crocodile

Not sure if this has been posted anywhere: Karol

It's a very common one actually, either Germany or Czech Republic. Surprised you haven't seen that before? Karol

Had a pre-Disclosure Day triple feature Spielberg/Williams night. Close Encounters of the Third Kind This is a very unique film for Spielberg and one that differs greatly from most s-f blockbuster. Mostly because it isn't really an action spectacle of any sort. But boy, is it a thing to behold. For a fairly novice filmmaker at the time, I am just amazed how masterfully Spielberg staged this. I'm talking about the grand sweeping shots of landscape and crowd. He clearly studied David Lean films very well. And the visual effects look perfect to this day, one of the very few films that really holds up visually. Aside from a couple of shots, it is all perfectly blended together. On the story front, it is an odd one. The kind of journey Roy goes on, being ostracised by his family, is very unconventional and one you can really question whether this is a good choice or not. But at least this quite unique. The score, of course, is a masterpiece. E.T. the Extra-Terrestrial One of the most definitive blockbusters ever. As I mentioned in the other thread, it wasn't a film I grew up with and, oddly, I never really had any interest in watching it as a kid. Which made me also never really appreciate the score fully as a youngster. I liked superheroes more back then. But once I actually watched it, probably only about a decade ago (I know!), it really quickly became a favourite (next to Jaws). The film is a masterclass in writing, cinematography, editing and, of course, scoring. It is no wonder the audiences were swept up by this fairy tale. And, like Close Encounters, it hasn't really aged at all. War of the Worlds This is certainly not up there with the other two, I won't even pretend that it is. Having said that, Spielberg's mastery at staging sequences is as strong as ever. What I find slightly unfair is that the script gets bad rap, it is, in essence, a fairly decent update of H.G Wells' book. Even some of the least popular things about it in the last third, like basement sequence or ending, are very similar to the original story. If you assume that you want to take this source and adapt it into a post-9/11 parable, a lot of it is merely a logical consequence of that choice (which slightly dates the whole thing). Because they made a choice to go for this documentary-like take, again in line with the book, even some of the "dumber" character moments and inconsistencies sort of fit because as it would be very hard to act "logically" in a situation like that. What breaks the intended verisimilitude is, of course, the ending. But then, there's not much you can do about that, given the book's ending. As for Robbie's survival, I also think it doesn't entirely work but I can at least understand why they thought it was necessary, given how you spend 2 hours running for your life with not much hope. Tom Cruise is perhaps not an idea choice for a role like this but I think he does a rather good job. He was always better in less virtuous roles (Interview with a Vampire or Magnolia) rather than increasingly messianic Ethan Hunt of later Mission: Impossible films. But seeing him in a working class environment takes some time to get used to. What I always loved about this movie is its cold autumnal look, very unlike anything you'd see in a summer blockbuster. And one last thing I will mention - I am amazed how good this film came out given its insanely fast turnover - 10 months between green light and release. That is insane. In summary, it's a very inconsistent ride but I have a soft spot for it. And, of course, all three films share family scenes with characters talking over each other. Typical Spielberg touch. Karol

Star Wars: The Mandalorian and Grogu by Ludwig Goransson. Well, this is a lot of fun. Since we don't get any of the TV show albums on CD, at least they gave us this one, a much more expansive and grand take on that music with 104-piece orchestra and 64-piece chorus. And, by doing that, it sort of brings is tiny bit closer to John Williams' style here and there alongside all the modern elements heard in the show. There are some really nice statements of all the established themes. And it is really a treat to hear Ludwig write for orchestra, we don't get to hear that as much these days. We can argue and debate whether this is Star Wars music but you can't deny how colourful and creative this is. One of the nicest albums so far this year. Karol

I beg your pardon? Karol

Amazon UK. Karol

Received my CD just now. Annoyingly, it contains only 20 tracks and not 21 like the digital release. I was hoping that would be only for Japanese release but it clearly isn't. Which is pointless because everything would fit on one disc: Karol

