41 replies to this topic

[Jason LeBlanc]

	Cue Title		Released?		Notes
01	1m2 Prologue	2:58	OST 01 Prologue	2:52
02	MK SC 23 "Is It Over"	3:05	OST 13 Escape From The Basket [0:00-2:55]	2:55	No clean ending
03	MF The Intersection Scene	4:33	OST 04 The Intersection Scene	4:13	Fades out early
04	M.A. "What Happened"	3:38	OST 13 Escape From The Basket [2:55-6:24]	3:29	Opening overlaps looped ending of MK SC23
05	2m4 CD Intro	0:36	OST 06 Escape From The City [0:00-0:29]	0:29	[0:29-0:59] is tracked from [2:38-3:08]
06	2m4 Driving Away	3:38	OST 06 Escape From The City [0:59-end]	2:50	First 30 seconds missing, microedits at 1:34, 1:41
07	3m1 Surveying Wreckage	1:20	Unreleased
08	3m2 Watch The Lightning	0:58	Unreleased
09	MD SC72 Bodies In The Water	0:46	OST 11 The Confrontation With Ogilvy [0:00-0:39]	0:39
10	3m4x Who Will Take Care Of Me	2:44	OST 05 Ray and Rachel	2:41
11	ME Attacking The Car	2:51	OST 09 The Attack On The Car	2:44	Microedit at 2:23
12	MJ SC77 The Cafe Scene	1:13	Unreleased
13	MP The Ferry Scene	5:57	OST 02 The Ferry Scene	5:49
14	MB SC103 Woods Walk	1:52	Unreleased
15	4m4 Refugee Status	1:54	OST 08 Refugee Status [0:00-1:54]	1:54
16	4m4 CD Extension	1:58	OST 08 Refugee Status [1:54-end]	1:56
17	4m5 Robbie Joins The Fight	3:27	Unreleased, probably never recorded
18	4m5 New Robbie Joins The Fight	3:27	OST 03 Reaching The Country	3:24
19	MH SC117 "The Basement Scene"	2:41	Unreleased
20	MC SC118 "Harlin Ogilvy"	2:38	Unreleased
21	MG "Probing The Basement"	4:23	OST 07 Probing The Basement	4:12	Fades out early
22	MQ Aliens	3:28	Unreleased
23	5m4 Ogilvy's End	1:49	Unreleased
24	5m6	3:59	OST 11 The Confrontation With Ogilvy [0:39-end]	3:55
25	6m1 The Basket Scene	3:17	OST 13 Escape from the Basket [6:24-end]	2:57	Microedits at 8:04 and 8:31
26	6m2 The Entrance To Boston	4:35	OST 12 The Return To Boston	4:29
27	6m2 Insert	-:--	Recorded with 6m2
28	6m2 New Insert	-:--	Unreleased
29	6m3 Reunion In Boston	2:39	OST 10 The Separation Of The Family	2:36
30	6m3cmaj Reunion In Boston	1:58	OST 14 The Reunion [1:30-2:01]	0:31
31	6m3 Alt "Boston Street"	2:00	[i]Unreleased
32	6m3 New Reunion In Boston	2:01	[i]Unreleased
33	6m3hp Reunion In Boston (Horn & Piano Version)	2:01	OST 14 The Reunion [0:00-1:30]	1:30
34	Pull Back Shot (Ver 1)	0:56	OST 14 The Reunion [2:01-2:17]	0:16	[2:17-2:36] (0:19) is tracked from 1m2
35	Pull Back Shot (Ver II)	0:44	OST 14 The Reunion [2:36-end]	0:40
36	6m4 Epilogue	3:14	OST 15 Epilogue	3:11

[Jason LeBlanc]

Cue by cue notes



01 1m2 Prologue - 2:58 - OST 01 Prologue (2:52)

OST version is complete, but has Morgan Freeman narration over it.


02 MK SC 23 "Is It Over" - 3:05 - OST 13 Escape From The Basket [0:00-2:55] (2:55)

No clean ending is available; At 2:55 on the OST track, the start of M.A. "What Happened" overlaps the ending of this cue. The ending of the cue is extended with a loop as well.


