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MINORITY REPORT (2002) - 2019 2CD Expanded Edition from La-La Land Records


Disco Stu

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1 minute ago, King Mark said:

Well any JW expansion is good news, even if it's not one of my favorite scores

 

This will give a chance to change my mind

 

The OST was a pretty generous serving of the score. If you weren't into that, I doubt more of the same will change your mind.

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5 minutes ago, Thekthithm said:

 

The OST was a pretty generous serving of the score. If you weren't into that, I doubt more of the same will change your mind.


It’s true, the OST has the major highlights.  There’s some great music not on there, though, that really adds to the overall tapestry.  And who knows if there any surprises hiding in the recordings in terms of alternates or unused cues!

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7 minutes ago, Disco Stu said:


It’s true, the OST has the major highlights.  There’s some great music not on there, though, that really adds to the overall tapestry.  And who knows if there any surprises hiding in the recordings in terms of alternates or unused cues!

 

I suppose KM prefers listening to the in-between tracks to the highlights.

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Very nice! Had a suspicion this would get fast-tracked with the rest of the 20CF catalog, once we knew the labels were prioritising them in light of Disney's acquisition. Is there anything else Williams pre-2005 from the 20CF catalogue we should be concerned about?

 

And interested to see what the tracklist looks like on this one. The OST assembly always confused me on this score; not chronological, titles that don't match the film counterparts, weird sequencing choices.

 

The sessions are 1:41 so the complete film score isn't going to fit on one disc. The OST was a generous length at 74 minutes so it won't fit alongside the film score (and there's little point if it has the same mix as the film score). Hopefully Mike found some cool alternates that didn't leak in the sessions. :)

 

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7 minutes ago, crumbs said:

Very nice! Had a suspicion this would get fast-tracked with the rest of the 20CF catalog, once we knew the labels were prioritising them in light of Disney's acquisition. Is there anything else Williams pre-2005 from the 20CF catalogue we should be concerned about?

 

And interested to see what the tracklist looks like on this one. The OST assembly always confused me on this score; not chronological, titles that don't match the film counterparts, weird sequencing choices.

 

The sessions are 1:41 so the complete film score isn't going to fit on one disc. The OST was a generous length at 74 minutes so it won't fit alongside the film score (and there's little point if it has the same mix as the film score). Hopefully Mike found some cool alternates that didn't leak in the sessions. :)

 

There were some differences between the sessions and OST/film where the placement of the synth and wailing vocals was concerned IIIRC.

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1 hour ago, Disco Stu said:


It’s true, the OST has the major highlights.  There’s some great music not on there, though, that really adds to the overall tapestry.  And who knows if there any surprises hiding in the recordings in terms of alternates or unused cues!

 

I think the score will be a minor revelation in complete form :) just going by the number of sections that were edited out of many good cues to fit the album suites. Plus the longest (previously) unreleased cue, 2m1 Presenting The Precogs, is nothing to sneeze at either; 4 minutes of sustained mystery and tension

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18 minutes ago, Fal J. M. Skywalker said:

There were some differences between the sessions and OST/film where the placement of the synth and wailing vocals was concerned IIIRC.

 

I think this set will be a lot closer to the OST mixing than the session leaks. The sessions seem to be an unmastered dump of the raw files, without correct mixing.

 

It'll be great to have a properly mastered version of this score. I recall constantly adjusting the volume with the sessions, due to the long stretches of subtle tension music (only to be deafened by some of the big swells, like that obvious one early in the score).

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8 minutes ago, Corellian2019 said:

Plus the longest (previously) unreleased cue, 2m1 Presenting The Precogs, is nothing to sneeze at either; 4 minutes of sustained mystery and tension


I was remarking earlier today on how that cue is very Herrmannesque.  Love that mysterious dark atmosphere. 

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1 hour ago, crumbs said:

 

I think this set will be a lot closer to the OST mixing than the session leaks. The sessions seem to be an unmastered dump of the raw files, without correct mixing.

