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Can you go back to being banned? kthxbai

I found Tintin to be very good.

FFS, just make it stop. This franchise has been milked to death.

Hi Everyone. The film was recently released on Blu Ray. According to the specs... "Special Features and Technical Specs: 1080p presentation of the film on Blu-ray NEW audio commentary by film historian Stephen Prince (2020) NEW “FOURTH DOWN: COMPOSING BLACK SUNDAY” – An all-new interview with film music historian Daniel Schweiger about the John Williams score. (2020) DTS HD 5.1 surround LPCM 2.0 Stereo Optional English subtitles Theatrical Trailer Limited Edition slipcase on the first 1500 copies" Not an interview with the maestro, but I'm glad the label thought the score was important enough to warrant adding a talk about it as an extra. Maybe the label thought it could sell some units to us fan-tragics if it threw in a morsel of JW appreciation? Cheers https://viavision.com.au/shop/black-sunday-1977/

I, for one, would have loved to hear what a Williams-Scorsese collaboration would have sounded like. I'm sure Marty would've pushed Johnny out of his comfort zone, with great results.

Well, anyone dying to see the complete cue list for Stepmom, today’s your lucky day! Found it in the SESAC repertoire, apparently in film order: 688787458 Stepmom 688787459 Ben’s Antics 688787461 Isabel’s Expertise 688787462 Luke’s Rationale 688787463 She Can Cook Too 688787464 I Trust You 688787465 Feeling Change 688787467 I Killed Her 688787468 Get Out of My House 688787469 Ben Is Lost 688787470 On Horseback 688787471 I’d Do It For You 688787472 Isabel’s Rejection 688787473 Through MRI 688787474 Hung By A Thread 688787475 Art Lesson 688787476 Jackie’s Trick 688787477 I’m Telepathic 688787478 The Soccer Game 688787479 Side Effects 688787480 I Know Your Secret 688787481 Wrong Secret 688787482 It Should Have Been Me 688787483 Snowy Night 688787484 Horseplay 688787485 Career Decision 688787486 Do Something About It 688787487 Airport Meeting 688787488 Picture Gallery 688787489 Luke Brings the Tree 688787490 Are You Scared 688787491 Stepmom End Credits 688787492 You’re a Good Father 688787493 Poster Boy 688787494 Doing the Best I Can 688787497 Ladies Bonding 688787498 Magic Cape

I like it better than the Kojian album, and I like the ESB stuff much better than Gerhardt's. Before Vienna it had the best commercially available Imperial March (that I'm aware of).

Escape From Alcatraz

Oh, this is my hobby. My day job is trying to sort out the utterly ridiculous editing of the score in The Rise of Skywalker. 😁

NEW SCORE AVAILABLE: MISCELLANEOUS Blizzard of Souls (Lolita Ritmanis) [28 cues, 1:04:10] Sound of Identity, The (Nicolas Repetto) [4 cue excerpts, 03:27]

It was shit.

Pretty damn close to being my favourite Young, and that's saying something given his excellent track record. Could be something with the Scandinavian/Gaelic folk music flavour that makes it strike close to home.

What about Terminator The Musical? And both franchises have in common that only their first two entries are great.

It's fine to be DISAPPOINTED with modern film score trends- I certainly fall into the category. But, to be BITTER and ANGRY about it? Not a proportional response.

In the whole music fan universe from pop over rock to classical music it is more or less the same. If you are a fan of the work of one particular artist, why would you not regret the dissapearence of his or her style and art tradition in the music business? If I like one particlar pop group for whatever reason, why do I need to be open to all the other pop groups and like what they do as well? Why can't I say, I don't like them because they don't fulfill the quality criteria that I set for my tast, that apply to my favourite artist and to most others not. The reasons why I like one artist more than others shouldn't matter? I don't get what is reactionary about that. I agree, for journalists of course apply other criteria. They have to be much more open and widely interested. They have to sell their soul to the Zeitgeist to a certain degree. But me as a normal fan, I can be just a fan.

Wait! Spielberg's got a bigger boat?!

Fixed!

You sure that isn't Highway to Heaven?

Scorsese would have rejected his score and replaced it with Elmer Bernstein😉 I visited American Zoetrope offices as a messenger in 1979. I picked up a package of complimentary tickets for the premiere of APOCALYPSE NOW- I took two for myself 😝 True story! ( thankfully LeBlanc wasn't around then😅)

Tragic moments call for over-the-top scoring. We're super excited to release a cue we've waited a long time to finally share - Cue 34: The Veil and Death of Sirius. Let us know what you think!