03 MF The Intersection Scene - 4:33 - OST 04 The Intersection Scene (4:13)

The OST version fades out early.


04 M.A. "What Happened" - 3:38 - OST 13 Escape From The Basket [2:55-6:24] (3:29)

No clean opening is available (as mentioned above),


05 2m4 CD Intro - 0:36 - OST 06 Escape From The City [0:00-0:29] (0:29)

Something recorded just for the CD, separately from the rest of the cue.


06 2m4 Driving Away - 3:38 - Unreleased (0:30) / OST 06 Escape From The City [0:59-1:34] / Unreleased / [1:34-1:41] / Unreleased / [1:41-end]

After CD Intro finishes on the OST track, it does NOT segue to the correct beginning of this cue, as the beginning of the cue remains unreleased. Instead, the first 30 seconds of the cue are replaced by a chunk from later in the cue (OST time 2:38-3:08). In addition, there are microedits at 1:34 and 1:41


07 3m1 Surveying Wreckage - 1:20 - Unreleased
08 3m2 Watch The Lightning - 0:58 - Unreleased

These two short cues were not included on the OST at all.


09 MD SC72 Bodies In The Water - 0:46 - OST 11 The Confrontation With Ogilvy [0:00-0:39] (0:39)

No clean ending available.


10 3m4x Who Will Take Care Of Me - 2:44 - OST 05 Ray and Rachel (2:41)

Not sure why the slate number has an x at the end. Is there source music playing when this cue starts in the film?


11 ME Attacking The Car - 2:51 - OST 09 The Attack On The Car [0:00-2:23] / Unreleased / [2:23-end] (2:44)

There's a microedit at 2:23.


12 MJ SC77 The Cafe Scene - 1:13 - Unreleased
13 MP The Ferry Scene - 5:57 - OST 02 The Ferry Scene (5:49)
14 MB SC103 Woods Walk - 1:52 - Unreleased

15 4m4 Refugee Status - 1:54 - OST 08 Refugee Status [0:00-1:54] (1:54)
16 4m4 CD Extension - 1:58 - OST 08 Refugee Status [1:54-end] (1:56)

The original cue is 24 bars and sketched to run 1:53.50; The CD Extension begins with new bars 21x-24x and continues to bar 57


17 4m5 Robbie Joins The Fight - Unreleased, Probably never recorded
18 4m5 New Robbie Joins The Fight - 3:27 - OST 03 Reaching The Country (3:24)

The revision is a new ending starting roughly at 2:12 of the cue (bar 39). I'm assuming the original ending was never recorded.


19 MH SC117 "The Basement Scene" - 2:41 - Unreleased
20 MC SC118 "Harlin Ogilvy" - 2:38 - Unreleased
21 MG "Probing The Basement" - 4:23 - OST 07 Probing The Basement (4:12)
22 MQ Aliens - 3:28 - Unreleased
23 5m4 Ogilvy's End - 1:49 - Unreleased


24 5m6 - 3:59 - OST 11 The Confrontation With Ogilvy [0:39-end] (3:55)

Williams apparently never titled this cue.


25 6m1 The Basket Scene - 3:17 - OST 13 Escape from the Basket [6:24-8:04] / Unreleased / [8:04-8:31] / Unreleased / [8:34-end]


26 6m2 The Entrance To Boston - 4:35 - OST 12 The Return To Boston (4:29)
27 6m2 Insert
28 6m2 New Insert - Unreleased

6m2 Insert is a replacement for bars 28-34 (begins at roughly 1:46) and was included in the original version of the cue before recording.

6m2 New Insert is a replacement for bars 17-22 and was recorded separately. It was used in the film but is not on the OST.


