Jay

Samples on Apple Music https://music.apple.com/nz/album/the-piper-original-score/1740550150

Nope!

What type of person comes across this year-and-a-half old post of mine and decides to put the sleepy Reaction on it? Weird.

I think that is a GREAT idea for its own thread! I've never liked the Superman score as much as many people here do. Partly it could be a wrong place wrong time thing; The movie and score came out before I was born, and while I saw the film on pan&scan VHS at some point in my childhood, it wasn't a favorite of mine; I'm not sure if I've ever actually seen it a second time (most likely I did around 2000 or so when the DVD came out, but not sure). The score was certainly one of the first I got when I began buying film scores in 1994. I bought the Rhino expansion, the FSM blu box, and the La-La Land. I've listened to all these presentations multiple times. It's a good score. The main theme is redonkulously iconic. I think the first few parts of the score are GREAT - all the Krypton and Smallville scenes, actually the Fortress of Solitude and early Metropolis scenes too. But some time after the flying sequence, nothing else has managed to really WOW me, not any of the times I've tried. So yeah, it's really not top 50 worthy for me. Every score I listed in that post I have definitely listened to more times than I have to Superman. It is what it is! It is? (this is referring to The Fifth Element by Eric Serra). I love that score! You don't like it? I've never been able to get into the Conan The Barbarian score at all either. I have heard it all, I love the main titles of course. This is another film I didn't grow up on; I've only seen it once, on DVD around 2000ish or so, and didn't care for the film. I do plan on revisiting the score at some point - I bought the 3CD Intrada and I LOVE Poledouris' scores to Starship Troopers and Robocop. Some day. Oooh, that's an oversight! I LOVE Dances With Wolves. That's a masterpiece of a score! It might not have occurred to me, because it's another one I didn't grow up on. While I did see the film when it came out, and have since seen it at least 3 more times (all the extended cut, I believe), I never actually owned any version of the score until the LLL came out. And I loved it immediately and have listened many times since.

A single timpani hit is used in the film (and LLL end credits track) to transition from the end of the "Lost Boys Chase" segment into the "Exit Music" piece. "Exit Music" in the main program is a performance edit using takes 388 and 389. The session leak is just take 389 alone; I believe that the 90s boots had take 388 alone instead. The 2012 LLL CD should also be take 389 alone. "Exit Music (Alternate)" on disc 3 is take 387 only, the last take before they taceted out the woodwind counterpoint in the first 8 bars for subsequent takes.

Wow, that is something I never saw pointed out before! Nice catch! Updated the google doc to get rid of those ugly colors and other modernization

It was the early 90s. Studios weren't paying for every drama film to get a surround mix back then.

Oh man that's a coincidence. We just watched that trailer last night

No. The Disc 3 track "The Lost Boys Chase (Alternate)" contains all the music that you hear in the film during that scene. It just ALSO contains MORE music than you can hear in the actual film, due to the film makers silencing a part of the original recording in the final dub.

The Arrival of Tink was actually the first cue recorded for the picture (after the pre-records and trailer cue). It was initially recorded as originally written, which had Tink's theme played at a high octave giving it a more ethereal quality. A few days later, they came back and did pick-up takes that started with deeper and more resonant arpeggios that lead into Tink’s theme on celesta now being performed at a lower octave. The final performance edit that went into the picture (and original soundtrack album) uses take 122 (from day 1) for the beginning and end, with the lower-octave Tink's theme (but NOT the lower intro part) taken from take 202 (from a few days later) in the middle. For the new bonus track, Mike wanted to showcase both unused bits: the newer intro from the pick-up recording, and the original celeste section from the original recording. So he made a new performance edit that begins and ends with take 122 as normal, but now the middle has the pick-up intro (from take 201) and the original lower-octave celeste section (from take 123) in the middle. For Hook's Entrance, there is no early or later versions, just a bunch of different takes recorded back to back to back on the same day. For takes 295 and 296 they recorded the full cue as originally written, with the fanfare. Take 297 was another take of the entire cue, but now with the fanfare taceted out. Take 298 is a pickup take starting with the harp glissando as Hook begins to walk down the stairs. Both tracks on the LLL CD use all 4 of these takes, including the harp glissandro from take 298 in both tracks. The only difference between the tracks is the section for the stairs unveiling, which uses the fanfare version in the main program and the tacet version in the disc 3 version. Basically you can extrapolate from this that Spielberg thought the unveiling of the "red carpet" stairs was overscored, so first had him tacet out the fanfare, then made sure to record an option to resume the music once his foot hits the top step if he decided to dial out the music entirely. And that's what he does in the final cut of the film, the music dials out right after the first phrase of Low Below for all of Dustin's monologue, and only comes back in with that harp glissando from the pick-up take as begins to put his foot down on the top of the stairs.

LOL that was really funny! Not just the music but the sound effects too Man, seeing that footage again reminded me how stupid that movie is. Just when I was starting to forget!

The author is here! @JCManuceau

The Thunderbolts movie has a new name. Here it is: Florence Pugh actually revealed this over 2 weeks ago on Instagram, but now yesterday Feige confirmed it and says he can't say what it means until after the movie is out. Weird.