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This forum has a "report post" feature and this is now the most reported post we've ever had in the entire history of this forum. This post is a reply to one short sentence: "Seems like 2015 is when the BF slate started having really high profile releases" I am shock and dismayed that a label representative, let alone a label owner, would choose to sign in to our forum to post a reply like this to what is a very innocuous post. The post never read to me as "Boy, LLL sure sucked in the past, 2015 was the year they FINALLY got good!", it read as "Boy, 2015 is when they kicked things up a notch!" There are many "score collectors" who don't happen to like Star Trek music, or don't happen to like Lethal Weapon music, or don't happen to like Home Alone music. Why would you want to bully and shame them when all they did was express positivity towards different titles? This forum is full of film score fans who are constantly praising and purchasing from all the specialty labels, and LLL gets more attention than any label for a number of factors, such as the sheer amount of John Williams releases you've put out, and the fact that we skew younger than a forum like FSM so there is more discussion of 80-00s scores and you've also released more of those than the other labels. Day after day our forum members are constantly say positive things about LLL and we as a collective are always looking forward to seeing what's next, and I have spent lots of my free time doing what I can to promote LLL releases in the forums as well as via main page articles, which gets shared all over social media, providing more exposure to the great work you do. I can't believe you'd decide to come here and pick apart a post that you perceived as a negative one, when there is an ocean of positivity on this site about LLL across too many different threads to ever count. I also can't believe that you'd go beyond disagreeing with the opinion shared, but also elect to call his statement "stupid" and a "dumb ass comment". I think you should apologize to Richard, who has provided two followup posts that detail what it was he was actually trying to say: And I hope in the future you don't plan to attack your paying costumers on our forums, even if they do express a dislike of something you've released. Every single score collector on planet earth has different opinions of which scores they like and which they don't. You should know that as a whole, we appreciate and admire everything you do, and can't wait to see what's next.

https://www.classical-music.com/magazine/issues/christmas-2020/ In the Christmas 2020 issue of BBC Music Magazine, we meet the iconic film composer John Williams to reflect on his illustrious career in Hollywood, his concert works and the thrills of conducting the Vienna Philharmonic Merry Christmas! In this month’s issue, we meet the iconic film composer John Williams to reflect on his long and prosperous career in Hollywood, some of his greatest scores and concert music and his thrilling forays into conducting.

You haven’t noticed how weird film score fans can be?

For anyone curious, a score restore of the alternate closing cue 7M44B Alt Qi'Ra Departs, as heard on the OST track Good Thing You Were Listening (and mercifully available with a clean opening & ending, for anyone planning to edit it out of the OST and into their DE). Unfortunately I couldn't do the entire sequence, due to all the tight edits on the DE for this section of the score.

John Powell was the man in charge of everything, his voice shines through every second

Because Godzilla is my personal favorite David Arnold score, I guess. The LLL was a godsend. Yavar

Williams' most Wagnerian moment comes in the rejected version of the cue 'Night Journeys' from Dracula. It's Liebestod from Tristan & Isolde (as we all know it was also a Herrmann favourite) and apart from that i'm hard-pressed to come up with *real* examples except the usual generalities.

Breaking news: Henry Jackman has been replaced by Ramin Djawadi!

You should check out the expanded score release - it's so much better than the OST, both with respect to content and sound quality!

Williams owes a lot to Wagnerians (Korngold, Herrmann, Waxman), but little to Wagner. 'The vassal of my vassal is not my vassal'. It's quite logical considering that Williams' influences usually lay nearer than many who only know big name classics expect. It's as if every symphonist composer was directly asked abot CPE Bach and Haydn, or constantly compared to them. Tchaikovsky owed a lot to Beethoven, and Shostakovich to Mahler. Saying they owed a lot to CPE Bach would be quite puzzling to them, too. Williams has mentioned at some point that he heard Wagner's opera once, during a trip to Germany, and he was bored. He also went as far recently as to say that he would have stood on the Brahms' side of the divide.