29 6m3 Reunion In Boston - 2:39 - OST 10 The Separation Of The Family (2:36)
30 6m3cmaj Reunion In Boston - 1:58 - OST 14 The Reunion [1:30-2:01] (0:31)
31 6m3 Alt "Boston Street" - 2:00 - Unreleased
32 6m3 New - 2:01 - Unreleased
33 6m3 Horn & Piano Version - 2:01 - OST 14 The Reunion [0:00-1:30] (1:30)


OK this could possibly be the most revised cue of Williams' career so buckle in. The original pass at the cue was simply called 6m3 Reunion In Boston and appears in complete form on the OST in track 10 (Strangely titled "The Separation Of The Family). The first 40 seconds correspond to the scene where the army surrounds a tripod and a dying alien falls out; The rest of the cue is William' original version of Tom Cruise's reunion with his family on the streets of Boston. The army/alien music was only written and recorded once, while the street reunion scene was rewritten and recorded many times!

First came 6m3cmaj, which was the same music for the street reunion, only transposed to C Major. Another slight difference is that extra piano twinkling was added towards the end. A small piece of this cue, including the extra piano, can be heard on the OST, in track 14 from 1:30-2:01.

Next came a total rewrite of the reunion music that Williams titled "Boston Street" numbered 6m3 Alt, but this was ultimately not used at all.

Next came another revision, this time simply called 6m3 New. This version is string-heavy, and is unreleased and wasn't used. Instead, he slightly revised it as 6m3 Horn and Piano Version, which is the same basic music as 6m3 New, only played by horn and piano instead of strings. This cue is mostly heard on the OST opening up track 14, however towards the end it segues to 6m3cmaj as mentioned above.

Phew!


34 Pull Back Shot (Ver 1) - 0:56 - OST 14 The Reunion [2:01-2:17] (0:16) / Unreleased
35 Pull Back Shot (Ver II) - 0:44 - OST 14 The Reunion [2:36-end] (0:40)

Pull Back Shot (Ver 1) continues on directly from the ending of 6m3 (any of the versions). However, in the film as well as on the OST, music from 1m2 Prologue is tracked in after only using 16 seconds of the original cue (this tracked music is heard from 2:17-2:36 of track 14 from the OST). Pull Back Shot (Ver II) is then heard in its entirety in the OST and film.

36 6m4 Epilogue - 3:14 - OST 15 Epilogue (3:11)



BTW, I have no idea what is up with the MA -> MQ naming. My only guess is that Williams had to start writing music earlier than usual and the film wasn't split up into reels yet, so he just started writing music for scenes as they came in, and the first one he wrote he labeled MA, then MB, etc, until eventually the whole film was assembled and they switched to standard 1m1 notation then. Just a guess, though.

[Maurizio]

Thanks Jay! Always fascinating stuff.

So now we can say that "Attack on the Car" was definitely written for the "lynch mob" sequence before they get on the ferry, right? This dispels the rumor it was written for the so-called 'Camelot' deleted scene.

[Jason LeBlanc]

Yea, and if people thought the OST track didn't line up with that scene, it was because of the microedit I suppose

[filmmusic]

There is also another "Prologue" cue, that starts as the Epilogue for the first few bars, but ends differently. Don't know what is that.
Also there is a M.D. Ver 2 which is the one that it's used in the film and ost .

[GoodMusician]

I had synced up "Attack on the Car" for that sequence and it works really well... I included the omitted music which fixed any tracking errors but damn, this is my favourite score of Williams after 2000. Brilliant score. I love that most of the unreleased stuff can be heard in the making of featurettes heh

I;m glad to finally have the titles. cool stuff!

[Incanus]

Great and interesting stuff Jason! This score is another favourite of mine.

[Maurizio]

Another curious thing is the way Williams wrote specific concert-like extensions for the OST CD. Instead of writing straightforward presentations of themes, he reworked/extended specific passages much like he did several times in the 70s. For example, "Refugee Status" is a beautiful piece and it works really well as a stand-alone composition (I love the haunting, chilling trumpet solo at the end).

[Incanus]

Another curious thing is the way Williams wrote specific concert-like extensions for the OST CD. Instead of writing straightforward presentations of themes, he reworked/extended specific passages much like he did several times in the 70s. For example, "Refugee Status" is a beautiful piece and it works really well as a stand-alone composition (I love the haunting, chilling trumpet solo at the end).

I noticed that too and it goes to show how conscious he is of the musical presentation on CD. And as you say the trumpet solo in Refugee Status is excellent.

