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That and the redundant edited end credits suite eating up a lot of the running time on the disc which could have been given to more of the awesome music from the film like e.g. a couple of variations of the Window to the Past theme. Basically repeating half the disc in the end credits note-for-note wasn't a very good decision in my humble opinion.

@bollemanneke You finally got A Winter's Spell and it didn't live up to your expectations!?!? 😂

Here you go @Josh500. This is the score as edited in the film, to picture. Now, just because I enjoy this, here are the most noticeable differences (that are not super specific edits): Right away, the opening is different, removing the Ticking clock and Chimes until around 0:11 2:09-2:38 retains the ticking clock in the film. This section has no ticking on the LLL set or the OST. 3:55-4:03 plays the Flutes a second time. It's not looped, but overlayed over the top of the cue the second time. 4:52-5:00 retains the ticking clock in the film. This section has no ticking on the LLL set. This section is also slowed down, you can hear the tempo change in the ticking. 5:17 onward the film does not feature ticking. This section is present on the LLL set and the OST. 8:49-End is slowed down quite a bit from what is on the LLL set. It plays at 117% it's original length. There are plenty of other edits, loops, tempo changes, etc. of course, but the above are the very clear differences. I also just want to say, this was a pain in the ass to replicate and it's still not quite perfect. Damn editors. Lol.

One of the things I LOVED about going to see Azkaban in concert is that it's opposite of how the score's treated in the film. All the music is front and center and sounds glorious

One of my favourite OST assemblies from Azkaban is Secrets of the Castle. It was so strange not hearing the second half (Rainy Nights) come in after the Great Hall Ceiling cue in this set! The two cues just feel right together!

@TSMefford Just watched it! Thanks. This is really one of my all-time favourite cues from the entire Harry Potter series... The entire sequence fascinates me beyond words. There's really no recognizable theme here, just a kind of repetitive motif going on and on and driving and enhancing the action on screen... But every little nuance is acknowledged and taken into account. The inventiveness of this piece is staggering and mind-blowing! In some ways, this reminds me of "Schindler's Workforce" and "The Mecha World" from A.I.!

I absolutely love the whole set, and I can see why they thought HP3 could benefit from a non chronological presentation: when compared to the first two, it really has a lot of short disconnected cues with different styles. I’m starting to get used to a lot of weird track combos, but in the last few days I also tried creating a continuous mix for HP3: I’m not finished yet, but it works really fine so far. I’m trying to include source music (after all HP1 has Cast a Christmas Spell) to make it as chronologically accurate as possible (the Hogsmeade part is quite hard to recreate, though: a lot of source music is overlapped), while also combining alternates in the main presentation. So it’s not really chronological but it feels chronological and it flows quite well: I must say I’m surprised, and now it feels a little bit weird to hear the LLL presentation. I’m not a fan of gaps between tracks, too, so this mix I’m creating is perfect (I’ll probably listen to it during my long strolls in the countryside!) I’m also putting some “repetitive” tracks (the shawm cue I recreated, the Waltz and Firebolt alternate, the teaser) in a last assembly after the end credits (the teaser is a perfect ending). I’ll share the tracklist when I’m done if you want! After all, this is an archival collection, so I guess it’s cool to try and morph it the way we like. Anyway, I decided to keep Something Wicked Intro separate from Double Trouble (didn’t want to repeat DT thrice with the teaser) and it works fine as a simole introduction immediately followed by DT. And Dumbledore’s Warning is perfect after Double Trouble!

1939 boasted many all-time classic films as well as many all-time classic film scores. Here is just a selection of some of the great scores from that year: The Hunchback of Notre Dame, Wuthering Heights, Beau Geste, Gunga Din, The Rains Came (Alfred Newman) Gone with the Wind, Dark Victory, Dodge City (Max Steiner) The Private Lives of Elizabeth and Essex, Juarez (Erich Wolfgang Korngold) Gulliver's Travels (Victor Young) Son of Frankenstein (Frank Skinner) Goodbye, Mr. Chips (Richard Addinsell) The Four Feathers (Miklos Rozsa) Of Mice and Men (Aaron Copland) The Wizard of Oz (Herbert Stothart) Stagecoach (Richard Hageman) Mr. Smith Goes to Washington (Dimitri Tiomkin)

Probably a lot of YouTube clips sourced from the PAL version of the film which runs at 25fps rather than 23.987 or whatever for NTSC regions. Unless corrected during mastering, this makes the pitch incorrect for the entire movie by about 4% on all PAL versions. I believe this is a DVD only issue though. For the Bluray format all regions have the same frame rate (accurate to the film itself, 24fps).