 

It'll be great to have a properly mastered version of this score. I recall constantly adjusting the volume with the sessions, due to the long stretches of subtle tension music (only to be deafened by some of the big swells, like that obvious one early in the score).

I mean, that the sessions had synth drum missing, and the actual placement of those wailing vocals (as in instead of say 2:00, it's at 3:30)

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Oh btw I hope they include the Pre-Crime commercial source music on this set although Wiliams is somewhat adverse to releasing that kind of stuff. It makes for a fun cellphone ringtone. :P 

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10 hours ago, Jay said:

After listening to this release a ton over the summer, I became a massive fan of Williams' brooding sound and wish he had opportunities to explore it more across his career.

 

And this score so perfectly balances it with outbursts of action music, and heartbreaking emotional music

Yeah, Confronting Lamar is one of my very favorite Williams cues

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5 minutes ago, Demondm810 said:

Yeah, Confronting Lamar is one of my very favorite Williams cues

Although I wish that the swirling string build-up in the middle of the cue would have a proper dramatic release at the end instead of cutting short. But that of course is inherent in the dramaturgy of the scene so alas there is no chance for that.

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38 minutes ago, Incanus said:

Oh btw I hope they include the Pre-Crime commercial source music on this set although Wiliams is somewhat adverse to releasing that kind of stuff. It makes for a fun cellphone ringtone. :P 

Yes, Inky, I want that, too.

I'm also looking forward the "Metro/alley" cue, that links EVERYBODY RUNS with ANDERTON'S GREAT ESCAPE.

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2 hours ago, Incanus said:

Oh btw I hope they include the Pre-Crime commercial source music on this set although Wiliams is somewhat adverse to releasing that kind of stuff. It makes for a fun cellphone ringtone. :P 

They included Dr know in AI, which is in the same vein, so let's hope for the better....

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I'm looking forward to this. The original album contained some of Williams' most inexplicable microedits (Pre-crime To The Rescue) - it will be great to hear this in complete form, and I'm sure there are a few surprises to come too!

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9 minutes ago, Jurassic Shark said:

Inexplicable in which way?

In that he edited out cool sections of the music of course! It is like the Desert Chase on the original Raiders album with 45 seconds of microedited material or the finale of Anakin's Dark Deeds from RotS. Composers tend to have quite a different opinion of what is and what is not listenable in their music.

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1 minute ago, Jurassic Shark said:

I wouldn't say an edit of 45 secs is micro though! ;)

Well you get the point. And in the case of Pre-Crime to the Rescue Williams cut off some cool music (some 2 minutes' worth) to make the track flow in the way he liked I guess.

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2 minutes ago, Jurassic Shark said:

I wouldn't say an edit of 45 secs is micro though! ;)

It's not the size, it's how you use it. 

 

 

 

 

 

I keep telling myself...

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That's where it's inexplicable, because I would argue the music would work better with those microedited cuts restored, in the film and on its own!

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29 minutes ago, Jurassic Shark said:

I guess there were just too many notes.

My dear fellow, there are in fact. . . . . .only so many notes the ear can hear in a cue. And there are simply too many notes. Just cut a few and it'll be perfect.

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6 hours ago, Incanus said:

What really ties the whole score together is Sean's theme which Williams himself mentions as somewhat atypical for film noir where everything is usually so detached emotionally


It’s true, my favorite cues are the aching ones involving that theme.  For me the single highlight of the whole score is Sean’s Theme on synthesized voices in the center of the Crow hotel room cue, largely a reprise from the Swimming Pool Scene with slightly different orchestration.  That scores his heartbreak, and then Williams scores Anderton’s seemingly unstoppable rage in a truly frightening manner.

 

The very subtle bed of synth beneath the chaos of the orchestra is also a highlight at that part at around 4:10

 

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10 hours ago, Disco Stu said:


It’s true, the OST has the major highlights.  There’s some great music not on there, though, that really adds to the overall tapestry.  And who knows if there any surprises hiding in the recordings in terms of alternates or unused cues!