Thanks @Thor, couldn't agree more. I could talk about the film for hours. I almost wish Mike and @TownerFan would revisit this film sometime, seeing as the A.I. expansion pre-dated their excellent podcasts together. Their recent discussion on WOTW was thoroughly illuminating; Mike raised subtext about that film I'd never considered. The best thing about science fiction is that viewers can draw their own conclusions about what a film represents. The gift of A.I. is that so much information is fed to the viewer visually and musically, leaving it open to interpretation.

I think, that these the someone of our time does not help much in any direction. At his time Bach was musically an inventer in many ways. Williams is a traditionallist. None of the contemporary composers has the possibility to be as inventive as people like Bach or Beethoven were. But what are you comparing? Creativity? Musicallity? Amount of output? Sallary? Private circumstances? Popularity? Style? I remember statements like Adrew Lloyd Webber is the Mozart of our time. Poor Mozart.

I mean, another one which I almost put to my top 3 list is "Parade of the Ewoks". You might not like the characters. But the music is brillant. It is the ewok way of a military march. Cute.

Not at all. I totally agree with crumbs. I consider the film the best since the millennium turnover, and the score one of the very, very best as well. Extrapolating on 'why' requires a whole article.

Harry Potter and the Sorcerer's Stone (LTP Version) Music by John Williams Source: LTP - Conductors Score Act I 1MA Warner Bros. Logo 1M1 The Prologue 1M3 The Friendly Reptile 1M4 Don't Burn My Letter 1M5 Mail Delivery 2M1 The Beach and the Arrival of Hagrid 2M2 You're a Wizard Harry 2M2A Never Insult Albus Dumbledore 2M4 Diagon Alley - Part 1 2M4A Diagon Alley - Part 2 2M5 Harry Gets His Wand 3M1 Hagrid Flashback 3M2 Platform Nine and Three Quarters 3M3 Escaping Frog 3M4 Arrival at Hogwarts 3M5 Entry into the Great Hall 3M6 House Selection 4M1 The Banquet 4M2 Lonely First Night 4M3 Mail Drop 4M4 Mr. Longbottom Flies - Part 1 4M4A Mr. Longbottom Flies - Part 2 4M5 The Moving Stairs 4M7 Introduction to Quidditch 5M1 Hermoine's Feather 5M1B Hogwarts Hallowe'en Feast (not a typo!!) 5M2 Fighting the Troll 5M2A Act I Outro Act II 5M2B Entr'acte 5M3 Nimbus 2000 5M4 The Quidditch Match 6M1 Hagrid's Christmas Tree 6M1A Christmas Music Box 6M2 Christmas Morning 6M2A The Library Scene 6M3 Dumbledore's Advice 6M4 Alt Hedwig's Time Transition 6M5 Rev. 2 Hermoine's Reading 6M6 Norwegian Ridgeback 7M1 Filch's Fond Remembrance 7M2 The Blue Forest - Part 1 7M2A The Blue Forest - Part 2 7M3 Three Note Loop 7M4 Running to McGonagall 7M5 It's Guarding Something 7M6 Fluffy's Harp 7M7 In the Vinesnakes 7M8 The Flying Keys 8M1 The Chess Board 8M2 The Game Begins 8M3 Checkmate 8M4 The Mirror Scene 8M5 Love, Harry 9M1 Gryffindor Wins 9M2 Leaving Hogwarts - End Credits (no slate number) Harry Potter and the Chamber of Secrets (LTP Version) Music by John Williams Source: LTP - Conductors Score Act I 1M1R Prologue: Book II 1M3A Vernon Gathers Family 1M4 Dobby Warns Harry 1M5 Unsent Letter / Cake 1M7-1M8 Escape from the