[Maurizio]

BTW, I have no idea what is up with the MA -> MQ naming. My only guess is that Williams had to start writing music earlier than usual and the film wasn't split up into reels yet, so he just started writing music for scenes as they came in, and the first one he wrote he labeled MA, then MB, etc, until eventually the whole film was assembled and they switched to standard 1m1 notation then. Just a guess, though.

It was likely that way. In the DVD featurette on the score, Spielberg himself said Williams started to write the music before seeing the completed movie.

[Michael]

Great stuff, Jason! Thanks a lot for sharing!

Are we ever going to listen to the unused stuff?

[filmmusic]

Another funny thing is that in a cue, where there is a trumpet solo, he writes down the name "Tim Morrison".
First time i see this (a composer noting in his score the name of the player that is gonna play).
Has anyone seen this elsewhere?

[Alexander]

Yes he does that too with Randy Kerber.

[filmmusic]

In what score you have seen it?

[Datameister]

Another funny thing is that in a cue, where there is a trumpet solo, he writes down the name "Tim Morrison".
First time i see this (a composer noting in his score the name of the player that is gonna play).
Has anyone seen this elsewhere?

Yes he does that too with Randy Kerber.

He's also listed Mike Fisher as a percussionist in Jurassic Park, for instance, and Itzhak Perlman as the solo violinist in Schindler's List.

[filmmusic]

Can you please name in what cue does he notate the name?

[Nick Parker]

Another funny thing is that in a cue, where there is a trumpet solo, he writes down the name "Tim Morrison".
First time i see this (a composer noting in his score the name of the player that is gonna play).
Has anyone seen this elsewhere?

Duke Ellington, Billy Strayhorn, and Charles Mingus did it all the time.

[Jason LeBlanc]

Welcome back Nick!

[Nick Parker]

Thank you very much, Jason, but I am not sure how long I will stay. I think I read somewhere from a post by king mark that people who prefer A.I. to Harry Potter and the Sorcerer's Stone are not true John Williams fans so I decided to just drop the facade altogether...dumb joking aside, the primary reason I stopped visiting this website was that I felt that I had nothing left to contribute (well, to be more accurate, I never had anything to contribute, it just took me a while to realize it), and honestly that feeling has not truly left me. Part of my interest in this website was re-kindled by the release of The Adventures of Tintin and War Horse, but I mostly came back to shamelessly advertise an arrangement my friend and I made of "John Williams is the Man" (like you never heard it before, with all-new EXPANDED material!), and a hopefully-soon-to-be-recorded arrangement I just finished of "Reflections" featuring Fender Rhodes, trumpet, double bass, drums, and of course the alto saxophone. We shall see, though.

Regarding War of the Worlds, I have not listened to the album in years, but I remember it being a lot of fun (I absolutely love it when John Williams writes stuff like the end of "Separation of the Family"). Personally I think much of the score is John Williams in top form, but I am not the kind of person to think he ever lost anything, anyways. As time goes by, I begin to view his oeuvre as a "nebulous" single entity consisting of just the good and bad (relatively speaking, in most cases) as opposed to a series of rigidly designed "periods".

[Alexander]

Thanks for the cue list, Jason!

[Charlie Brigden]

Welcome back Nick (please stay!)

[Alexander]

In what score you have seen it?

I think that was Jurassic Park...

[Score]

Can you please name in what cue does he notate the name?

Concerning Schindler's List: Itzhak, for example, is notated in "The Journey to Krakow", while in R2P3/R3P1 the solo clarinet ("Giora" ?) and the solo Ud, John Bilezikjian, are notated (the Ud, or Oud, is a stringed instrument similar to the lute). Such soloists are notated also in other cues of that score. Williams' orchestrators quite often write the names of the soloists in the scores, especially in the case of world-renowned specialists or long-time collaborators such as Randy Kerber.

[Maurizio]

"Giora" stands for Giora Feidman, the amazing Israeli clarinetist. His credited on the OST CD as well.

He also recorded a great arrangement of Williams' themes for Schindler's List in this 1994 CD:

http://www.giorafeid...an-in-jerusalem

[JohnnyD]

Hey Jason, I was just curious about something.

