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Jay

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Jay last won the day on April 6

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About Jay

  • Birthday 07/09/1979

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  1. HBO's 'Game Of Thrones' Jon Snow Spin-Off Has Been Shelved
  2. That's not correct. Here is what producer Neil S. Bulk had to say about the Octopussy OST: The album was included for a number of reasons. Most importantly, it was produced by John Barry. Also, the mixes are different, and we felt they should be included. Additionally, there are a number of cues that are edited differently than they are in the film (and on disc one) and we wanted those represented. Those cues are: 009 Gets The Knife And Gobinda Attacks Yo-Yo Fight And Death Of Vijay The Palace Fight Additionally, the album take of "The Chase Bomb Theme" differs from the take used in the film and as heard on disc one. The only place we could locate it was on the album master. These four album tracks total over 13 minutes of music, so they wouldn't have fit on disc 1. and Neil, I have another "technical" question (if you'll see it and decide to answer of course) Did you use "correct" takes of song on disc one? I mean, our beloved late Gergely said that on album Main Titles is actually version, which sounds during End Credits, and End Title is one, which actually sounds during opening titles... The album mix differs from what's heard in the film. On the album a kick drum is mixed prominently starting around 10 seconds into the song, as the lyrics begin. Both comments from: https://filmscoremonthly.com/board/posts.cfm?forumID=1&threadID=153405&archive=0 And here is what he had to say about the Live and Let Die OST: The OST for "Live And Let Die" has never been re-built to match the 1973 album. Lukas did a terrific job in 2003 with the expanded release, but despite the album sequencing, it wasn't really the original soundtrack album. Let me explain. Several cues were shortened on the 1973 album that were presented at full length in 2003. Those tracks are: Bond Meets Solitaire Snakes Alive Bond Drops In (a combo of "Bond Drops In" and "On The Train") Sacrifice James Bond Theme And then there's "Baron Samedi's Dance Of Death." In the film they used take 6 while the 1973 album used a shortened version of take 7. On the 2003 album only take 6 is presented and in full, so again, the album sequencing was maintained but it wasn't quite the album. We felt this was a perfect opportunity to not only make fresh new mixes in the spirit of the 1973 album but also go back to those original edits. George Martin knew a thing or two about making a successful record. From: https://filmscoremonthly.com/board/posts.cfm?threadID=153406&forumID=1&archive=0
  3. Nobuo Uematsu - Final Fantasy VII I wanted to revisit the original score before the Rebirth OST album drops tomorrow. Overall I still think its a great score full of great themes, but man the terrible samples ruin the potential these themes have. I'm so happy the game was popular enough to get so many followups so the music could live on in so many great redone and orchestral arrangements over the years. The Ever Crisis score is like the better version of the original score now, and Remake and Rebirth so has many great tracks that bring things more towards being like a film score than a game score. But anyways, I find this 4-CD album opens and ends strong, and a lot of the poorer sounding tracks are more in the middle. I was getting for a while in the middle that I'd be more soured on the original recording than I was expecting, but the whole finale sounds really great . Now bring on the Rebirth OST!
  4. Daniel is scoring Fly Me To The Moon https://filmmusicreporter.com/2024/04/08/daniel-pemberton-scoring-greg-berlantis-fly-me-to-the-moon/
  5. Nice post, I really enjoyed reading it!
  6. Hacks’ Season 3 Casts ‘Succession’ Alum J. Smith-Cameron This is great. Before Succession, she was perfect in Search Party .
  7. I don't even remember having any conversations about the name, but the film version is actually different from what's on the LLL set. The LLL set debuts Williams intentions for this pick-up take, which was to start isolated but then be mixed over the original cue's pizzacato section. In the final film dub, they muted the pizzacato strings,letting the pick-up take play clean during that part. So I guess technically calling it an alternate makes sense.
  8. We're all very pleased with the final program, keeping it mind that there were factors that lead into some decisions, such as compact disc length, composer preference, fee increases for tracks over 10 minutes long, etc Programming any expansion includes deciding what to do when there are multiple versions of cues in terms of which goes in the main program and which in the bonus tracks, and by and large sticking to having all the versions used in the film in the main program, and all the versions that were not as bonus tracks, made a lot of sense and led to each program being really strong. Additionally, the careful selection of which score alternates should go at the end of disc 2, instead of disc 3, in order to make disc 3 be the best album it can be, worked out really well. The one change a lot of people will probably do of taking those disc 2 tracks and adding them to