Dursley's / Magical Household 1M9 Letters from Hogwarts 1M10-1M11-2MA Borgin and Burkes / Knocturn Alley / Diagon Alley 2M1A Flourish and Blotts 2M1B-2M2-2M3 Harry Meets Lucius - The Train Station - The Flying Car 2M4A Car Escapes 2M5 Filch's Warning 2M6 Boys Recieve Detention 2M8-2M8A-2M9 Introducing Colin - Mail Delivery - Howler Letter for Ron 2M10-2M11A-2M11B-3MA Gilderoy Lockhart - Cornish Pixies - Flying Pixies 3M1 Eat Slugs 3M2 Hermione and the Mudbloods 3M3 The Writing On The Wall 3M4-3M5 Dumbledore’s Caution 3M6 Transformation Class 3M7-4M1 The Library - Quidditch Match 4M2 Petrified Colin 4M3 Moaning Myrtle 4M4 Dueling Club - Part 1 4M4A Dueling Club - Part 2 5M1 Harry is a Parselmouth / The Mountain 5M4-5M4A Petrified Justin - The Introduction of Fawkes 5M5 Fawkes is Reborn 5M6 Intermission Act II 5M7 Entr’acte - Fawkes the Phoenix 5M8-5M9 Cakes for Crabbe & Goyle - Poly Juice Potion 5M10A-5M10-6MA Worse Than Dumbledore 6M2-6M2B The Diary - Meeting Tom Riddle 6M5 Ransacked Dormitory 6M6 Petrified Hermione 6M7-7MA Time to Get Dad's Cloak 7M1-7M2 Hagrid's Arrest - The Spiders I 7M3-7M4 Aragog - The Spiders II Part 1 7M4A The Spiders II Part 2 7M5A-B It’s A Basilisk 7M6-8MA Ginny Gets Snatched 8M2-8M2A-8M2B Pt1A Myrtle’s Tale / The Chamber Door Opens / Goodbye To Memories 8M2B Pt1B Goodbye To Memories 8M2B Pt2-8M3 Harry Goes to Find Ginny / Fawkes Delivers the Hat 8M5 Dueling the Basilisk 8M7-9M1 Fawkes Heals Harry 9M2 Dumbledore And Harry 9M3-9M4 Lucius and Dumbledore / Dobby is Freed / A Reunion of Friends End Credits (no slate number) Harry Potter and the Prisoner of Azkaban (LTP - Version) Music by John Williams Source: LTP - Conductors Score Act II 1M1 Opening III 1M2 That's a Lie 1M4 Aunt Marge's Waltz 1M5 Parents Portrait 1M6-1M7 The Empty Playground - The Knight Bus 1M8 The Knight Bus Ride "Concerto for Hub Caps" 1M9 Newspaper Headliner - Second Collision 1M10 Pub Source 2M1 The Book Attacks 2M2A Discussing Black 2M3 The Train to Hogwarts 2M4 The Dementor Appears 2M5 Double Trouble 2M6 Dumbledore's Warning 2M8 Double Trouble March 2M9 Rainy Nights, Dementors, and Birds 2M10 You Have the Grim 3M1 Double Trouble on the Hill 3M2 Befriending the Hippogriff 3M3 Riding the Hippogriff 3M4 Bonding with Hippogriff and Sir Cadogan Again 3M5 Kids Inspect Newspaper etc 3M6-3M7 Snape Dresses Up - The Spider - The Snake - Clown Out of the Cupboard 3M9 Revealing the Bridge 3M10 Remembering Mother 3M11-3M12 The Portrait Scene - The Great Hall Ceiling 4M1-4M2 Quidditch 4M3 Woods Walk and Bird’s Flight 4M5 Up The Stairs 4M6 Snow Fight 4M7 The Elves Song 4M10 Brief Snow Scene 4M11 Explore Your Past 4M12 Opening the Trunk 4M15 Harry and Voices 4M16-4M17 Dueling the Dementor - Insert for Patronus Light Act II 4M18 Entr’acte - Solo Flute 5M1 Buckbeak's Sentence 5M2 Reading the Map 5M3 The Mention of Pettigrew 5M5 Pt.1 The Crystal Ball 5M5 Pt.2 - 5M6 The Crystal Ball - The Executioner 5M7 The Walk to Buckbeak 5M8-5M9 Buckbeak is Sentenced / Scabbers Runs 5M10 The Whomping Willow 6M1-6M2A Entering the Shrieking Shack - The Confrontation Scene - Part 1 6M2B The Confrontation Scene - Part 2 6M2C The Confrontation Scene - Part 3 6M3 (no subtitle) 6M4-6M5-6M5AN Sirius and Harry - Werewolf Scene - First Frozen Lake 6M7 Reviewing the Recent Past 7M1-7M1A Viewing the Recent Past / Saving Buckbeak 7M2 My Dad Conjured the Patronus 7M3-7M4 Buckbeak Saves the Day - Watching the Past - The Patronus Light 7M5 The Rescue of Sirius 7M6 Sirius Final Scene - Turning Time Back 7M7 Whomping Willow 7M8 Jungle Jazz Room 7M9 Lupin's Departure 7M11-7M12-End Credits Potter Titles - End Credits Harry Potter and the Goblet of Fire (LTP - Version) Music by Patrick Doyle Source: LTP - Conductors Score 1M1 Opening Titles 1M2 Frank Dies 1M3 Out of BEd 1M4 Maky Old Boot 1M6 I Love Magic 1M8A Irish Stadium 1M8BS Irish Source 1M10 Campfire Death Eater 1M11 The Dark Mark 1M12 Foreign Visitors Arrive 2M1S Beauxbaton Entrance 2M2 Durmstrang Entrance 2M3 Moody 2M4-2M5 Opening the Casket - Karkaroff 2M6 Wich Curse First 2M7B Imperius Curse 2M8 Cruciatus Curse 2M9 The Killing Curse 2M10A Goblet Names 1 2M11 Ancient Twins 2M12B Tri Wizard Cup 2M13B Binding Contract 2M14 Harry And Ron Fight 3M1-3M2 Broom Cupboard - The Bird Bites 3M3 Sirius Fire 3M4 Burning Newspaper 3M5 Not an Owl 3M6 Harry Sees Dragons 3M8 Draco the Ferret 3M9 Foe Glass 3M10-4M1 Fair Flyer - Dragon Stadium 4M2 Pick A Dragon 3M3 Harry Enters Arena 4M4 - The First Task, Part 1 4M4A - The First Task, Part 2 4M4B - The First Task, Part 3 4M5 Harry And Ron Make Up 4M6B Owl Post 4M7S Waltz (Neville Longbottom) 5M1 Cho in Winter 5M2 Cho Says No 5M3 Foxtrot Tea Dance 5M4 Hermoine's Entrance Act II 5M4F Hogwarts Fanfare 5M5 Potter's Waltz 5M9 Harry's Dream 5M10 Scared For You 5M11 Thousand Traps 5M12A Not A Bad Boy 5M12B Open It 5M14 Myrtle's Moves 6M1 Gilly Willyweed 6M2 They Call Him Flipper 6M4A The Black Lake, Part 1 6M4B The Black Lake, Part 2 6M5 Secound Place 6M6 And They Say I'm Mad 6M7 Finding Crouch 6M8A The Pensieve, Part 1 6M8B The Pensieve, Part 2 6M9 Karkaroff Names Crouch 6M10 Cast Them Away 7M1 Brass Band Piece 1 7M2-7M4A Gather Round - Brass Band Piece 2 - The Maze, Part 1 7M4B The Maze, Part 2 7M4C The Maze, Part 3 7M5A Voldemort, Part 1 7M5B Voldemort, Part 2 7M6 Brass Band Pieve 3 7M7 Cedric is Dead 8M1 Moody Additional Material 8M2 Eulogy 8M3 Leaving End Credits (no slate number) Harry Potter and the Order of the Phoenix (LTP - Version) Music by Nicholas Hooper Source: LTP - String Parts Act I 1M1 Opening 1M2 Storm 1M3A Dementors 1M3B Mrs. Figg 1M4 Dursleys 1M5-1M6 Dreams-Flight 1M7 Grimmauld 1M8 The Order 2M1 The Boy Who Lied 2M2 Ministry 2M3A Trial-Part 1 2M3B Trial-Part 2 2M4 Sirius 2M6A Coaches-Part 1 2M6B Coaches-Part 2 2M7 Speeches 2M8 Bedtime 3M1 Class 3M3A Detention-Part 1 3M3B Detention-Part 2 3M5 Luna 3M6-3M7-4M1 McGonagall and Umbridge-Sacking of Trelawny 4M2 Storm & Hogsmeade 4M3 Recruits 4M4 Practise 4M5-4M6 Success & Kiss-Dream 4M7 Occlumency Act II 5M1 Entr'acte-Occlumency-Christmas 5M2 Tapestry-Hogwarts 5M4 Breakout 5M5 Patronus 5M6 Dumbledore 6M1 Takeover 6M2 Hagrid's Secret 6M3A Occlumency 6M3B Man Up White Boy 6M4 Fireworks 6M5 Sirius 7M1 Cought 7M2 Centaurs 7M3 Rescue 7M4 At the Ministry 8M1 Hall 8M2-8M3A Veil Room-Duel 8M3B Glass-Possession 8M3C Papers 8M3D-8M4 Office-End 8M5 End Credits