Why is 3M1 "Surveying Wreckage" marked as unreleased, when that cue is actually tracked from "Epilogue?"

[GoodMusician]

Cause its different. The film version is edited and partially tracked from the Epilogue cue, but the film version, if you check, there's stuff before the tracked music. The original cue is only partially used and unreleased.

Also Jason, I wonder, the X at the end of the slate for "Who Will Take Care Of Me" is that maybe because its another CD Extension? "X" for e'X'tension since the film version is different?

[Jason LeBlanc]

Yea, you're probably right!

[Alexander]

Hey Jason, I was just curious about something.

Why is 3M1 "Surveying Wreckage" marked as unreleased, when that cue is actually tracked from "Epilogue?"

I'm not very sure about this, but an original cue was written before it was replaced with the Epilogue.

[MrJosh]

Cue lists are the bomb. Nothing like some nice cue list reading in the morning with a hot cup of coffee.

[JohnnyD]

Hey, Jason, I think a good name for cue 5M6 is

Rachel's Kidnapping.

It gives an ironic nod to another John Williams cue from another Steven Spielberg film.

Can you guess what the reference and the cue is?

[Jason LeBlanc]

Calling a cue Rachel's Kidnapping but an earlier Spielberg/Williams/aliens movie had a cue called Barry's Kidnapping (actually the real cue name is 7m1 Barry Is Kidnapped, Barry's Kidnapping is just the OST title) is not irony

[Alexander]

More of an 'inside reference'.

[Incanus]

Also you can't really create a connection between these two if we do not know the actual cue title. Of course you can always make up one for a clever reference between these films.

[JohnnyD]

The reason that I said it was ironic is because the aliens that "kidnapped" Barry in Close Encounters of the Third Kind were friendly, had pure intentions, and returned him home safe and sound.

The aliens that kidnapped Rachel in War of the Worlds had evil intentions.

Not only that, but both cues have similar dissonant music.

I understand, it is more of an inside reference. I thought it was pretty clever.

Didn't you think it was clever, Jason?

[crumbs]

*cough*

 

Surprising lack of posting about a certain recent sessions leak in this thread...

 

Woods Walk

 

Also seems to confirm Attacking the Car belongs to the car attack scene left unscored in the film, and not the infamous deleted tripod attack scene Spielberg cut out because the VFX couldn't be finished in time. Quite a few interesting alternates for the third act, too. JW originally had a very different approach for the shot of the martian sliding out of the tripod and gasping for air (before dying).

[Faleel]

Not really a surprise, seeing that we did not discuss the Indy IV, or HP2 sessions leak much.

[Smeltington]

If HP and Indy sessions didn't spark much discussion, it's hard to see this faring any better. Personally, I never had the OST so this was hardly at the top of my list, but (near) complete sessions are always welcome! Nice timing, too  

[crumbs]

Is there any kind of connection between SS, COS, KOTCS and WOTW that might explain this seemingly unconnected assortment of RS leaks?

 

It's not like it's only scores from Spielberg films leaking, or films belonging to a particular studio. Not that I'm complaining!

 

(....but Jurassic Park and Lost World RS leaks would be a welcome surprise)

[Smeltington]

I've been trying to identify all the different versions of "Reunion in Boston" based on Jason's cue list. This is what I came up with:

24- Reunion in Boston - 6m3 Horn & Piano Version

28- Reunion in Boston (Alternate 1) - 6m3

29- Reunion in Boston (Alternate 2) - 6m3cmaj

30- Reunion in Boston (Alternate 3) - 6m3 Alt

31- Reunion in Boston (Alternate 4) - 6m3 New

 

Someone with the sheet music should be able to verify this.

 

I decided I'll include 6m3 and 6m3 alt in my edit, along with 6m3 Horn & Piano Version, with the ending of 6m3cmaj edited in, similar to the OST.

[dylan345]

Jason I noticed something missing from your cue list. There was an orchestral version of the prologue written but I don't know if it was ever recorded, perhaps you could confirm this. Do you know why there is no 1m1?