the disc 3 album (as John Takis laid out somewhere here earlier), to basically make a longer Songs & Alts program, which is really just as valid as the structure we ended up with. However, when released as three physical discs, I am glad that a big bonus program didn't start on disc 2, have a disc break, and then have it continue on disc 3. It's kind of nicer to have disc 3 be more of its own thing. Like Mike has said, everything just kind of took a life of its own and came out perfectly in that regard. The goal was to make a program that pleased us, the composer, and the lyricist, while adhering to the stipulations we had, and of course presenting the songs in the best way possible. Since most of the songs are piano demos, if they were just lumped together in a row, they don't speak nearly as loudly as they do in the current album 3 configuration where you hear lushly orchestrated versions of the song melodies before or after those demos in the score alternates; it just makes everything work so well that way! Now, when it comes down to it, the die hard fans are going to change things around the way they want anyway, and it's impossible to make a program that pleases everyone. And sure, I'm a diehard fan as much as anyone, so I don't think there's any harm in stating some of my own preferences. For Hook Trailer (Prologue), as much as I like the viola version of Peter's theme, I ultimately think the final performance edit made for the released trailer in 1991 is the strongest version of this music. I am glad that the new track is completely different takes from that version throughout (instead of sticking the different sections into an otherwise same track), but for me it plays better as a bonus track opener, and keeping the 1991 performance edit version as the main version. Just my preference. For Yuppie Sounds (Banning Back Home), I prefer Williams' original version, with the fun improv section, over the revision that was recorded at the last minute because of a picture change. We actually discussed making the original version be main program version, but there actually wasn't space on the discs to swap them, since the original version is a minute longer than the revised one! But since the revision is what's in the film it worked out nicely in that regard anyway. For the first part of Looney Wendy (The Stories Are True), I prefer the original version with the twisted version of the "Childhood" theme, over the later revision that is just a re-done Forgotten How To Fly with the "Mothers" theme mostly removed. This version actually was in the main program for a while, but having the "Childhood" version on disc 3 ultimately made that disc so much stronger. And again because the revision is what's in the film it worked out nicely anyway. For The Lost Boy Chase, I really like the percussion insert section. But John Williams wanted the album version in the main program. I don't really think it matters much either way. If anything, having to present the first two minutes of this cue three times (because it was used in the end credits) is the biggest issue with the final product, but also an issue that just has no workaround. At least each instance is on a different disc! For the entire grand finale, I prefer to have from Tink Grows Up through The End of Hook to just be one single 24 minute track with all cues seguing directly into each other, instead of broken up into 4 tracks. Just my preference. One thing I still haven't decided on after all this time is my final thoughts on the Kensington Extension (the final part of Farewell Neverland (Short Version / Alternate)). At first it was so jarring to hear, but I kind of love it more and more every time I hear it, and am now expecting it when I get to the end of the score. And yet there's something about the simplicity (for lack of a better word) of the original version's ending that can't be denied. So, I'm still undecided which I like better! I think that's about it. I still haven't fiddled with trying to put God Rest Ye Merry Gentlemen and Take Me Out To The Ballgame in the main program or anything. And I don't think there's any merit in trying to put the other songs into the main program, not even "Low Below". Not having Bob Hoskins performing as Smee there would be too weird I think (and you'd have to lose Show Us The Hook, which is one of my favorite parts of the score). Moira's Lullaby seems like it would fit in well if not for the fact that the Saying Goodnight cue effectively replaces it.
  9. Jay

    Batu Sener

    Harold and the Purple Crayon OST album drops Friday August 2nd, the same day the film opens https://5catstudios.com/listen
  10. That link now has a definitive release date for the score album: Friday May 17th, the same day the film opens
  11. Physical CD on Amazon US https://www.amazon.com/dp/B0CZ7C3D9V
  12. Oh, playing video games instead of doing your job is tight!
  13. That's a good question. I'm not sure how long the unique recording is before it repeats. Someone clever can probably figure it out though!
  14. There is no natural ending of the Pick Em Up song recording. It was done as a repeat with a board fade in 1991. It's definitely the exact same take of "More Never Band" (LLL title "The Never Band") in both tracks - it's not even a performance edit between multiple takes, its just one take.
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