What's amazing about this score is that many of its best moments (revealed even more clearly in this expansion) are instances of Powell doing something interesting with some element of Williams' Solo theme. It's like the entire composition was Matrix-uploaded into Powell's brain, as second-nature to his thinking as anything he'd written for the film himself. Almost every cue has an example of this somewhere. Heck, even the transformation of the Imperial March for "Mimban" is a great example. I really really hope we get another John Powell Star Wars score―preferably with another Williams contribution.

LOL, save that for Tron 3 Joseph!

Having to use a theme written by JW and not having any choice about it beside doing the movie or not could be very intimidating, it's easy to imagine some composer treating it as an immutable sacred artifact, only copypasting the same renditions all over and making it the only highlight, some other composer resenting the obligation and treating it contemptuously, burying it or making it sound bad - but Powell's better than that, and also as evidenced by some JW-written variants, these two spry lads were absolutely on the same wavelength. JW wrote lovely but very moldable themes, and Powell really made them his own here, they blend in perfectly with his ones - which again are not only fun as heck but impressively malleable and multifaceted, something he takes full advantage of, like always, and like JW. Not that there wouldn't be any place to take them in a potential sequel that will never happen! The sound is great, moments and subtleties are much more noticeable, the action is impressive but not as overwhelming, the choirs are clear but blend in well. The program is fantastic - going through clear phases, but all of them have much more connecting tissue, breathing space, lead-ins and playoffs than on the OST, making the bombastic highlights stand out that much more - and that is not to say the connective tissue is purely fluff or padding, oh no, far far far from it, it's interesting and engaging, theme renditions and harp pieces galore, his edition adds many many additional highlights to an already impressive number. Adventures of Han kicks ass, Meet Han follows it so well. Bunk/Proxima helps Corellia Chase have that much more impact and presence, Spaceport plays it off and builds to a new kind of mood and tension nicely and builds to a great climax. The Empire Recruitment ad is a terrific exploration of the familiar theme in a specific recogniseable style, even more impressive when compared to Kiner's feeble effort. I'm Gonna Be A Pilot is a fun buildup to the phenomenal highlight that is Mimban Battle - starting with one of the most inspired recent settings of Imperial March on glorious low churning brass, leading to a hurried Han A, all over great busy string writing, a perfect grand introduction to the Crew motif that immediately after gets its more usual lower sneaky settings in a fun little march. Blackmail starts off the cheeky playing with Luke's Theme and leads well to The Beast, a fun collection of styles and a great introduction to Chewie's theme. These new cues add a much needed break before Chewie Untamed, still the absolute highlight and varied theme exploration that it is. Surveying Conveyex again provides some more breathing time between highlights but also plants the Enfys Nest idea. Train Heist is a wonderful propulsive action piece that never gets boring and even packs a surprise or two even if you know the OST tracks. Thankfully after it completely goes crazy at the end, we get Walk to Dryden to help us catch our breath, and also connecting better to Chicken in the Pot... which I heavily dislike in this film version. Thankfully a new batch of great Love theme renditions help lead us to another, fun