WTH. Everybody saying the same thing! John Williams would be laughing his ass off if he saw this...

Wow. I never realised this. It's just three notes, though. Three descending notes. It could just be coincidence... But then again, nah! It's John Williams. Of course it's Buckbeak's Theme! 😂

A film edit you mean? I've got one. I might post the clip with it once I am sure I've got everything. That sequence is extremely edited and tweaked in the film.

There are lots of things that sound very weird now I had to join several cues how they were on the OST. In that respect (joining cues), JW is a master. He just sucks at choosing cues to drop and how to order the ones he keeps.

Maybe its cause I was sitting right next to the orchestra then

I honestly think the PoA score is, with a few exceptions like "Buckbeak's Flight," mixed in the film way too low! Oftentimes you can't even properly hear it! It's a bummer, really.

Ohhhh. Did you mean the Honeydukes Door bell? I see. No matter. But here's what I ended up with after using the LLL set and lining it up by pitch shifting it, editing it, and changing tempo in places ever so slightly (I'm talking 99% and 101%). Careful, there's a volume shift at 0:15.

La-La Land should release a box set of all the source music JW's ever created. I'm sure it would sell at least ten copies!

The Prisoner of Azkaban: Trouble Takes Many Forms The Three Broomsticks About Pettigrew / The Crystal Ball Buckbeak's Fate and The Marauder's Map On the Bridge - Remembering Mother The Rescue of Sirius Sirius and Harry Confrontation in the Shrieking Shack The Dementors Circle Monster Books and Discussing Black

No not surprising but in all those cases the end credits suites were specifically written for the credits sequence not half cut-and-paste edit jobs with half the album repeated. I don't think Williams has done these edited together film cue assemblies in end credits on his album presentations very often. The Last Jedi is the only one that comes to mind now. But you are of course correct about the repetition of same end credits material on OST album, which has been a JW tradition for a long time (ah those classic "Reprise" tracks!). But I guess some would have complained for not having the cut-and-paste version if he had included the Hedwig's theme ending on the album in the first place but at least that would have possibly left room for more cues from the film on the album.

HP1: Harry Gets His Wand Filch's Fond Remembrance Hogwarts Forever (Vocal) HP2: Quidditch, Second Year Magical Household and Letters from Hogwarts HP3: The Wizards' Consort Hogsmeade Candy Box Teaser

I agree. I'm using it and Window to the Past in my playlist.

It’s so odd being in the position of having assembled your own music for an album, and still being a film music fan. Personally, I sort of agree with @bollemanneke. I typically prefer having a chronological presentation with all the cues separate. So I get where he’s coming from. But again, having done some Albums of my own work...I totally get why OSTs end up the way they are, or why this set is the way it is. Although, I think it depends on what it’s aiming to be. An OST is of course meant to be a listening experience, but I feel like something called an Archival Collection, should aim to present things in full chronological order, etc. but at the same time...idk. It’s...a constant inner battle for me. But I’ve absolutely done some cue combinations and full on Album Versions (instead of the original cues) with my own work. So I certainly can’t criticize someone for doing it that way if that’s how they feel it’s right.

Modern: 2001 The Philosopher's stone The Fellowship of the Ring A.I. Artificial Intelligence

Just saw this movie for the first time tonight. Loved it!

It's moments like these (and there are a lot of them!) that prove John Williams's genius. Nobody understands the underlying meanings and emotions and subtle nuances of any given scene and translates them into music better than him!

This raises one question, though. Does this theme actually represent Buckbeak himself rather than Buckbeak's Flight? Because, obviously, Buckbeak isn't flying in this scene. I still think, though, that this is a theme for the Flying Buckbeak (as the track title says). Why did John Williams use it in this scene then? Ah, that's just the genius of JW. Here we see Buckbeak shackled and unable to move and about to be slaughtered.... And we get a sad, heartbreaking reminder of the majestic Buckbeak flying freely and happily through the skies. JW is reminding us of that wonderful moment right in Buckbeak's darkest and most dire hour of need!

No, that’s the segment presented in the Art of the Score podcast. Would’ve been impossible to get without it. I merely edited it onto the LLL track. Indeed!

