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Nothing inherently wrong with combining cues, especially if they're heard that way in the film. But crossfading in our context usually means joining two cues that don't go together in the film, and that often doesn't work. I've got a couple of expansions where crossfading was done between unrelated scenes, and it doesn't work, because you don't get to properly exit the tone and emotion of the first cue. I reckon that if you're buying an expansion, you're sacrificing some ability to ask for it to be presented with proper flow like an OST would have. I'd suggest that more people buy an expansion because they like the score in the film, and therefore would put a higher preference on the expansion containing the complete score in chrono order.

Apologies for bad quality photos

Leaving Home (Alternate) Here is how it would have looked like with the images: It really fits the dark, fearful atmosphere of that scene a lot better than the music that ended up being used.

I enjoyed the HP2 episode as usual, but no love for more of the original material? I love The Flying Car, the spider stuff and the big cue for the Basilisk fight at the end. These always remind me that there's still half an original John Williams score in there and it's pretty damn good.

Zimmer is, even considering his limitations as a composer, a great dramatist. And you hear that in Inception and Interstellar, but i take a wild guess here and say that seeing the road Nolan was taking with Dunkirk he had no qualms leaving Tenet, as both Bond and Dune are far more promising prospects than another Dunkirk-like noisefest.

His legs are too long.

As voice actors go, Hamill's pretty successful. I don't think it's fair to call him washed up over that when it was a specific choice and he's consistently done like a million things a year for 30 years. His career's fine. I think he's just let the fans get to his head. He hangs out on Twitter a lot and he obviously has a lot of love for the psychos because they're the people who show up at every convention. Also he seems like a jovial guy who aims to please and hates to see people disappointed. He was on record even before Force Awakens that he didn't wanna do it because he knew whatever they did was bound to upset people. It's probably a frustrating position to be in when he'd seriously lucked out with Luke Skywalker achieving this "pure" status in pop culture and suddenly there's all this extra drama around him. It's sort of a blessing and a curse that he got saddled with Rian Johnson going in guns a blazing. It'd make me nervous too. Not that I personally care how it fucks with the ideals of the character, Last Jedi has the most interesting writing he was ever handed as Luke and it's easily his best performance.

Up till now, I was only aware of Brian De Palma's "The Fury" (1978) through the very fine score composed during JW's goldenage (generally considered 1975 - 1983 give or take) where everything he did was a homerun. He was on fire and unstoppable at the top of his game. The movie was directed by Brian De Palma who was part of the New Wave of film directors...a group of new renegade directors coming into their own in the late 60's and 70's such as George Lucas, Steven Spielberg, François Truffaut, Francis Ford Coppola, Martin Scorsese, etc. These films explored more psychological territory with new story and film making techniques plus was the birth of the blockbuster. One thing I recognized in this film was use of multiple angle shots, lots of complex lenses such as amphomorphic wide shots (such as a close shot taken from a distance with a telephoto to make it look close), green/blue screen, etc. These were experimental film makers utilizing the very latest techniques not to shoot a scene but to show the character's thoughts. There is a great debt to Hitchcock with this generation of filmmaker (and composer). For some odd reason, I never had much interest in seeing the film but it was on TV this weekend. I really enjoyed it! It is a psychological thriller that can be thought of as a precursor to a school of mutant teenagers where they have powerful ESP skills and at first, can only read minds but ultimately can move objects and destroy people as they grow in power. There are evil powers at play that want to take these teens and mold them into weapons. But the process of doing so makes them somewhat psychopathic killing machines that the corrupt experimenters have little capabilities of controlling. The film is full of 1970's style directing such as lots of slow motion deaths, some of which are kind of funny today. Like an assassin getting shot multiple times in very slow motion. You also get the impression the footage wasn't actually shot in slow motion but the acting was in slow motion. The film is very campy but some of us who remember the 70's find that endearing. If you only see a scene of it, you'll feel it didn't age well. Acting is over the top...lots of slow motion "noooooooo!!!!" type of stuff. BUT the cast is great too. Kirk Douglas is very good as a father who is also an intelligence offer searching for his ESP gifted son who was kidnapped to be developed into a super weapon. Amy Irving stars as a similarly gifted girl. She's good in what I think must have been a very limited role but was quite young - definitely hams it up with lots of extremely distressed facial expressions. This might be Daryl Hannah's film debut as a bully schoolgirl with Amy Irving. You see what I mean from this ending scene when the villain gets his come upance: If you watch the film from the start, you don't notice the haminess as much because it becomes part of the story telling. Overall, the film is quite entertaining and fun. The score is extremely good and a rare example of JW's use of electronics with the ARP synth for the mind bending themes. The music is very loud in the mix. The score is motific and quite Bernard Herrmannesque but is very good and catchy. Overall, the film was lots of fun and featured a vintage goldenage score well worth hearing since you'll notice lots of parallels with other scores of the time like Star Wars and Superman. One could argue this is JW's most electronic score since the ARP synth is so prominently featured.

