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Lo, almost 15 years later...

When I was saying good things are coming I was not being hyperbolic. We approached John about expanding this and he was enthusiastic and excited about it. The cool thing about working with him is his studio does it all. He oversaw the sequence, chose the alts and demos, and mastered it. Having this DE tie in with the book was an added plus.

The former producer liked hiring a guy who brickwalled everything. Cary and I work with folks who level properly. In the case of this, 5 Cat Studios oversaw the whole process. John is a joy and knows what he wants.

Stop gloating, Richard! It could happen to anybody.

Ratings differ per country.

What are you talking about? EDIT: Wrong thread. Karol

Wonderful script, wonderful perfomances and a wonderful score. Wonderful all around, super recomended.

It ties in nicely with his sheet music book.

The more we learn, the more it appears we can be really glad that the former producer is now a former producer.

I liked Holko's theory that all these releases are happening just because Powell's been bored in lockdown

Didn't take me long to guess who this was in spite of the name change.

I've received it, good fellow. Now, I'm clearly biased with this one, because it is my favorite work of Mr. Kamen. But truly, this release is quite amazing. There isn't a HUGE difference in overall sound quality from the previous release, but it is definitely a rounder, fuller sound. There are quite a few pieces in which little details are more apparent. ie, all of the Music for the Merry Men, in which the dulcimer and Renaissance roots are very crisp. The treat here is having completed sequences that have been missing over the years. The new music really elevates the program, and illuminates the compositional through-line of the story. The End Credits piece is so tender and lovely, and it actually answers an editorial question I've had for years: the end/edit of 'Maid Marian' on the OST; That piece seques into a few- second, fading section of the End Title music. So, we actually HAVE heard a miniscule bit of it before. If you enjoy this score, then you'll really appreciate this edition. As has been mentioned before, there are still a few source cues that didn't turn up-- 'Wild Times,' as played and sung in the style of the other Medieval Dance cues; 'Kyrie Eleison,' for the Mass. For me, the true loss is 'Marriage Plans/Robin's Alive.' (I've expressed that ad nauseum 🤣🤣)But, that is certainly not a deal-breaker, by a long shot. This is the definitive presentation of 'Robin Hood,' and well worth the buy!

Just a week ago I was thinking about Alex North and his score for Prizzi's Honor, which uses various Italian composers like Rossini.

There are comments in the FSM and Intrada forum threads from people who have received it. It's possible no JWFanners have it yet

I don't find any of it boring at all - it's a very nice score

And there is of course the opposite way. In The Witches of Eastwick I personally would have prefered Williams' composition for the ballroom scene. I almost hate what James Newton Howard did to Tschaikowski's wonderful ballet music. But it more or less in line with what the movie did to the story.

If there's one thing Hollywood will never stop doing is to congratulate themselves.

Yes, a 10-year running joke.

https://youtu.be/qzErut3CVZY Cannot make the miniature show for some reason, but Arnold discusses Godzilla at lenght

Don't forget about this one!

Bruce Lee's long lost brother.

My girlfriend and I were watching The Wizard of Oz last night. Always love the bits of classical and popular music that crop up in the score.

I didn't remember this thread. I guess I better post a link to my own LEGO JW here as well: http://bricks.schedenig.name/2020/02/08/john-williams-brickheadz/

“Long Road to Justice” is too seldom brought up. It stands as proud equal to the concert pieces from Ryan and Lincoln in my book. It makes a wonderful companion to the trumpet version of “With Malice Toward None.” I love Amistad and eagerly await its inevitable LLL release

I think it's all "I'll be there" by the Four Tops, but turned into one of those unnecessary epic trailer single note versions at the end. I don't think it contains any of Silvestri's score (which is a bit odd as it's all finished as far as I'm aware).

I keep forgetting. Worldly Euros know more about American politics than most Americans do.😒