bit of source music - you can feel how much fun Powell had writing all these source pieces (hint: A LOT). Compare them to the generic pap they mixed under JW's cameo. A wonderful tense batch of new cues follow, a lighter turn brings us to a new texture, electric guitar at the forefront in the Card Room. Sabacc Game, the fun interlude cheekily hiding the Rebel Fanfare, thus has a more natural introduction now. L3's comedic theme still gives way to the glorious new Luke reading and funny Rebel Fanfare playoff, a major highlight in the score. Family Stories builds to convey Han's wonder at the size of the universe and opening possibilities gloriously, Lando' Closet is still the lush passionate Love Theme reading (though already not being able to exist wihout Crimson Dawn sneaking in), Trust No One scores the beautiful but dangerous tiptoe through the safe route in the Maw. Oksana Floren, with the occasional lovely burst of brass figures, returns to the guitar and an overall tense hushed sneaky texture, with another cheeky Luke peeking its head out to finish a more orchestral interlude perfectly naturally. After this other extended break, we're ready for 20 minutes of close to nonstop action! Nothing new to speak of but still a showstopper section with inspired motif reprises, renditions, new segments, dripping with energy. Savareen Tent helps our pulse recover from that insanity, and even Enfys' Stand-off has a worse bark than bite, after which we return to comfortable ground again, but only to go big and tense once more for the climax, now that we had minutes to rest on the previous one. Double-Double criss builds more creatively voiced tension, and Dryden's Long Long Fight wisely doesn't even try to outdo that mammoth block or even Train Heist, it goes instead for a relative minimalism and heavy percussion - it then follows the end of the fight with an aching solo piano love theme that slowly turns sour and morphs into Crimson Dawn. The Duel of the Fates cue is longer than I thought, and not only is just a fun reference but orchestrated very nicely. Funnily enough it's followed by an orchestral wave not unlike JW's Prequel Planet wipe transitions! Parting Ways reprises multiple themes, including a clever close mirroring of the opening of Meet Han. A fun source and a fun score cue then lead to the finale which, after so long, once again pulls out all stops and briefly gives in to absolute bombasticity, transitioning to a high octane Main On End and a not great, not terrible credits medley. I used to really really like this score. I adore it now.

It was recorded in LA in November 2000 at the same time as the teaser cue, so it's not that. I think it was just Williams playing around with this new theme he'd written and we're lucky Mike did a performance edit of those takes and Williams approved its inclusion on the bonus disc

The way I see it there are two ways to combine to cues... Either by emulating the film mix by combining the cues at the transition point and adding a false ending to GBAP: https://drive.google.com/file/d/1Zfz5B8QGJUwf0eOY9W8_EwZ4eoTRVk7G/view?usp=sharing Or by separating the cues by a single beat: https://drive.google.com/file/d/1UEOAXYSkBqJRzsblbUPTKY7qhPSLuO-v/view?usp=sharing

He wrote the whole thing while JW watched!

Oh yes. Nobility and tragedy and sense of loss. It is stunning

The opening with the Rhine music? The renounciation of love? The Valhalla motif? The crescendo of the Walsung motif when Siegfrid dies? And that's just in the Ring cycle. Wagner was one hell of a tunesmith.

How dares he refer to the FSM artwork as truly dreadful! This is a fantastic cover with an amazing image.

I am happy not being alone adoring this Presenting the Hook march.

Yes. It wasn't originally used in Ep2 and was used for that scene in Ep3.