Yeah. Every time I watch one of Spielberg's films from the past 10 years I keep expecting "Directed by Ron Howard" to pop up at the end.

Bridge of Spies is everything wrong with Spielberg today. Making absolutely predictable, tamed, movies. I missed edgy Spielberg, the guy that made Saving Private Ryan.

If Williams had never worked with Oliver Stone, I’m sure the same people stating a collaboration with Scorsese would not work, would say the same about Williams working with Stone.

I know Disney is ham-fisted in general and hamstrung by its own Death Star II-like size, but this is the most commercially friendly potential expansion property in the history of film music. It has to happen, and my money is on sooner rather than later, given how the focus of Star Wars is atomizing thanks to streaming services and publishing initiatives. In the days of old Lucasfilm, I had the sense (rightly or wrongly, as a child) that every Star Wars project was another tendril of the story told in the original trilogy, traceable along the axis of some character who appeared in those films. Now, it seems the plan is to make Star Wars an entertainment medium unto itself, containing stories in multiple sub-genres to reach as galactically large an audience as possible, many of whom may not be remotely interested in what's going on in other branches of the tree. Right now, though, and for maybe the next year or so, the focus is still comparatively narrow (especially so thanks to Luke's cameo on The Mandalorian). Now is the time for a massive Skywalker saga expansion, before the definition of Star Wars becomes any more diffuse. A saga soundtrack release would still come across as a comprehensive Star Wars music box right now, whereas it won't be long before little paragraphs would start getting added to its media coverage (and there would be media coverage), saying things like, "While it doesn't include any of Ludwig Göransson's sick beats from The Mandalorian, and Ahsoka's theme is nowhere to be found, it's a fascinating look at the origins of Star Wars music..." Do it, Disney!

Just announced at facebook! I have the GNP Crescendo release. http://www.soundtrackcollector.com/title/20510/Time+Tunnel%2C+The I wonder if there will be something new in this LLL release.

Of course, those composers are all on my blacklist!

How can you not know it?! 😎 https://m.youtube.com/watch?v=Ln9yywA5Cjs

"...torture"? Bugger that! It's one his best scores of the 80s. No, I'm not joking. Ffs.

I loved early Daft Punk as a youngster, but yeah now I find listening to it like having people shove forks in my ears repeatedly. I still love all of Random Access Memories though, especially the Paul Williams one.

You keep using that word. I don't think it meant what you think it means.

Indeed!

They only recorded that cue at one session, there wasn't any later inserts. So I'd say any differences between them are via using different portions of different takes (on top of editing it down for theatrical cut too) Maybe some portions of the theatrical edit actually contain music tracked in from another HP2 cue (or the HP1 Christmas cue)? I have no idea, I never investigated. On the LLL CD, the theatrical edit is taken straight from the music editor's archive created in 2002, while the long version was built fresh by Mike from having access to every take of the cue recorded. I know he started with the goal of using the same takes and edit points as what was used in the extended cut of the film released to home video, but I can't remember if he ended up deciding to replace some sections with a better performance than what they chose for that or if he stuck precisely to the extended cut's takes and edit points.

On a related note, I would have loved for a Tarantino-Williams collaboration. Imagine Quentin asking Johnny to go full 60's.... ahhh, could be delicious.

You are a load of crap!

My argument is that music is subjective. Whether people on this board like the score or not has nothing to do with that. You seem focused on “not getting” why someone likes a score. Your energy is better spent elsewhere. Just let people enjoy the music they like.

During the early to mid-80's, Goldsmith and Spielberg were rather close. There are numerous stories not only of Goldsmith working on movies close to the SS fold, but also Spielberg spending a depressed Oscar night 1983 at JG's home after losing out on E. T. and Goldsmith pointing SS to Secret of NIMH, enabling the SS/Bluth collaboration (and, ironically, having to decline An American Tail due to schedule stress). With the Bluth connection severed, there probably was not much common ground, i heavily doubt Spielberg ever considered to exchange JW for someone else and Goldsmith didn't harbor much interest in Amblin's line-up (he was attached to Goonies for a short while, it seems).

Cool I had no idea the Eiger OST was a re-recording now I’m even more eager to Eiger 😂

I'll happily buy it a third time if there ever is a proper restoration.