Because it fit too well.

Classy!

Ehhh. It's a bit different. I'll just throw it up and if people enjoy it, then cool. XD

Josh is asking more for Crumbs style of videos, where the music is left unedited and the picture goes black if footage was dropped that Williams scored

Having now really taken a look at how the music is presented in the film, I whole-heartedly agree.

Nope, the celesta is in the film. Just quiet. It’s the same recording, it’s just been pitch-shifted (a lot of that in this score), edited, and portions are speed changed ever so slightly.

I bet for quite a few of us JW fans, with the release of this HP box set, Shawm became the new holy grail! 😂

Didn't you forget something? Legend Rambo: First Blood Part II Explorers King Solomon's Mines

Has Isle of Dogs (I Love Dogs?) any allegorical point to it or is it just another bargain bin of references without any organizing principle? It looks interesting but i get irritated easily by the lazy postmodern approach (not only Anderson) of just flashing picturesque stuff in front of me and letting me do all the work. PS: the Coens are the most literary of US filmmakers at the moment. Not all their movies sparkle, but to compare them with Burton's abominations he unloads on us since ca. 20 years is grave injustice.

For me the one that's like that is "Hagrid the Professor", AKA "Sir Cadogan" followed immediately by "Double Trouble on the Hill." My desire to listen to scores chronologically is very strong for a number of reasons, but these two cues just belong together. "Secrets of the Castle" is pretty great too, though. Come to think of it, I actually really like how the OST was assembled. As an album, it's pretty fantastic. Really its only flaw is all the good stuff that's missing - and now we have a lot of that!

1997 Amistad The Lost World Seven Years in Tibet Rosewood Kundun Air Force One Tomorrow Never Dies Batman & Robin Starship Troopers The Edge Hercules L. A. Confidential 1999 The Phantom Menace Angela's Ashes American Beauty The Red Violin The Talented Mr. Ripley The Matrix The Mummy The World is Not Enough Sleepy Hollow Anna and The King Magnolia Snow Falling on Cedars The 13th Warrior The Haunting I can't think of any recent year from which I own five score, let one 10 or 15 like in these years The Remains of the Day is also terrific

I thought he said Conscience....

@mstrox, @mstrox, @mstrox!

Just keep that out of your head. (And don't wake up mstrox!)

All years with a Zimmer score are automatically ruled out.

Another possibility is a year around 1940, when Korngold churned out his great swashbuckling scores.

Sure, it's your right to listen to whatever you want to, but conversely, it's also the right of the composer if they want to build or maintain a reputation by choosing what to release or what not to. You use the word "waste": whether it's right or wrong is immaterial--Henry Mancini immensely regretted the way he presented his musical abilities on his soundtrack albums--ultimately the right of choice is theirs to make. I say all of this with the caveat that the composer is not always the captain of the ship behind these decisions.

Nothing original or insightful, but: Damn, I haven't watched the movie in years, and that shot with the carriages in the dark and the start of Double Trouble gave me goosebumps...that's the kind of thing that got me into film and music for it, that's movie magic right there.

I want it monday morning on my desk, thanks.

The lurking box backstabber is still out there...

Hmm. Winona Ryder Vs Kate Nelligan. No contest, I'm afraid, Ryder has a certain ingénue quality, but Nelligan is "experienced" sexiness personified.

As I said in the music thread: Which means I really love it to bits. I prefer HPPS and POA over COS as it owes so much to the first score but even that has grown in my eyes thanks to this presentation as it gives a so much fuller picture of the second score. Especially all the appearances of the Chamber theme are wonderful but there are so many great little pieces sprinkled throughout and the new material Williams wrote naturally flows from the style of the first score. The listening experiences of all three scores are well thought out and the liner notes are interesting, informative and to the point which in Mike's own words allow the music to speak for itself (although I love track-by-track commentary). I was a bit of two minds on the ticking clock sound effect overlayed on Saving Buckbeak sequence in POA but even that has slowly grown on me. My only wish is that they had included a version without it (well they actually have for the latter half with the Saving Buckbeak alternate). But that is my only and a very small complaint on the whole set which is saying something. Simply a stellar release.

A reconstructed OST would be great! But Just a remastered one would be great too! Not many of us got the japanese 16-tracks CDs. So it will be a great honor do to the original 2-LPs historical set! (not my pic)