John Hughes himself rewrote Miracle on 34th Street in between 2 and 3 lol. And as you say Home Alone has already been sequelized to hell and back. 3-5 were basically “reboots” anyway and the third one only used Williams in the title if I remember right. But complaining about this is like giving any attention to a TV movie or VHS release. Same financial imperative as back in the day, they’re just doing this to generate content like always. The only difference is adults inexplicably pay attention to these things like they’re big news and it gets publicized like a major release, I suppose because Disney+ is new and all, the Fox sale etc, but this is literally no different than when Fox farted out 4 and 5 for Disney’s ABC networks. Like that’s the other thing is this is technically Fox/Disney’s third Home Alone project anyway.

Hm. I'd love to read that. I don't know if he has ever played or recorded Wagner in his Boston Pops days (I only have a handful of his Boston Pops albums), but perhaps some of you know? I mean, I can understand a criticism of Wagner's political leanings, but musically, he's the benchmark for film music, including Williams' own. Would seem odd to dismiss him.

My understanding of the tech and why you're hearing the pitch shifting and cut outs is probably due to how the board was being handled. I always understood that since they changed from one take to the next, it might cause a slight dip in the playback speed as they transition from take to take. Normally you wouldn't roll through the takes so you wouldn't be privy to this sound but since he's rolling from take to take, you hear it. As for the orchestra being muted except celeste, i think it was a similar thing. They meant to end the take at that moment and perhaps to say "this is the end of the take" they muted the groupings of all instruments but I guess the celeste was on a separate grouping and didn't get muted?

1941, easy. I think it's the best in terms of structure, and the counterpoint in the final strain that combines the main tune and the B theme puts it over the top for me.

Nope, Williams didn't go to London until later that year for the LSO concert. Someone asked Powell if JW supervised the sessions remotely from LA, but he didn't really answer the question directly. More likely JW just asked to view the sheet music or listen to some cues a few days later. He checked in with Powell regularly during the writing process, so he was probably comfortable with what Powell was doing.

If I ever get charged with a crime, I want Jay for the Defense!😊. Btw you should have seen the abuse I took for CORRECTLY pointing out that - contrary to their press release claims- POSEIDON ADVENTURE was NOT fully in stereo. And, I bought it ! ( not to mention starting an earlier thread in praise of LLL) "....this is now the most reported post we've ever had in the entire history of this forum." So , does Penna get the trophy or does he have to share it with Gerhard? 😅😛

I'm tremendously looking forward to RotS being expanded. Based on the selections I have from one of the boots, it's like a whole new score.

The Arena March - underrated but a superb hair-raising classic

Finished my first listen. Random thoughts: - The second half is the best. - This release provides even more proof, as if any was still necessary, that the LSO should have performed episodes 7-9. - Powell is a genius. I simply love how he plays with all these themes. That’s one thing Williams seems to be unable/unwilling to do. Al least Powell doesn’t just repeat themes endlessly (looking at you, Force theme). - If they ever make a Cursed Child movie, Powell needs to compose it using all the HP themes by previous composers and his own new material. - Also, End Credits should never have been its own track. This transition sounds so raw.

On my hard drive there is.

I hope we don't just get Violin Concerto No. 2 and a rehash of Across the Strad.

You have some niche ideas about fun!

If you prefer individual covers for each episode I found some great ones here: https://twitter.com/mattrushing02 Hoping he keeps making them.

What always astounds me is the musicianship of these incredible session players. I mean how much rehearsal would they get for one cue? The music is so multifaceted and urgent but everything is so tight. And I don't mean just this score. Their unerring ability to just pick something up and make it sound like this leaves me in total awe.

Powell has evolved so much over his time as a composer. I have been a fan since Antz so it has been really fun to watch as I've grown up.

I just posted about this yesterday, here is what I had to say (the part in italics): And: Wow, that's great he posted that! The last 18 seconds of "Marauders Arrive" is slightly different than the last 18 seconds of "Deluxe Train Heist" "Chicken In The Pot" features Baraka May only, while here it's a duet between Baraka May and Reid Bruton "Good Thing You Were Listening", from 1:03-end, is 7M44B Alt Qi'Ra Departs, a revised ending of 7M44A-B Beckett Departs that did not get used in the film. Beckett Departs is heard in its entirety in the DE track "Maul's Call / Parting Ways" from 2:02-3:39, and Qi'Ra Departs is an unused replacement for the part from 2:39-3:39 "The Adventures of Han" is not on the DE at all That's is, apart from of course the fact that the entire OST is a completely different mix than the DE.