This one?

'Casual fan ' collection. 😛

TENET Ludwig Göransson

Did you even read what I wrote? I said " occasionally the screen fades to black". One alternative: Tribute didn't combine cues BUT.. They ran them almost back to back. Most cues had barely perceptible pauses. This is one of my top five favorite scores, and even I was satisfied with forty seven individual cues! However, if there were distinct breaks between every short cue, it would have been disastrous.

Bought this LAST year. Better late than never. Can't answer your ?. Sorry.

@JTWfan77 That's-a spicey meat-a ball!

Of the two, I prefer the original. It's true that the alternate opening is more "badass, wilder more aggressive," but it's almost too much, too soon. I like the way the first version is a slow build from beginning to end.

That Soaring loop is actually the one from Florida.

Thanks for posting that! There’s a lot of great music on here, ranging from the “pop” vibe in the end credits (that opens the album), to the flourishes of acoustic guitar, the beautiful trumpet phrases over string harmonies, and those broody piano ostinatos... Quite a lot to unpack!

Hmmm... #1 Isengard..... AND Mordor #2 Through fire... AND water. #3 Now for ruin, AND a red dawn #4 ?

I used to listen to everything in headphones. I don't know how I listened some of things I did for so long, like the Special Edition Star Wars trilogy. Later, upon giving a shit about sound quality, I was horrified by what I was enjoying.

Nothing beats listening to a “new” score by John Williams like this! 😊 I am really enjoying the album. The sun is shining in on the balcony and, inspite of its gloomy cover, The River is a fun and beautiful album to listen to. The score is perfectly matched with a Cuban cigar and strong coffee!

I’m a modern man who likes elegant things in a simple way. No need to make a fuss... You wish you had this much style!

You should replace the cigar with a cheap cigarette to match the glass and its content.

Now this is a good listening experience!

I just like good scores, man. @Arpy hit it on the head though, good post. My current favorite 'calm' score by JW is: The Terminal My current favorite 'action' score by JW is: Revenge of the Sith

Music Box Records

I've seen some respectable critics dishing out surprisingly positive reviews though. Call me a cynic, but I suspect this might be the industry currying Nolan's favour, given how much he lobbies for the future of film and cinema.

Not familiar with it! But I always presumed the Cineplex VIP tickets had reclining seats. I watched Tenet at the Cinesphere at the Ontario Place. It's an impressive screen. Oh I'm sure Göransson was afforded a lot of creative space. He's been working on it for some time, with what I assume is a lot of creative dialogue with Nolan. He's just writing to Nolan's preferred aesthetic. I think it's important to remember that a large bulk of Göransson's career is actually rooted as a producer in the hiphop world.

He has written concertos for both instruments and some other solo pieces for cello. I'm sure it is on YouTube.

We're customers, we do that all the time.

I'm an all-rounder in the sense that I don't care if it's action heavy, or quiet and minimalist as long as it has a core narrative and recognizable themes, or is evocative of the imagery of the film. Sometimes it's an emotional connection, sometimes it's the mood the score evokes. Sometimes I like the music separate from the film in the way that it can often transcend the shortcomings of the script, the story and the editing.

I get it but I will just say I roll with however the creatives involved want to lay out the music. Personally, I am a fan of combining cues but that doesn't mean I am going to tell people closer to the music how they should lay it out from their perspective. To each their own I guess.

Yeah, Avengers is dope too, plus this is LSO. Finally we agreed on something.

Big Fix was overseen by Mike Matessino. Running Man had strong input from Harold and US Marshals was Bruce Botnick. Its also hard for me and Cary to combine some things as we do try and listen to what fans tell us. We do combine. You will see this on some releases coming soon. A lot of factors determine it. In the end I care most about sonics. I have been heavily pushing for the best sources which means good sound quality.

That makes a lot of sense, thanks for the insight. Personally I don't even mind, since it's easy enough for me to combine cues on my own. I just thought this represented a new trend for Varese since cues were left separate on several recent deluxe editions (e.g. The Big Fix, Running Man, U.S. Marshals).

.

