the wreck for the transition to 1912.

 

- The film version of "Leaving Port"

 

- "Rose Frees Jack" for the entire sequence Rose goes back down to the flooded corridor with an axe and then breaks Jack's handcuffs

 

- "Unable to Stay, Unwilling to Leave" without any micro-edit (I noticed one in both the film and the film stem leak)

 

 

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On 6/26/2019 at 11:13 AM, bollemanneke said:

So now that this is thread is on fire again, could someone recommend a good piano version of 'for those in peril of the sea'?

 

This thread will outlive us all. I would never have believed there was 25 pages worth of forum material for this score, for instance.

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So, I finally got this. Goldwasser's not bad, front and back cover and booklet are pretty great. The inside however... Front already has Jack and Rose. Discs 1 and 2, Jack and Rose, respeticvely, all right, that was a given and a must. Lift up Disc 1, Jack and Rose underneath. Flip over, booklet front has Jack and Rose. Disc 3: Jack and Rose, Disc 4: Jack and Rose. I'm gonna take a wild guess and say Captain Smith is under Disc 4... nope, Jack and Rose. Additionally, all of these are in a dull brownish palette, while the first thing I think of about Titanic and colour are the blues and whites (to hell with the blanket yellow tint of the bluray pushing half the film into orange and teal/green territory). Eh. No Titus, but at least it's much better than Kay Marshall's feeble attemts to bring personality into Intrada's formulaic standardised design or to find literally any fitting key art to put into the tray.

 

Presentation-wise I only have 2 problems: the end of both score discs. I can maybe stomach D1 with Hard To Starboard including a natural conclusion of the love theme development and it being before the halfway point of the film, and Rose Frees Jack being a terrible potential Disc 2 opener, even if I'd prefer the Love Story - Sinking separation with D2 starting with Hard to Starboard. With Disc 2's end, it seems obvious to me that Post and Hymn to the Sea should have been switched after plans (if there ever were any) of including the song fell through. Also, I don't really like Ocean of Memories that much. It's an OK piece, a pretty limp finale with a not greatly fitting mood, and in no way really representative of the film's theatrical or alternate ending (I could not make most of it fit in my head as hard as I tried, just what the hell is it?) The film mix and coda of Unable/Unwilling are THE perfect emotional payoff to the whole thing.

 

Disc 3's a bit repetitive, the usual resource dump. A few great bits in there. I do adore Disc 4.

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I couldn't agree more with you regarding the presentation, but I do like Ocean of Memories a lot.

 

Does your set also feel as though you should be very happy it hasn't broken into ten pieces yet? My case really feels fragile.

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It's perfectly fine. The worst is the middle piece having a very tight grip on discs 2&3, I could bend them up to a 30 degree angle or more and it wouldn't let go unless strategicaly approached from the direction of one of the non-stiff pegs which are somewhat hard to tell apart from the stiff ones when the disc is in!

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49 minutes ago, Holko said:

It's perfectly fine. The worst is the middle piece having a very tight grip on discs 2&3, I could bend them up to a 30 degree angle or more and it wouldn't let go unless strategicaly approached from the direction of one of the non-stiff pegs which are somewhat hard to tell apart from the stiff ones when the disc is in!

I have that problem too, but my discs 1 and 4 fall out all the time.

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Thankfully those are very firm but handleable in mine.

 

Isn't it weird how only the size and stuff of jewel cases are standardised, but when it comes to actually holding the disc in or the front on, it's a complete free for all, stability and safety be damned?

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Watching the film with cast&crew commentary, someone said Cameron wanted every I Salonisti piece twice: once for full band for the inside to use as would be convenient, and one without the piano for the sinking, because they couldn't have carried it up on the deck to play it. So, does that decuple the amount of unreleased music? :P Alexander's Ragtime Band seems to be the same piano arrangement, if a different and obviously isolated take, as in the BTT track. At least one violin even ghosts the piano for a good portion or two on BTT. Listen closely on high volume to the LLL Alexander at 0:56-1:12: you can faintly hear the strings either dialed out imperfectly, or bleeding into the piano's microphone. That's a weird one to include. Was that the solution, write arrangements that work with or without piano and record it with separate mics to mix in or out as needed? Hmm, apparently not necessarily, since Orpheus, played during the sinking with strings only, features piano as a prominent instrument with multiple solos on the album.

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Wasn't "Hard to Starboard (Extention)" intended to be crossfaded into the larger "Hard to Starboard" cue, or did LLL crossfade them to create a more concert-like listening experience?  The extension cue continues the high strings that the larger cue ends with.

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I thought the only difference was the additional bit at the beginning and then the end of the track where you see the ship stopped after the accident.

 

You guys sure give this score a hell of a lot of thought.

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On ‎7‎/‎30‎/‎2019 at 1:58 PM, Holko said:

Watching the film with cast&crew commentary, someone said Cameron wanted every I Salonisti piece twice: once for full band for the inside to use as would be convenient, and one without the piano for the sinking, because they couldn't have carried it up on the deck to play it. So, does that decuple the amount of unreleased music? :P Alexander's Ragtime Band seems to be the same piano arrangement, if a different and obviously isolated take, as in the BTT track. At least one violin even ghosts the piano for a good portion or two on BTT. Listen closely on high volume to the LLL Alexander at 0:56-1:12: you can faintly hear the strings either dialed out imperfectly, or bleeding into the piano's microphone. That's a weird one to include. Was that the solution, write arrangements that work with or without piano and record it with separate mics to mix in or out as needed? Hmm, apparently not necessarily, since Orpheus, played during the sinking with strings only, features piano as a prominent instrument with multiple solos on the album.

I don't think there's any evidence every piece was recorded in two versions, if that's what you're asking. There IS plenty of evidence that they recorded many pieces that didn't make it in the movie or on any commercial relase (ahem, ahem).

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On 7/30/2019 at 5:10 PM, Dieter Stark said:

I thought the only difference was the additional bit at the beginning and then the end of the track where you see the ship stopped after the accident.

 

We're talking about "Hard to Starboard (Extension)".

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Hello, does anyone have this https://www.discogs.com/James-Horner-Heaven-Help-Us-In-Country/release/10578111 or https://www.discogs.com/James-Horner-Heaven-Help-Us/release/12654200, is the Score of Heaven Help Us by James Horner , it's very rare,I have a copy in MP3,  but I'm looking for a higher quality perhaps in Flac (Lossless) format.

 

Regards....

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Yea buddy, you can't use our public forums here to ask people to send you copyrighted music you haven't paid for.  Do that shit on bootlegging forums, not JWFan.

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1 minute ago, Jay said:

Yea buddy, you can't use our public forums here to ask people to send you copyrighted music you haven't paid for.  Do that shit on bootlegging forums, now JWFan.

 

Yea buddy, he did now. Why so mad bro? 

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My copy has a tiny notch on the data side of one of the discs, hope it will play/rip fine. Pressing plant QC seems to be slipping, my Superman and Braveheart releases also have tiny scratches on at least one of the discs. I'm too afraid to unseal my other recent LLL purchases to check them.

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On 8/11/2019 at 4:07 PM, Jay said:

Yea buddy, you can't use our public forums here to ask people to send you copyrighted music you haven't paid for.  Do that shit on bootlegging forums, not JWFan.

Yes...I know...but I still made the request the same...Sorry didn't mean to disrespect this forum rules.....but I was really curious if there was a really good quality of that CD...Once again...Sorry

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