Yea I'm on the Train Heist track now and the choir sounds great! And damn I'm hearing little piano trills and stuff I never noticed before

No, the sword fight training is litteraly one day after the "Pick Em up" scene. In one script, the scene is after the clock museum scene, in the second, before. Lost boys suggest to steal hook's hook at the end of the sword fight training. The Pirate town tour can't be before the classroom. Maggie is imprisoned after the classroom and the pirate town tour/ rowboat scenes are the next move from Hook to brainwash Jack. Keeping his mind busy with tons of distraction and fun to make him forget his world and family. I'm sure Spielberg was really frustrated to cut these scenes because it was the opportunity to show more of the stuffs they built for the movie The problem is that the Hook script was modified every days. When you have enough scripts to compare, you can see how chaotic it was.

Thank you. Yes, "Pick em up" happens at sunrise but Neverland have three suns. The visual richness of "Pick em up" sequence is the environment variations of Neverland in lights and weather. I edited it like it is in the different scripts I have. "Pick Em up" always is after the lesson scene. I think Spielberg finally edited the scene before the lesson scene to not stay too much time with Hook as "Believe your eyes" was cut.

Some people have memories of the "Slicing the hand" scene in the theatrical cut. I would like to find original 35mm of it to confirm. Tinkerbell lines from "Believe your eyes" scene was also on some paper press ads: Pirate ship in front of the suns and moons of Neverland. I tried to edit the scene in the movie as it was supposed to be.

OK with amazing help from @BrotherSound it's now clear what's in each OST and DE track for the end of the movie 6M34 Savareen Tent = 27 Savereen Tent 2:00 | 14A The Good Guy [0:00-1:51] 1:51 6M35 Emfy’s Standoff = 28 Enfys' Stand-Off 4:25 | 17 Savareen Stand-Off 4:26 6M37-38 Joining the Cause = 29 Qi'ra Knows A Bit More Than Han 2:14 | 14B The Good Guy [1:51-3:58] 2:07 6M39-40 Real Thing Double Cross = 30 Double-Double Cross 4:47 | 14B The Good Guy [3:58-end] 1:26 {OST version is only two portions of the whole cue} 6M41-42A Dryden Fight = 31 Dryden's Long, Long Fight 4:51 | 19 Testing Allegiance 4:21 {OST version edited down} 7M42B-43 Skype Showdown = 32A Maul's Call / Parting Ways | 18A Good Thing You Were Listening [0:00-1:03] {OST only contained second half of the cue} 7M44A-B Beckett Departs = 32B Maul's Call / Parting Ways | was not on OST 7M44B Qi’Ra Departs = 32C Maul's Call / Parting Ways | 18B [1:03-end] Good Thing You Were Listening 7M45 Parting Ways = 32D Maul's Call / Parting Ways | was not on OST Cue DE OST 6M34 Savareen Tent 27 Savareen Tent 2:00 14A [0:00-1:51] The Good Guy 1:51 6M35 Emfy’s Standoff 28 Enfys' Stand-Off 4:25 17 Savareen Stand-Off 4:26 6M37-38 Joining the Cause 29 Qi'ra Knows A Bit More Than Han 2:14 14B [1:51-3:58] The Good Guy 2:07 6M39-40 Real Thing Double Cross 30 Double-Double Cross 4:47 14C [3:58-end] The Good Guy 1:26 6M41-42A Dryden Fight 31 Dryden's Long, Long Fight 4:51 19 Testing Allegiance 4:21 7M42B-43 Skype Showdown 32 Maul's Call / Parting Ways 5:38 18A [0:00-1:03] Good Thing You Were Listening 1:03 7M44A-B Beckett Departs 7M44B Qi’Ra Departs 18B [1:03-end] Good Thing You Were Listening 1:05 7M45 Parting Ways