 

I know the OST album and the movie pretty well, but off the top of my head I can't think of any memorable cue NOT on the OST album... 

 

Still, over the years this has become one of my favourite scores, I'll definitely get this on day one! 

 

The first few minute or so. I find this endlessly fascinating.... The bassoon mixed with strings, the steadily building excitement and tension, the escalation... Wow. 

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2 hours ago, Disco Stu said:


It’s true, my favorite cues are the aching ones involving that theme.  For me the single highlight of the whole score is Sean’s Theme on synthesized voices in the center of the Crow hotel room cue, largely a reprise from the Swimming Pool Scene with slightly different orchestration.  That scores his heartbreak, and then Williams scores Anderton’s seemingly unstoppable rage in a truly frightening manner.

 

The very subtle bed of synth beneath the chaos of the orchestra is also a highlight at that part at around 4:10

 

One of my favourite cues from the score that one! I love the whole development from the building mystery to Sean's theme which explodes in those vicious sounds Williams wrings from the orchestra.

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I think it's pretty well known that Paul Haslinger composed two source cues used in the film.  In the FSM thread, someone asked about them, and Mike Matessino replied:

 

Sorry to disappoint but everything on the release is composed by John Williams.

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I'm guessing one of those non-Williams source cues was in that VR experience place that Anderton goes to with Agatha to retrieve his minority report.

 

File under "would've been nice but no great loss."

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One is called "The Ad-Mall" as is used, well, under the ads in the mall

 

 

 

 

The other one is called "The Neuroplex" (later released on his website as "Cyber Parlor 1") and is used where you say

 

 

 

There's actually a lot of non-Williams music in the film, IMDB lists it all nicely

 

Quote

Symphony No. 8 in B Minor (Unfinished Symphony), D. 759 - 1st mvmt: Allegro moderato
Written by Franz Schubert
Conducted by Carlos Kleiber
Performed by Wiener Philharmoniker
Courtesy of Deutsche Grammophon GmbH. Hamburg
Under license from Universal Music Enterprises

 

Symphony No.6 in B Minor (Pathétique) Op. 74 (1893)
Written by Pyotr Ilyich Tchaikovsky
Conducted by Claudio Abbado
Performed by Wiener Philharmoniker (as Orchestra Wiener Philharmoniker)
Courtesy of Deutsche Grammophon GmbH. Hamburg
Under license from Universal Music Enterprises

 

Pine and Oats (2002)
Written by Guy Moon and Bob Kurtz
Produced by Guy Moon

 

The Ad-Mall (2002)
Written, Produced and Performed by Paul Haslinger

 

Menuet, Allegro ma non troppo (1790)
from "String Quartet in C Major, Op. 64, No. 1"
Written by Franz Joseph Haydn
Performed by The Angeles String Quartet

 

Bad Boys (1987)
Written by Ian Lewis
Performed by Inner Circle
Courtesy of Atlantic Recording Group / Big Beat Records/ Warner Music Sweden
By Arrangement with Warner Special Products

 

Solitude (1934)
Written by Edgar De Lange (as Eddie DeLange), Duke Ellington, and Irving Mills
Performed by Billie Holiday
Courtesy of MCA Records
Under license from Universal Music Enterprises

 

The Neuroflex (2002)
Written, Produced and Performed by Paul Haslinger

 

Moon River (1961)
Music by Henry Mancini
Lyrics by Johnny Mercer
Performed by Henry Mancini & His Orchestra
Courtesy of the RCA Records Label, a unit of BMG Music
Under license from BMG Special Products

 

Jesus bleibet meine Freude (Jesu, Joy of Man's Desiring) (1723)
from Cantata "Herz und Mund und Tat und Leben" BWV 147
Written by Johann Sebastian Bach

 

Sma Grodorna (Little Frogs)
Traditional
Performed by Caroline Lagerfelt (uncredited)

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