The entire OST album is a complete re-recording; The actual recordings used for the film are 100% unreleased

No, they’re just arbitrary codes specific to this particular catalog. However, the codes for other JW scores in this database—The Patriot, The Adventures of Tintin, and Memoirs of a Geisha—precisely match the film order of cues when arranged ascending, and so do these, from what I can tell.

This score is an absolute mess production wise. While it can be easy to assume that Richter got Balfed and apply the usual spiel about that here, it's much more complicated than that. Richter was the first hired composer, and presumably scored the original cut of the movie on his lonesome. However, once it was decided that the film needed some retooling in key areas, Balfe was brought on to do his usual thing. And yet, somewhere in the midst of that, two other composers were brought in to basically do the same job. Robert Charles Mann wrote a entire score that basically got 90% rejected, and Nils Frahm very likely composed his own tracks that got utilized in addition to Says being licensed and reworked. Not even Lorne was immune from this, as a good chunk of what he made went unused in favor of key selections of Max's initial efforts. As such, we have a whole product that comprises the work of four different composers. Every single one having chunks of their work being heavily hacked together to form a somewhat cohesive and anonymous result for the movie. Take the official album for instance. You'll find that 40-60% of what Richter wrote went unused in favor of repeated uses of To The Stars and I Put All That Away. Balfe's section is even more infuriating, as every track is basically randomly selected and only like one or two is actually used. Balfe's full contributions were leaked the day after the OST released, Mann had to resort to releasing his selection of tracks twice, and we don't know the full extent of what Frahm did outside of two possible cues. I can absolutely understand why the score hasn't been able to really click for some, thanks to how insanely fragmented the whole situation is. It's a further reminder of how bad the state of film scoring has become in Hollywood.

I totally disagree.

Yeah the problem with this is, it's pretty much impossible. He can't bring us the film he wanted to make for us 5 years ago. That movie and the Zack Snyder who was trying to make it are gone forever. Countless things have happened to Snyder to change him, and those things will impact the film he brings us. He'll be impacted by things that happened in his personal life. He'll look at the reaction to the Whedon film, even the bits he was responsible for, and make adjustments based on that. He'll also be informed by the many DC & Marvel movies, and ever other movie, he's seen since then. He'll look at what worked, what hasn't, etc. and make adjustments. Spielberg once commented that if he'd made CE3K "today" it would have been a completely different movie. 1977 Spielberg wanted to be Roy Neary and fly away into space. 20+ years later he said he'd never have Neary get on the ship at the end because Spielberg couldn't image abandoning his family like that. 1977 George Lucas had no problem with Han shooting first. That wasn't about the technology changing, that was about Lucas changing. That's the big problem with director's going back to their movies years or even decades later in attempt to bring us their "original vision". People change over time. Artistic sensibilities change. The way movies are edited, graded, etc. all change over time. No self-respecting artist would make the same piece of art years later, because it would mean you hadn't grown as an artist. My understanding is Snyder has already done quite a bit of new shooting, re-shoots and added new characters. He's presenting it in an aspect ratio that's different than how the vast majority of people would have seen it 2017. So no, I don't think we're going to be seeing his "original vision". I think we'll be seeing his 2021 vision assembled as best he can from stuff he shot years ago. And it would frankly be silly if keeps a cliff hanger that we'll never get a resolution to simply in a misguided attempt to maintain a half-decade old "vision" for the film.

Here is a long discussion between Spielberg and Williams in front of students from 2011.

Hugo would have been perfect for Williams.

Since you seem to like long ones, allow me to recommend my 3.5 hour conversation with Robert Townson: https://goldsmithodyssey.buzzsprout.com/159614/1301242-odyssey-interviews-robert-townson-part-1 https://goldsmithodyssey.buzzsprout.com/159614/1361503-odyssey-interviews-robert-townson-part-2 Yavar

No. It would simply be nice if every score got e legal release so the makers got paid when we listen to them instead of all the bootlegs floating around, or the inability to listen to something we like at all. This would also give more exposure to young composers, and help the ones doing good work keep being able to do so.

Again, you can't really do this, but... 1. The Empire Strikes Back 2. Star Wars / Return of the Jedi 3. Revenge of the Sith 4. The Force Awakens / The Last Jedi 5. The Phantom Menace / Attack of the Clones *I'd probably stick Rogue One around TPM and AOTC. I don't necessarily have high hopes for Solo, at least not enough to surpass Rogue One. Edit: Whoah this was stupid!