Why is that an issue? The discs are region free. Just get an import. Karol

Finally this afternoon, our friends at the excellent 4KFilme.de website have discovered new pre-order listings from online retailers (including here and here from jPc in Germany) for The Lord of the Rings: Motion Picture Trilogy and The Hobbit: Motion Picture Trilogy in 4K Ultra HD. We expect the discs to include both the theatrical and extended versions. Note that these are distributed by Universal in Germany and the street date is listed as December 3. https://thedigitalbits.com/columns/my-two-cents/093020-1200 All right, moving on... I mentioned The Lord of the Rings a minute ago. That’s no accident. I’ve been able to confirm with sources in New Zealand that Weta is expecting to deliver the final 4K masters for The Hobbit and The Lord of the Rings films (both the theatrical and extended cuts) to Warner Bros. Home Entertainment later this month (as in October). So, fingers crossed, a December Ultra HD release is looking good. Retail leaks suggest that the studio is shooting for 12/1 or thereabouts, but we’re also hearing from multiple industry sources that replication capacity is currently creaking under the load of so many studios trying to get catalog titles out for Q4. Warner themselves have had to delay their Bugs Bunny and The Flintstones Blu-ray releases by a couple weeks each. So until Warner actually makes their official announcement on these titles, just keep in mind that any street dates you’re hearing now are aspirational. Again, fingers crossed. But LOTR and The Hobbit are 100% on the way to 4K UHD. One quick additional note: A number of readers have asked if The Hobbit will be presented in high frame rate (HFR) on 4K, like Billy Lynn and Gemini Man. And the answer is probably not. The Hobbit was shot in 48fps. But the 4K UHD format doesn’t support 48fps, so it would have to be converted to 60fps. Billy Lynn and Gemini Man were actually shot in 120fps, which is much easier to convert to 60fps. Converting 48fps would have to involve some kind of 3-2 pull down, which might introduce image artifacts. And it’s also just highly unlikely that Warner would want to take a risk on display/projector compatibility issues on a title this big with a replication schedule this tight. So I would bet the answer is almost certainly no HFR for now. Just FYI. https://thedigitalbits.com/columns/my-two-cents/100120-1500

There's a famous story of how, at a pitch meeting for the film of AMADEUS, the writer recited the storyline, to which one "suit" replied: "That's fantastic! Now, who's going to do the music? My favourites would be: 2001 2010 FEARLESS EXCALIBUR ROLLERBALL THE ELEPHANT MAN

SW Squadrons does seem to have a bit of unreleased music... there was at least one file I've come across that has material that's not been in a video game before (the full ending of Spare Canister Caper from AOTC). There are a ton of files so it's going to take a while to go through all of them. EDIT: Strange, I noticed some minor SFX in that cue. I compared it to my YouTube edit and they are exactly the same. I noticed something similar in Battlefront 2 last year... it's almost like they're taking files from my channel and just porting them into the game.

Nope. Every cue that used this theme went unused in the final cut of the movie, which is a shame, it's a very touching theme.

As a standalone piece it's wonderful. Easily his best in the final six films!

@Disco Stu

When I started to play the trailer I honestly thought I was watching a commercial for the show

Thank you. I’ll give a longer notice next time!

Of course a child might/would say something LIKE that! It's ONE effing line! What's the big deal? And, you correctly portrayed the knee-jerk reactions of medi But, the film itself has ZERO to do with 911( how can you compare two planes crashing into buildings, with an alien invasion aimed at eradicating the human race!?). It's about superpower imperialism. What happens.when the conquerors are conquered? What happens when invaders come across diseases they have no imm unity against.? You really expect me to click on a link with the tag " post-9-11american-cinema"? That's for the egg heads over at CINEASTE or FILM COMMENT. ( maybe Thor or Publcicist are interested) 😆 Re:.Tom Cruise walking around covered in ash; Obviously, you never heard of Hiroshima. Or, Nagasaki. Or, the firebombing of Tokyo and Dresden. lotsa ash.lotsa dead people.( hundreds.of thousands). Sheesh! Americans think only they have suffered! My complaint about the ending is the obligatory cameo by Actors who were in the original! I HATE..HATE..HATE that trope!😠😠😠 And, you are spot on about Cruise's character m Actually, that's one of its strength. It avoids the obligatory buildup endemic to disaster flicks; you know , the introduction of all the char and their backstory. The other innovative aspect is limiting the the action to the pov of the characters . 🕸 only see what they see. No omniscience( GODZILLA 2014 also did this effectively) Pure film making brilliance.

If you don't like THAT song, what do you think about "For Always" from A.I.?

Enya does. How could I not?

Definitely not. I think AMISTAD is a wonderful score (especially on album), and I think the film is vastly underrated. Probably seen it some 7-8 times. But TITANIC is a bonafide masterpiece - both film and score - and deserved every award it got. Hosting the concert here in Oslo that played the theme (with choir) was a privilege, even if it took place while everyone else was in Vienna to see the man himself live.