I always felt Inception was much more accessible than it got hyped up to be. It's a film that remembers its dramatic purpose. It's a heist film, with a B-love story. All the codes and ciphers are window-dressing and stylistically support the genre. With Tenet, all of Nolan's worst tendencies are at war with what the film aims to be. There's a barebones sketch of a Bond film. There's a hokey hammed up Russian villain, spies in suave suits, a car chase, a mothering weeping for her son, a time bomb (literally), and for some reason...a massive siege at the end (still don't entirely understand how we got to that). But none of these things register as anything more than cursory gestures because the whole thing is overstuffed with its fascination with its own rules. Even visually, none of the images (however fascinating the shooting of them must be) manage to resonate like the best moments of Inception or Interstellar did. Obviously everything is shot and staged well. But this isn't cinema. It's a puzzle, made of carefully sequenced film tropes, but it forgets to function as a film. Yeah. I wish he was more interested in shaking up his formula than chasing high-concept ideas. The moment the first flashback popped up in Tenet, I could see he was planting the same seeds, the same way. She was definitely doing her best with the material. But her character still just felt like a token to inject something human to route for. There was a funny moment where she's dying in a truck, but still manages to spew out expository dialogue about algorithms and inversion with her eyes half-closed.

We're expected to be sycophants.

I must be missing something. Where did someone speak 'out of order' to Bryon Davis (whom I presume you refer to)? As far as I can see, most of the replies have been constructive feedback, occasionally jokingly (which is part of this board's default mode).

The Prestige is still his best movie.

Didn't he say it's finished in one of those interviews where you complained he never says anything of interest?

This is incredibly heartbreaking. It hits me hard particularly because my Dad was diagnosed with the same thing, the same year and passed away two years later, the day before the release of Black Panther; the scene in the film when T'Challa first visits the Ancestral Plane brought a few tears to my eyes. Grant him eternal rest, dear God. May Your Perpetual Light shine upon him. May his soul and the souls of all the faithful departed, through the mercy of God, rest in peace. He was a good man with a good heart. These words and tributes from his fellow Marvel Stuidos alumni are meaningful: https://people.com/movies/chadwick-boseman-avengers-costars-react-death/ This as well: https://twitter.com/MLB/status/1299545077136711680/photo/1 https://twitter.com/JRFoundation/status/1299564715434110988/photo/1 Rest in Peace.

Maybe it will be seriously called "The Obi-Wan Show", and then every week the old Ben will interview someone living on Tatooine. "Good evening everybody, this week we receive Jabba The Hutt! He will tell us his famous lasagna recipe!"

When has purchasing film scores or even getting into film scores for that matter (besides the BIG franchises) ever been a casual hobby for people? Listening to film scores has always been a rather niche hobby, even when it was just the OST programs that you romanticize about. I mean there are huge franchises with 3,000 copy releases that still haven't sold out. To me that shows it will always be a niche hobby, regardless of it being an OST or expanded release.

Even Pattinson looks like Nolan.

It's not that simple. If we combine the cues, we get grief from a whole different segment of the fanbase. We've always chosen to go with the layout the composer/engineer gives us. It's all a creative choice in the end. Some releases get combined, some don't. Hope that explains the methodology.

God, you’re annoying sometimes.

Oh geez...... Devastating news. Most folks know him from BP but I discovered him in 42: JACKIE ROBINSON which was a surprise hit. It's a TERRIFIC film and he gave a wonderful performance. R.ip. CB you made your mark in a tragically short career.😰

Amazing that the album made it to the top of the Austrian DVD charts despite it not being released on DVD! Williams working miracles again! 😅

Movement IV - Finale Staightforward. After Myrtle's Tale, we get an interesting bit - an insert for a tracked cue, with additional instrumentation. Another crucial bit of tracking, the insert on its own as on the LLL doesn't have a satisfying ending. Pit of Bones fits. After the last bit of cue (Harry Goes to Find Ginny) we get a massive load of tracking for the chamber reveal and the conversation with Tom. I feel the Fawkes statement in Fawkes Delivers the Hat is much much more triumphant when bursting out of minutes of this repeating low muddy soundscape. Note: the LLL replicates the OST joining of Fawkes Delivers the Hat and Harry Battles Basilisk, I had to use the leaked sessions to get a clean ending. Tracking was also planned between the two cues but it didn't end up in the final film, I had nothing to work with so I skipped it. Note: the LLL replicates the OST joining of Fawkes Delivers the Hat and Harry Battles Basilisk, I had to use the leaked sessions to get a clean opening. After the expectedly edited down Harry-Basilisk duel, we get our final and perhaps most narratively important bit of tracking: the major climax of the story with the destruction of a Horcrux and Voldemort's themes actually being back in full force. I was surprised to find I had to stretch the footage for Fawkes Heals Harry. These thankfully all fit nicely. Whew. That's it. I've gotta say, I listened to my slightly reduced CoS edit (which gets rid of uninteresting/redundant material early on, like Harry Meets Lucius, Eat Slugs, Flying Pixies, or later like Dueling Club, causing it to get to the point more quickly and focus a bit more on the new material) before I started this one and I absolutely loved it - but actually doing the syncing and looking at the movie was way less fun than doing the first one for whatever reason.

Definately not Swedish.