I do sympathise with this, as I also live outside of the US. But it simply is the reality. Something tells me that if not for Waxwork Records, we wouldn't have a physical release at all. If the studio or Back Lot wanted to release this themselves through major label, they would have. Like I said above, only these small companies care about consumers like us. That's what I meant. I also need to address something that many pointed out already. And that is not Waxwork's fault. THAT BLOODY COVER ARTWORK IS HORRIFIC, makes it look like some random AI-generated album that plague the streaming services. Either of two pieces of artwork with actors featured in the picture below would have made such a nice alternative (or both for vinyl sleeve). Karol

I might not listen to Disclosure Day until I see the movie next Wednesday. But I can go through some scores by Johnny Williams for Spielberg films featuring aliens: Close Encounters of the Third Kind Probably his opus magnum to this day. Not because of popularity or anything like that. Objectively, this is the most accomplished music he's written for screen and one of the greatest example of film music being utilised to its fullest potential in cinema as one of the primary tools. It also has a beautiful architecture, almost unmatched in film history. It's just a shame that countless film music concert performances features such a short suite. E.T. the Extra-Terrestrial Another beautifully structured and disciplined piece of work and one of the best spotted films in history. Admittedly, it wasn't an early favourite of mine initially. But I never grew up with this film anyway. Having seen the film quite late, I am ashamed to say the music wasn't something I liked much initially outside of the more obvious highlights. How wrong was I. The film is masterful and, once again, the usage of score is unmatched. I've seen it performed live on three occasions and it's always magical. War of the Worlds One of Williams' curious underdogs. Understandably, a far cry from the two scores above but I admire the balls to do that. But this post-911 film asked for a more documentarian approach to scoring that favoured/propulsion mood over warmth/melody. Aliens are portrayed here by nasty and dense swarming textures and this is the kind of scores that tells its characters to run or hide. It's not for casual listeners but you have to admit the muscularity of its action pieces is really impressive. Unlike many, I am a huge admirer of that "prequel" style of writing. And then, you have the hopeless meandering theme running through the narrative. It's really cold and desolate elegy for the doomed humankind and fits nicely into the overall trend of his 2005 where each score featured at least one moments of such pained string-led tragedy. And I absolutely adore the trio of trumpets at the end of Epilogue. Indiana Jones and the Crystal Skull Bit of a stretch, but it still fits. Williams took some of the electronic elements from the score above and run with it to create an alien material for this film (not to mention the overt reference to intersection scene). So it almost feels like an expansion of that material to forge an intriguing material for Indy's extra-terrestrial McGuffin. Not loved by as many fans of the series but it is also some of the best developed material in the series, exploding in the triumphant brass statement during departure scene that simultaneously closes the book on this story and echoes (intentionally?) the famous Close Encounters' 5-note motif. It might be "cold" material by the series' standards, but a masterfully crafted arc nonetheless. And I might throw in A.I. Artificial Intelligence is there as well. Yeah, I know now Supermechas are not aliens. But I didn't know that back in 2001. And they look like aliens. So who cares. Any excuse to revisit this gem is a good one. Karol - who might watch some of the films before Wednesday as well.

It's probably better these smaller companies tackle it. They might not necessarily have the infrastructure. But at least they care. Karol

You know what, not necessarily. It may or may not. With small companies like Mutant, Mondo and Waxwork, I've never actually seen any CDs in stores, ever. Sometimes you find vinyl but it's quite random. They may or may not turn up on other sites like HMV or Amazon. For instance, you could find The Rings of Power on Amazon but that was an Amazon show. And yet season 2 box set was Mutant exclusive and was only sold through their website. Bottom line - this isn't like a big music label release (like Dial of Destiny). CDs are very very niche, and almost luxury, product now so I would just get yours now if you can and avoid paying triple the price later. Plus if you get them direct you also help make them aware there's demand for more of these. Karol

I'm happy for a small company like Waxwork to get a title like this. But because it is a very small company, the shipping times will probably require some patience. Karol

Make sure you guys subscribe so you can get 10% off if you're a first time customer. Karol

As if there was any doubt: Karol

Pre-ordered both vinyl and CD. Karol