I listened to this this morning and I really do love it. Jerome Moross quickly became one of my favorite composers just in the past 6 months. I recommend giving it a shot if you've never heard it:

I know what you mean. I like several parts of Nixon and Seven years in Tibet, and bits and pieces of other soundtracks, but on the whole I thought he was burnt out. Same 2005 -2010 after Geisha. Luckily he recovered again splendidly with Tintin and War Horse.

I'm beyond thankful in the age of the decline of CD, that this was made available through Varese. It makes me wish that Solo had received a CD release too.

It's simply condescending towards the music to say that it can by no means build its own narrative, but that it is stuck to the film forever. I also find it condescending to assume that the two may almost always be significantly different. The more of the film the score covers, and the more leitmotivic it is, the more the musical narrative will be a mirror of the film narrative (unless it's just badly written). That doesn't have to mean the score is a slave to the film, just that its own natural development and narrative happens (for obvious reasons) to follow that of the film. Cutting it up and significiantly trimming it because one wants to maximise the listening experience and one has no interest in the film are rather condescending arguments in that case, because they assume that the composer wasn't capable of writing a full length score with a functional narrative in the first place. That's not to say that due to the frantic nature of film production, some edits might not be beneficial, or that some bits are better moved to the bonus section (e.g. stuff that was re-scored and doesn't fit the musical narrative because there was no time (or no idea how to) squeeze in something that fits). And obviously, if cues were moved around in post production, the question is if the changed order fits the musical narrative better than the way it was written. But if the way themes are introduced and developed forms a significant part of the musical narrative, then that structure will most likely be destroyed by mixing it up (looking at you, Williams albums that have the fully developed concert version of the themes in tracks 2 cc.) The less of a film is covered by the score, or the less it relies on leitmotifs, the higher the chances that the composer might not actually have written it with a continuous musical narrative in the first place, and that a restructuring on the album may improve the flow. Considering Williams' M.O. (modus operandi) and how often he writes lengthy scores heavy on thematic development, I strongly believe the default assumption should be that the music as written has a strong inherent narrative that shouldn't be tampered with lightly. (Unless "listening experience" is just a euphemism for "short attention span" in some cases, but that's also not a good reason to cut up the structure of a score. You wouldn't re-edit a Mahler symphony or a Wagner opera* to improve the listening experience, and even condensed highlight albums of operas generally keep the order of the pieces intact). *) Actually, some would. And the results are usually quite absurd.

This release is a great coup @BryonDavis, congrats to your team for making it a reality! Are you able to talk about how this project came together? Powell seems remarkably gung-ho about getting his scores expanded this year! I wonder if the spare time during the pandemic has allowed more composers to work on projects they're ordinarily too busy to produce.

Great score, although only enjoyed in its original promo presentation of 49 minutes. The film is massively underrated, IMO. I prefer it over any and all of the preceding films, even the original Japanese ones (well, the ones I've seen, anyway, I've never been a big Godzilla fan, really). Loads of great little "mini movies", i.e. setpieces in the style of JURASSIC PARK at times. Fantastic build, like Emmerich always does well. But obviously also moments of 'hokeyness'.

Here's the review of James Horner Film Music, including how many music is actually missing from the OST, track by track analyses, and more! http://jameshorner-filmmusic.com/casper-expanded-edition-our-exclusive-review/

So what? He still pisses over the head of the majority (if not all) contemporary film composers in terms of pure musical creativity and talent. Not to mention the understanding of film language in terms of dramatic needs. It's fine to like today's film music and finding reasons to believe it's as good as ever (I'm on the opposite side). But I find rather pathetic to put these reasons as a kind of overarching apology, like you're doing here. If preferring to listen to well-crafted, thought-out and thoroughly composed (written!) music means that I'm a reactionary, well, call me this way. Better than being a musical "progressist" only on the surface while being truly an insufferable snob deep inside.

because its really not one of Spielbergs best films, In the 2000's Catch Me If You Can and War of the Worlds are better. In the 1990's Saving Private Ryan, Schindler's List and Jurassic Park are better, even the Lost World is no worse. In the 80's, the Last Crusade, Empire of the Sun, Temple of Doom, E.T. The Extra-Terrestiral, and Raiders of the Lost Ark are better. The 70's Close Encounters and Jaws. Steven has made a few more than one or two better films Catch Me If You Can, War of the Worlds, Saving Private Ryan, Empire of th Sun, E.T. and Jaws are not better than Amistad. Other films in that list are on a par however.